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El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Gan, Rio Dela Duna - Maya Maya Tony Finger - Yeah Yeah Dj Zebra - Magic Tonight Benjamin Franklin & Simon Sim's Feat. Mc Adrian - Respect For The Dj's (Danidane Remix) Christian Cheval - Panda Aradya - Deep Soul Recode EMANEI - Ananta Hawka - Caribbean Moon Paul Kenny, Lostrocket - Ramblas Torres Quijano - I Know You Can VRSNØNE - El Yunque Lou Cypher - Sudor Tahos - Folhas Sagradas Legend - Pa Dentro Jacques Trèsbien Feat. Vasilisa Smirnova - NIET Ozgur Uzar - Rocket Tribalero - How I Do Amu, Black Rythmo - Maya Ivory White - Manian Jacques Trèsbien - Acid Africa
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Para tranquilidad de los más puristas, no vamos a hablar de silenciosos coches eléctricos ni de eficientes y pesadas baterías. Quizás el AC Cobra sea el mejor "híbrido" que jamás haya visto la industria del automóvil. Fue una de las ideas más magistrales, salvajes y revolucionarias de todos los tiempos. Este mítico vehículo es el resultado de la brillante visión de Carroll Shelby, quien decidió cruzar la agilidad y ligereza extrema de un delicado chasis británico con la fuerza bruta y el empuje de un motor V8 norteamericano, reuniendo lo mejor de dos mundos diametralmente opuestos en un solo coche de ensueño. El cerebro detrás de este imponente deportivo pertenecía a uno de los hombres más astutos, irreverentes y testarudos de la historia del automovilismo: Carroll Hall Shelby. Nacido en 1923 en Leesburg, una pequeña y polvorienta localidad del estado de Texas, Shelby estaba muy lejos del clásico estereotipo de ingeniero de guante blanco o de aristócrata europeo que competía apoyado en una gran fortuna. Era un humilde criador de pollos que se arruinó de la noche a la mañana cuando una feroz epidemia de la enfermedad de Newcastle aniquiló todas sus aves. Esa asfixiante ruina económica, combinada con su enorme pasión por la velocidad, lo empujó a las carreras bastante tarde. Su leyenda se forjó cuando, al llegar con retraso a su primera competición, tuvo que correr al volante con su sucio peto a rayas típico de granjero tejano. Ganó con una superioridad tan insultante que convirtió ese peculiar mono de trabajo en su seña de identidad inconfundible. Su carrera como piloto alcanzó el máximo nivel de gloria en 1959. A los mandos de un Aston Martin DBR1 oficial y haciendo equipo con Roy Salvadori, Shelby logró la victoria absoluta en las durísimas 24 Horas de Le Mans. Lo que casi nadie del público sabía era que corrió aquella prueba de resistencia francesa sufriendo una severa angina de pecho, obligándose a llevar fuertes pastillas de nitroglicerina bajo la lengua para evitar sufrir un infarto mortal a más de 250 kilómetros por hora. Shelby era consciente de que los coches americanos poseían motores V8 fiables y con un par demoledor, pero estaban montados en chasis de acero pesadísimos con suspensiones blandas. Por su parte, los europeos fabricaban chasis de aluminio ágiles y soñados, pero con motores enormemente complejos y frágiles. Para lograr su "híbrido", contactó con AC Cars en Inglaterra, una pequeña fábrica artesanal que estaba al borde del colapso. Producían el AC Ace, un precioso y diminuto roadster inspirado en el Ferrari 166 MM Barchetta. Al quedarse sin los veteranos motores que les suministraba Bristol, aceptaron a la desesperada enviar sus chasis a Shelby para que él les acoplara una mecánica. Tras recibir un duro portazo de General Motors, que no iba a dar motores a un rival de su Corvette, Shelby convenció a un joven Lee Iacocca en Ford. La marca ansiaba desesperadamente una imagen deportiva y le cedió a crédito su innovador y ligero motor V8 de 260 pulgadas cúbicas. El milagro se obró en Los Ángeles en 1962: en un taller y en apenas ocho horas de trabajo ininterrumpido, acoplaron el enorme corazón de Ford en el frágil chasis británico, dando vida al primer prototipo, el CSX2000. Estando completamente arruinado para iniciar la producción en masa, Shelby ideó una genial estafa de marketing: pintó ese único y solitario coche de distintos colores, como amarillo, rojo y azul, para prestárselo a la prensa de la época. Creó así la falsa ilusión de tener una enorme flota saliendo de su fábrica y las reservas llovieron, salvando la empresa. El AC Cobra 260 pesaba apenas 1000 kilos y devoraba el 0 a 100 km/h en poco más de 4 segundos. Pronto llegó el bloque de 289 pulgadas cúbicas, creando el modelo más equilibrado de toda la saga. Sin embargo, su frontal casi plano como un ladrillo chocaba contra un muro de aire en la larguísima recta de Le Mans. Negándose a perder, Shelby encargó al diseñador Peter Brock carrozar ese chasis. Nació así el extravagante y aerodinámico Shelby Daytona Coupe de cola truncada, con el que finalmente derrotaron a los intocables Ferrari 250 GTO en el Campeonato Mundial de GT. Pero el tejano nunca tenía suficiente. En 1965 obligó a rediseñar todo el chasis, haciéndolo mucho más robusto con modernos amortiguadores, para introducir el gigantesco y pesado motor V8 de 7.0 litros derivado de la NASCAR. Había nacido el AC Cobra 427, un monstruo indomable de más de 425 caballos de fuerza.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Vakar, 3. augustā, sasauktā nacionālās lidsabiedrības "airBaltic" obligāciju īpašnieku sapulce tā arī nenotika. Nebija kvoruma. Nākamā tiek organizēta augusta vidū. Faktiski tas ir viss, ko mēs šobrīd zinām. Kompānijas jaunā stratēģija esot izstrādāta, bet tā tiek turēta noslēpumā, un lidsabiedrības padome to vēl nemaz nav apstiprinājusi. Krustpunktā runājām martā par to, ka vasarā būs jāpieņem viens vai otrs lēmums. Vasara tuvojas noslēgumam. Gan no premjera biroja, gan Satiksmes vai Finanšu ministrijas atbildīgie nav gatavi pagaidām nākt un skaidrot tālākos notikumus. Vienīgais, ko var saprast no publiski izskanējušā, joprojām tiek izmisīgi meklēti naudas devēji. Esam šoreiz lūguši trīs no dalībniekiem, kas piedalījās mūsu iepriekšējā raidījumā, atnākt uz Krustpunktā vēlreiz, lai dalītos ar savu redzējumu no malas. Situāciju analizē "Grant Thornton Baltic" vadošais partneris Latvijā Raitis Logins, ekonomists Aivars Strakšas un SEB bankas ekonomists Dainis Gašpuitis.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Vakar, 3. augustā, sasauktā nacionālās lidsabiedrības "airBaltic" obligāciju īpašnieku sapulce tā arī nenotika. Nebija kvoruma. Nākamā tiek organizēta augusta vidū. Faktiski tas ir viss, ko mēs šobrīd zinām. Kompānijas jaunā stratēģija esot izstrādāta, bet tā tiek turēta noslēpumā, un lidsabiedrības padome to vēl nemaz nav apstiprinājusi. Krustpunktā runājām martā par to, ka vasarā būs jāpieņem viens vai otrs lēmums. Vasara tuvojas noslēgumam. Gan no premjera biroja, gan Satiksmes vai Finanšu ministrijas atbildīgie nav gatavi pagaidām nākt un skaidrot tālākos notikumus. Vienīgais, ko var saprast no publiski izskanējušā, joprojām tiek izmisīgi meklēti naudas devēji. Esam šoreiz lūguši trīs no dalībniekiem, kas piedalījās mūsu iepriekšējā raidījumā, atnākt uz Krustpunktā vēlreiz, lai dalītos ar savu redzējumu no malas. Situāciju analizē "Grant Thornton Baltic" vadošais partneris Latvijā Raitis Logins, ekonomists Aivars Strakšas un SEB bankas ekonomists Dainis Gašpuitis.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Gallium Nitride is a remarkable material. Dr. Umesh Mishra - a UC Santa Barbara professor and pioneer in GaN transistors and LEDs - said at a retrospective of the WBGS-RF program (what that is, we will talk about later): “Gallium nitride actually is kind of God's gift to mankind ... [It] just kept cooperating and cooperating and you're like, ‘Why is this material working?'” GaN's physical problems are legendary. Despite those problems, this grumpy material has changed the worlds of light, radio, and power. That's kind of interesting. In today's video, Gallium Nitride's journey from a technical flop to a bringer of light to the gates of power.
Gallium Nitride is a remarkable material. Dr. Umesh Mishra - a UC Santa Barbara professor and pioneer in GaN transistors and LEDs - said at a retrospective of the WBGS-RF program (what that is, we will talk about later): “Gallium nitride actually is kind of God's gift to mankind ... [It] just kept cooperating and cooperating and you're like, ‘Why is this material working?'” GaN's physical problems are legendary. Despite those problems, this grumpy material has changed the worlds of light, radio, and power. That's kind of interesting. In today's video, Gallium Nitride's journey from a technical flop to a bringer of light to the gates of power.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
¡Hoy en ANJ!... Ganó el futbol, ¡Confirmado, no hay gente mas llorona que los argentinos!
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Juan Ramón Jiménez (Moguer, 23 de diciembre de 1881-San Juan de Puerto Rico, 29 de mayo de 1958) fue uno de los grandes poetas españoles. Ganó el Premio Nobel de Literatura en 1956. Su obra más famosa es 'Platero y yo'.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
España es campeona del mundo.Y lo primero que he pensado no ha sido en los goles. Ha sido en el entrenador.En el seleccionador que lleva años construyendo este equipo. Que conoce a sus jugadores desde las categorías inferiores. Que tiene un estilo de juego claro y no lo abandona aunque las cosas no salgan como esperaba.España empezó el Mundial empatando con Cabo Verde. Nadie entró en pánico. Siguieron jugando como juegan. Con su método. Con su gente. Con su forma de ver el fútbol.Y hoy son campeones del mundo.No ganó el equipo con más estrellas. Ganó el equipo mejor dirigido. El que sabía exactamente cómo jugar y por qué. El que no cambió su identidad cuando las cosas se pusieron difíciles.Si has visto Ted Lasso entiendes esto perfectamente. Hay un letrero en el vestuario que dice una sola palabra: BELIEVE.No es un cartel de los que se ponen en las oficinas y nadie mira. Es la convicción de que el proceso funciona aunque los resultados todavía no hayan llegado. Es confiar en tu forma de hacer las cosas cuando todo el mundo te dice que lo cambies.Eso me parece enormemente relevante para tu proyecto online.Porque lo que has visto con España en el mundial no es suerte. Es método. Y es dirección. Y es equipo.Y de eso quiero hablarte hoy.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Episodio exclusivo para suscriptores de Se Habla Español en Apple Podcasts, Spotify, iVoox y Patreon: Spotify: https://open.spotify.com/show/2E2vhVqLNtiO2TyOjfK987 Patreon: https://www.patreon.com/sehablaespanol Buy me a coffee: https://www.buymeacoffee.com/sehablaespanol/w/6450 Donaciones: https://paypal.me/sehablaespanol Contacto: sehablaespanolpodcast@gmail.com Facebook: www.facebook.com/sehablaespanolpodcast Twitter: @espanolpodcast Hola, ¿cómo va el mes de julio? Por aquí ya solo nos quedan unos días de trabajo más intenso, porque a partir de la última semana de este mes todo se tranquiliza. Así fue los dos veranos anteriores y parece que no va a haber cambios en ese sentido. Casi todo el mundo estará de vacaciones, cada uno haciendo lo que más le guste. Unos irán a la playa, otros harán visitas culturales y quizá algunos vayan a relajarse a la montaña. Digo a relajarse porque hay personas que no van precisamente con ese objetivo, sino con otro más ambicioso, más complicado. Me refiero a los amantes del alpinismo, a los amantes de subir hasta lo más alto de las grandes montañas del planeta. Y es que la noticia de hoy trata precisamente de eso. Pero antes de escucharla, creo que tenemos que situarnos un poco. Cuando hablamos de montañas altas, hay un grupo muy especial que se conoce como los ochomiles. Son las montañas que superan los ocho mil metros de altura. En todo el mundo hay catorce… y todas están en una misma zona: entre Nepal, China y Pakistán. La más famosa de todas es, claro, el Everest, con 8.849 metros. Es la más alta del planeta, lo que muchos llaman el techo del mundo. Pero no es la única. Llegar a estas montañas no es solo cuestión de fuerza física. Es un desafío extremo. A esa altura hay muy poco oxígeno, las temperaturas pueden bajar muchísimo y el cuerpo humano empieza a fallar. Por eso, durante muchos años, subir un ochomil era algo reservado a muy pocas personas. Y ahí entran los grandes escaladores de la historia. Durante décadas, estos alpinistas eran vistos casi como exploradores. Personas que se enfrentaban a la montaña con muy pocos medios, arriesgando la vida en cada expedición. Por ejemplo, Reinhold Messner, uno de los nombres más importantes del alpinismo. Fue el primero en subir los catorce ochomiles sin oxígeno artificial. Eso significa que lo hizo en condiciones muchísimo más difíciles que la mayoría. También podríamos hablar de Edmund Hillary y Tenzing Norgay, que fueron los primeros en llegar a la cima del Everest en 1953. Ese momento marcó un antes y un después en la historia del alpinismo. Y si nos vamos a tiempos más recientes, encontramos a escaladores que siguen buscando retos extremos, rutas nuevas, o formas más puras de subir, sin ayudas externas. Pero aquí viene lo interesante… y lo que conecta directamente con la noticia que vamos a escuchar. Porque lo que antes era un desafío reservado a unos pocos… hoy se ha abierto a muchas más personas. Con dinero, con guías, con oxígeno y con apoyo logístico, subir al Everest es algo más accesible que hace treinta o cuarenta años. Y eso ha cambiado completamente la forma de entender estas montañas. Así que, con esta idea en la cabeza, vamos a escuchar ahora lo que está pasando hoy en el Everest. La noticia pertenece, como casi siempre, a Radio Nacional de España. “Colas, Sandra, para subir al Everest, la cima más alta del mundo. 274 escaladores en un solo día, un récord absoluto. Aurora Moreno, buenas tardes. Buenas tardes. Sí, el último récord en 2019 estaba en 223 escaladores. Nepal ha dado este año 494 permisos, cada uno de ellos a 15.000 dólares para intentar ascender al techo del mundo. Convertido en una aventura comercial, lamentan los grandes alpinistas como Miguel Ángel García Gallego, uno de los mayores especialistas en alpinismo de dificultad. La gente que va ahí, o sea, digamos que coge un taxi para subir al Everest. No está a la altura ni psicológica, ni habitualmente física y mental para hacer una ascensión, digamos con unos medios proporcionados y no recurrir a este tipo de artificios para volver a casa diciendo que te has subido al techo del mundo. Los serpas preparan previamente los tramos más peligrosos y cargan con el oxígeno que llevarán sus clientes. Aún así suele haber víctimas mortales por las bajas temperaturas, las tormentas y cualquiera de las muchas dificultades naturales de una montaña que alcanza los 8.849 metros. El ansia de negocio y de ganar dinero, pues implica coger gente que no está a la altura técnicamente de aquello en lo que se mete y se traduce al final con frecuencia en problemas y en tragedias. Una expedición puede tener un coste entre 50.000 y 200.000 dólares. En esa cifra está incluido el precio de retirar la basura de estas escaladas. Pero ni el gobierno nepalí ni los serpas terminan por hacerlo, con lo que el Everest se está convirtiendo en un basurero cubierto de nieve y hielo.” Qué pena, ¿verdad? El ser humano está acabando con todo, está contaminando todo: los océanos, las montañas e, incluso, el espacio, porque cada vez hay más satélites por ahí arriba. Bueno, vamos a seguir con lo nuestro, que es explicar las palabras y expresiones más complicadas. -Colas: una fila de personas que esperan su turno para hacer algo. -“Había una cola larguísima para entrar al museo”. - “Siempre hay colas en el aeropuerto en verano”. -Cima: es la parte más alta de una montaña o, en sentido general, el punto máximo de algo. -“Llegaron a la cima después de muchas horas de caminata”. -“Ese proyecto fue la cima de su carrera profesional”. -Techo del mundo: es una expresión que se usa para referirse al punto más alto del planeta, especialmente al Everest. Es una metáfora. -“Muchos sueñan con llegar al techo del mundo algún día”. -“Ese lugar parece el techo del mundo por las vistas que tiene”. -Lamentar: significa expresar tristeza, pena o arrepentimiento por algo. -“Lamentó no haber estudiado más cuando era joven”. -“La empresa lamentó los errores cometidos”. -Estar a la altura: significa estar preparado o tener el nivel necesario para una situación. -“No estaba a la altura del desafío”. -“Confío en que estarás a la altura del trabajo”. -Recurrir (a): significa utilizar algo como solución o ayuda. -“Tuve que recurrir a un diccionario para entender el texto”. -“Recurren a un abogado cuando tienen problemas legales”. -Artificios: los artificios son medios o recursos artificiales que se usan para facilitar algo o aparentar algo. -“Ganó el concurso con artificios, no con talento real”. -“La película abusa de los artificios tecnológicos”. -Sherpas (serpas): son guías de montaña del Himalaya, muy experimentados en el alpinismo. -“Los sherpas conocen la montaña mejor que nadie”. -“Sin la ayuda de los sherpas, la expedición no habría sido posible”. -Tramos peligrosos: son partes de un recorrido que implican riesgo o dificultad. -“Hay tramos peligrosos en esta carretera de montaña”. -“Durante la ruta encontramos varios tramos peligrosos con hielo”. -Ansia: el ansia es un deseo muy fuerte, a veces excesivo. -“Tenía ansia de éxito desde muy joven”. -“Su ansia por ganar le hizo cometer errores”. -Basurero: es un lugar donde se acumula basura. -“La playa se ha convertido en un basurero”. -“No dejes el parque hecho un basurero”. “Colas, Sandra, para subir al Everest, la cima más alta del mundo. 274 escaladores en un solo día, un récord absoluto. Aurora Moreno, buenas tardes. Buenas tardes. Sí, el último récord en 2019 estaba en 223 escaladores. Nepal ha dado este año 494 permisos, cada uno de ellos a 15.000 dólares para intentar ascender al techo del mundo. Convertido en una aventura comercial, lamentan los grandes alpinistas como Miguel Ángel García Gallego, uno de los mayores especialistas en alpinismo de dificultad. La gente que va ahí, o sea, digamos que coge un taxi para subir al Everest. No está a la altura ni psicológica, ni habitualmente física y mental para hacer una ascensión, digamos con unos medios proporcionados y no recurrir a este tipo de artificios para volver a casa diciendo que te has subido al techo del mundo. Los serpas preparan previamente los tramos más peligrosos y cargan con el oxígeno que llevarán sus clientes. Aún así suele haber víctimas mortales por las bajas temperaturas, las tormentas y cualquiera de las muchas dificultades naturales de una montaña que alcanza los 8.849 metros. El ansia de negocio y de ganar dinero, pues implica coger gente que no está a la altura técnicamente de aquello en lo que se mete y se traduce al final con frecuencia en problemas y en tragedias. Una expedición puede tener un coste entre 50.000 y 200.000 dólares. En esa cifra está incluido el precio de retirar la basura de estas escaladas. Pero ni el gobierno nepalí ni los serpas terminan por hacerlo, con lo que el Everest se está convirtiendo en un basurero cubierto de nieve y hielo.” Muy bien. Ahora vamos a explicar lo que cuenta esta noticia, pero con otras palabras. Lo que están diciendo es que en el Everest, la montaña más alta del planeta, se están formando auténticas filas de personas para llegar a la cumbre. Imagínate la escena: alpinistas esperando su turno, como si estuvieran en una cola. En un solo día llegaron a subir 274 personas, lo que supone el número más alto registrado hasta ahora. El récord anterior era menor, así que estamos hablando de una cifra realmente llamativa. ¿Y por qué está pasando esto? Bueno, uno de los motivos es que Nepal ha autorizado este año a casi 500 personas para intentar la ascensión. Y cada permiso cuesta unos 15.000 dólares, así que hablamos de un negocio muy importante. De hecho, muchos expertos dicen que el Everest se ha convertido en una actividad muy comercial. Algunos alpinistas experimentados critican esta situación y dicen que hoy en día hay personas que suben casi sin esfuerzo propio, como si alguien les facilitara todo el camino. Según ellos, mucha gente que intenta llegar a la cima no tiene la preparación necesaria, ni a nivel físico ni mental. Es decir, no están realmente preparados para un desafío tan extremo. Además, utilizan ayudas externas. Por ejemplo, los sherpas, que son los guías de montaña, preparan antes las zonas más complicadas del recorrido, colocan cuerdas y transportan el oxígeno que utilizan los clientes. Aun así, el peligro sigue siendo muy alto. Las temperaturas son extremas, puede haber tormentas en cualquier momento y la falta de oxígeno hace que cualquier error sea muy grave. Por eso, cada año hay personas que pierden la vida. Otro aspecto importante es la presión económica. Las empresas que organizan estas expediciones quieren ganar dinero, y eso hace que acepten a personas que quizá no tienen el nivel suficiente. Y esto, al final, puede provocar situaciones muy peligrosas e incluso tragedias. Y hay un último problema del que también se habla mucho: la contaminación. Subir al Everest puede costar entre 50.000 y 200.000 dólares, y en ese precio se incluye, en teoría, la limpieza de residuos. Pero en la práctica no siempre se recoge toda la basura. Como consecuencia, la montaña se está llenando de desechos y poco a poco se está convirtiendo en un lugar sucio, cubierto de nieve… pero también de residuos. Como te decía hace unos minutos, una verdadera pena. Venga, escuchamos la noticia por última vez y seguimos con más cosas interesantes. “Colas, Sandra, para subir al Everest, la cima más alta del mundo. 274 escaladores en un solo día, un récord absoluto. Aurora Moreno, buenas tardes. Buenas tardes. Sí, el último récord en 2019 estaba en 223 escaladores. Nepal ha dado este año 494 permisos, cada uno de ellos a 15.000 dólares para intentar ascender al techo del mundo. Convertido en una aventura comercial, lamentan los grandes alpinistas como Miguel Ángel García Gallego, uno de los mayores especialistas en alpinismo de dificultad. La gente que va ahí, o sea, digamos que coge un taxi para subir al Everest. No está a la altura ni psicológica, ni habitualmente física y mental para hacer una ascensión, digamos con unos medios proporcionados y no recurrir a este tipo de artificios para volver a casa diciendo que te has subido al techo del mundo. Los serpas preparan previamente los tramos más peligrosos y cargan con el oxígeno que llevarán sus clientes. Aún así suele haber víctimas mortales por las bajas temperaturas, las tormentas y cualquiera de las muchas dificultades naturales de una montaña que alcanza los 8.849 metros. El ansia de negocio y de ganar dinero, pues implica coger gente que no está a la altura técnicamente de aquello en lo que se mete y se traduce al final con frecuencia en problemas y en tragedias. Una expedición puede tener un coste entre 50.000 y 200.000 dólares. En esa cifra está incluido el precio de retirar la basura de estas escaladas. Pero ni el gobierno nepalí ni los serpas terminan por hacerlo, con lo que el Everest se está convirtiendo en un basurero cubierto de nieve y hielo.” Lo que está pasando en el Everest no es un caso aislado. Forma parte de algo más grande: una tendencia muy actual, que tiene que ver con los retos personales. Cada vez más gente se plantea objetivos exigentes. Subir una montaña, correr una maratón, hacer un Ironman, cruzar un país en bici, o incluso cosas como bañarse en agua helada o participar en pruebas de resistencia extrema. Si lo piensas, todos estos retos tienen algo en común: son difíciles, requieren esfuerzo y, de alguna manera, te obligan a salir de tu zona de confort. Y eso, en principio, es algo positivo. Ponerse objetivos, superarse, mejorar… todo eso forma parte del crecimiento personal. Pero también hay otra cara. A veces, esos retos dejan de ser algo personal y se convierten en algo que hay que mostrar. Algo que hay que contar, compartir, enseñar. Como si no fuera suficiente hacerlo… sino que además hay que demostrarlo. Y ahí es donde la línea se vuelve un poco difusa. Porque una cosa es querer superarte, y otra es hacerlo por presión, por comparación o por la necesidad de validación externa. En el caso del Everest, esta idea se ve muy clara. Para algunas personas, llegar a la cima es un sueño auténtico. Pero para otras, quizá se convierte en una especie de meta simbólica: “he estado allí”, “lo he conseguido”, “puedo decirlo”. Y la pregunta que podemos hacernos es: ¿por qué? ¿Por la experiencia? ¿por el reto en sí? ¿o por lo que representa a los ojos de los demás? Y esto no solo pasa con el alpinismo. Pasa con muchos otros ámbitos de la vida. Al final, el reto no está tanto en lo que haces… sino en entender para qué lo haces. Bien, si te parece, terminamos con el repaso a las palabras y expresiones que hemos aprendido hoy. -Colas: una fila de personas que esperan su turno para hacer algo. -Cima: es la parte más alta de una montaña o, en sentido general, el punto máximo de algo. -Techo del mundo: es una expresión que se usa para referirse al punto más alto del planeta, especialmente al Everest. -Lamentar: significa expresar tristeza, pena o arrepentimiento por algo. -Estar a la altura: significa estar preparado o tener el nivel necesario para una situación. -Recurrir (a): significa utilizar algo como solución o ayuda. -Artificios: los artificios son medios o recursos artificiales que se usan para facilitar algo o aparentar algo. -Sherpas (serpas): son guías de montaña del Himalaya, muy experimentados en el alpinismo. -Tramos peligrosos: son partes de un recorrido que implican riesgo o dificultad. -Ansia: el ansia es un deseo muy fuerte, a veces excesivo. -Basurero: es un lugar donde se acumula basura. Escucha este episodio completo y accede a todo el contenido exclusivo de Se Habla Español. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/171214
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Zirgs vēl pirms simts gadiem bija draugs, palīgs un acu raugs daudziem laukos dzīvojošajiem Latvijas iedzīvotājiem. Bez tiem nebija iespēja ne pārvietoties, ne apstrādāt laukus, ne izdarīt jebkādus citus smagus lauka darbus. Tā kā zirgs bija vērtīgs resurss, netrūka arī to, kas kāroja zirgu iegūt vieglā ceļā, tos zogot. Zirgu zagļi bija grūti apakarojama sērga 19. gadsimtā un 20. gadsimta pirmajā pusē. Kas bija slavēnākie zirgu zagļi, kā tos apkaroja un kādus sodus piesprieda zirgu zagļiem? Raidījumā Zināmais nezināmajā plašāk stāsta vēsturnieks un etnogrāfs Uģis Niedre un vēsturnieks, Vidzemes Augstskolas padomes loceklis un vadošais pētnieks Gatis Krūmiņš. "Zirgam pirms simts un vairāk gadiem bija ļoti plaša nozīmē. Viena lieta ir lauksaimniecība, bet noteikti tas ir transports kā tāds, tā ir arī militārā joma. Zirgu pasēs es esmu arī kaut kur pamanījis, ka arī, tāpat kā vīrietim ierakstīju, vai derīgas karaklausībai, tad arī zirgam ierakstīja, vai zirgs ir derīgs karaklausībai. Tam bija milzīga nozīme," atklāj Gatis Krūmiņš. Bet lielais zirgu skaits radījis arī sarežģījumus, īpaši pilsētā, jo zirgi rada arī mēslus, kuri ir kaut kur jāliek. Jau tajā laikā zinātniekus aicināja meklēt risinājumus, ko darīt ar zirgu mēsliem. "Zirgs arī bija kā statistikas elements, kas arī parādīja attīstību, turību. Viens no tiem pamatojumiem, kāpēc īpaša situācija ātri uzlabojas Latgalē, ir tieši zirgu skaita pieaugums. Tā ir kā luksusa prece. Un interesanti, kad īstenoja Agrāro reformu, tur bija pieejami dažādi kredīti. Viens no tiem bija zirgu iegādei un tos izķēra pirmos," turpina Gatis Krūmiņš. "Esmu lasījis, ka kādreiz arī vienam otram kalpa zēnam zirgs bija pirmā prioritāte. Tagad arī mēs redzam, ka ir viena otra daudzdzīvokļu māja, dzīvoklis ir noplucis, bet ļoti smalka mašīna pie durvīm. Cilvēka domāšana nav mainījusies. Arī toreiz bija viens otrs, kuram tas zirgs bija augstākā prioritāte. (..) Cenas arī bija ievērojamas. Tajā brīdī, kad rocība pieauga 30. gadu otrā pusē, gadatirgū labu zirgu zem 800 latiem nevarēja nopirkt. Ja mēs skatāmies, cik ilvēki pelnīja laukos, tad alga puisim bija kādi 50 lati mēnesī, tātad 500 latu gadā. Luksusa zirgs maksāja pusotru tūkstoti latu. Tā ir trīs gadu alga. Tas arī skaidro, kāpēc zirgus zaga." Runājot par cenu, Uģis Niedre atklāj, ka 19. gadsimta vidū labs zirgs maksāja 50 rubļu, bet pūru labības, labus rudzus, zemnieks varēja pārdot par 2,5 - 3 rubļiem. Straumējot laiku: ekspozīcijas sadaļa “Dzimis savā kārtā” Turpinām iepazīstināt ar Latvijas Nacionālā vēstures muzeja ekspozīcijas "Straumējot laiku" sadaļām. Šoreiz par kārtu sabiedrību un to, cik muižnieku un zemnieku dzīves bija cieši saistītas – ne tikai zemnieki bija atkarīgi no muižniekiem, bet arī otrādi. Soli pa solim raidījumā stāstām par šo ekspozīciju, kurā līdz ar 5. sadaļu nonākam plašā telpā, bet laikā ziņā esam piestājuši 18. gadsimtā. Gan šis posms, gan arī 19. gadsimta sākums vēstī par muižnieku un zemnieku, kuri, būdami no dažādām kārtām, patiešām abi bija vienā laivā, jo viņi bija atkarīgi viens no otra. Telpu piepilda muižas kompleksa makets, un tam līdzās videoprojekcijas ar zemniekiem, kuri veic dažādus lauku darbus. Telpas tālākā plānā interjers ar galdu un iedomātu skatu pa logu, un vēl apmeklētāju pavada konkrētā perioda personību portreti un balsis. Ar sadaļu “Dzimis savā kārtā” iepazīstina Latvijas Nacionālā vēstures muzeja Etnogrāfijas nodaļas vadītāja Sanita Zvidra. Par dažādiem sabiedrības slāņiem un birģeru tiesībām runājām jau tad, kad iepazinām pilsētu veidošanos viduslaikos, un muzeja pētniece, vēstures doktore Mārīte Jakovļeva norāda, ka arī muižnieki un zemnieki nebija kaut kas viendabīgs. -- Vasaras vidus ir bērnu kopšanas laiks Latvijā ligzdojošajiem putniem, tostarp arī tiem, kas aktīvāki paliek tikai dienas tumšajā laikā. Par vienu šādu nakts putnu – klusu, bet ar ļoti skaļiem bērniem, stāsta Latvijas Ornitoloģijas biedrības priekšsēdētājs Viesturs Ķerus.
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
El jilguero es una novela de la autora estadounidense Donna Tartt. Ganó el Premio Pulitzer de Ficción de 2014, entre otros honores. Publicada en 2013, fue la primera novela de Tartt desde The Little Friend en 2002. El jilguero se centra en Theodore Decker, de 13 años, y los dramáticos cambios que sufre su vida después de que sobrevive a un ataque terrorista en el Museo Metropolitano de Arte que mata a su madre y le lleva a tomar posesión del cuadro de Carel Fabritius El jilguero.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In this episode of Ear to the Ground, host Ifan Jones Evans is joined by advisers John Crimes and Iwan Price from CARA Wales to explore how resilience, adaptability and long-term thinking are shaping modern farming. Drawing on their practical experience and specialist knowledge, our guests share honest insights into what drives success in 2026—from improving efficiency and managing resources to navigating uncertainty and planning for the future. Expect straightforward, actionable advice you can apply on your own farm, grounded in real experience and expert guidance. Our Advisory Service provides expert, independent, confidential and bespoke advice to Welsh Farmers- For more information visit the Farming Connect website- Advisory service | Farming Connect #131-Sut mae busnes fferm llwyddiannus yn edrych heddiw? Yn y bennod hon o'r podlediad Clust i'r Ddaear, mae'r ymgynghorwyr John Crimes ac Iwan Price o CARA Cymru yn ymuno â'r cyflwynydd Ifan Jones Evans i archwilio sut mae gwydnwch, addasrwydd a meddwl hirdymor yn llunio ffermio modern. Gan ddefnyddio eu profiad ymarferol a'u gwybodaeth arbenigol, mae ein gwesteion yn rhannu cipolwg gonest i'r hyn sy'n llywio llwyddiant yn 2026—o wella effeithlonrwydd a rheoli adnoddau i lywio ansicrwydd a chynllunio ar gyfer y dyfodol. Disgwyliwch gyngor syml, ymarferol y gallwch ei gymhwyso ar eich fferm eich hun, wedi'i seilio ar brofiad go iawn ac arweiniad arbenigol. Mae ein Gwasanaeth Cynghori yn darparu cyngor arbenigol, annibynnol, cyfrinachol a phwrpasol i Ffermwyr Cymru - Am ragor o wybodaeth ewch i wefan Cyswllt Ffermio - Gwasanaeth cynghori | Cyswllt Ffermio
Ella es la Global CEO de GUT, Red Independiente del año y Top9 Network en Cannes. Andrea ha recibido más de 250 premios en Cannes, Effies, D&AD, Clios y One show. En 2025 fue presidente del jurado de Creative Data en Cannes, y este año es jurado del Dan Wieden Titanium Lions.Él es Partner y Chief Creative Officer global de DAVID, donde logró una triple corona histórica: Agencia del Año en Clio, One Show y D&AD en un mismo año. Ganó su primer León de Oro a los 22 como trainee y hoy acumula 173 Leones, 73 Grand Prix y un Black Pencil. Este año es jurado del Dan Wieden Titanium Lions en Cannes 2026.Llegaba el último día de Cannes Lions 2026, pero no necesariamente el último día de El Martínez Podcast Bar, porque este episodio fue el primero, de los cuatro que grabamos ese día, sí, cuatro episodios para cerrar en grande.Fue una locura ese último día porque en El Martínez seguíamos resumiendo todo lo que había pasado en este gran año de Cannes Lions. Por eso les decimos, estén atentos también a los capítulos que vienen, porque hay cierre de lujo. Bueno, este par de amigos que tuvimos la suerte de encontrarnos estuvieron en el jurado de Titanium. O sea, es ese jurado donde se premia todo lo que viene a plantear un antes y un después de la industria. Y estuvimos precisamente hablando de eso, de su experiencia como jurados en esta categoría, donde, como bien decía su presidenta Chaka Sobhani, se mezclan jirafas con naranjas cuando estás hablando, porque es todas las ideas del mundo compitiendo para entender cuál es esa que está planteando un antes y un después en nuestra industria de las comunicaciones. Y bueno, fue una belleza porque empezamos pensando que íbamos a lograr tener a uno de los Jurados, pero finalmente cayó otra de las invitadas, que es una maravilla y fue hermoso ver cómo la espontaneidad se nos va dando con este par de cracks de la industria que vinieron a hablar y a contarnos muchas más de las cosas que suceden dentro de estos jurados. Entonces, si andas con ánimos de vivir un antes y un después de este Cannes 2026, y como ya sabes de qué van los Titaniums, haz clic y escucha el episodio.Visítanos en https://www.elmartinez.net/ y suscríbete en Spotify, Apple Podcasts o donde lo estés escuchando ahora. Síguenos en FB o IG @elmartinezpodcast Hosted on Acast. See acast.com/privacy for more information.
Bart from Cleverscope returns to discuss and show off designing a 2000V isolated oscilloscope, and demonstrates measuring high voltage GaN transistors and Solid State Transformers. https://cleverscope.com/products/CS548 Forum: https://www.eevblog.com/forum/blog/eevblog-1753-designing-a-2000v-isolated-oscilloscope-(cleverscope)/
Viens tos uzskata par teju vai lāstu, kas tikpat neizbēgams kā nāve, citi - par pilsoņa pienākumu, taču skaidrs ir viens – oriģinālu veidu kā iekasēt no iedzīvotājiem naudu vēsturē ir bijis ne mazums. Naudā, graudā, darbā – veidi, kā iekasēt no iedzīvotājiem nodevas, ir bijuši dažādi, laikmeta prasībām raksturīgi un dažkārt visai savdabīgi. Kādus nodokļus ļaudis maksāja senāk un vai to darīja labprātīgi? Raidīujumā Zināmais nezināmajā sarunājas vēsturnieks, Latvijas Universitātes profesors Gvido Straube un vēsturnieks, Vidzemes Augstskolas vadošais pētnieks Gatis Krūmiņš. Zinātnes ziņas par to, ka pārsteidzošs atklājums Ugandā radījis raizes vietējiem biologiem – tur šimpanzes uzsākušas karu savā starpā. Gan cilvēku, gan citu dzīvnieku sugu starpā ir novērojami konflikti, taču arī tad pētījumos var atklāties pārsteidzoši fakti. Ugandā, Kibales Nacionālajā parkā, pēdējos trīsdesmit gadus īstenots Ngogo šimpanžu projekts, novērojot lielu savvaļas šimpanžu grupu ar vairāk nekā 200 īpatņiem. 2015. gadā pētnieku komanda šajā šimpanžu barā ievērojusi polarizāciju, laikā līdz 2018. gadam barā parādījušās divas atšķirīgas grupas, bet nākamo septiņu gadu laikā vienas grupas locekļi veikuši 24 uzbrukumus otrai grupai, nogalinot vismaz septiņus pieaugušus tēviņus un 17 mazuļus. Pētījuma rezultāti nesen publicēti žurnālā “Science”, un tajā abas grupas apzīmētas kā Rietumu un Centrālā, atbilstoši to teritorijai nacionālajā parkā. Cīņa par teritoriju, slimības un vēl citi iemesli var novest pie tik krasas bara sadalīšanās, un par to sarunar Rīgas Nacionālā zooloģiskā dārza pārstāvi Māri Lielkalnu.
Deportres 5 de Junio 2026 (1344) - www.deportres.comEn el Deportres de hoy: Ganó la selección mexicana, se acabaron los experimentos y el siguiente partido será la inauguración de la copa mundial de fútbol, además, todo el básquet,todo el beis, tu participación y como siempre ¡mucho más! https://www.patreon.com/c/Deportres
We're announcing AIEWF speakers this week! Take the AI Engineering Survey!Today's guest Ethan first joined us for the LS Paper Club as the lead on NVIDIA Cosmos World Model, but then joined xAI and built Grok Imagine in 3 months:He comes back on Latent Space with some nuclear hot takes: that Video Models primarily get their intelligence from LLMs, not from training on video data, and that the next frontier for truly interactive, realtime, long-horizon world models is to work on LLMs (perhaps Interaction Models as well…)Put it this way: In the near term, the next Sora won't be a better video model, but a video agent.Generative Media may more closely follow the evolution of AI coding which went from focusing on one-shot output performance and cost, to multiturn reasoning and planning models for agents and systems that can plan, edit, test, debug, and submit PRs.At a certain point, coding models got so good that the only significant next step to improve performance was handling the orchestration of these models.Now as the performance of video models increases significantly across realism, consistency, & prompt adherence while becoming more cost efficient, the next evolution of video generation may also be systems that can plan, generate, edit, critique, and iterate across an entire creative task. In this episode, Ethan joins swyx and Vibhu to unpack what it actually takes to build frontier image and video systems: data, VAEs, diffusion transformers, audio-video alignment, inference speedups, and the hidden cost of storing and moving massive video datasets. From building NVIDIA's Cosmos world model to joining xAI as Grok Imagine was being built from zero to one, Ethan He has been at the center of some of the most important work in video generation, multimodal models, and real-time world models.We go deep on Grok Imagine, how a small xAI team shipped its first multimodal video model in three months, why iteration speed matters more than almost anything in model development, and why many of the biggest gains come from fixing tiny bugs in data and training pipelines. Flipbook: The future of VideomaxxingVideo agents are almost a sure bet to be the trend in the coming year. We end with a glance at what's beyond video agents:Flipbook caused a minor sensation this year when it was released, but most treat it as a fun demo. Ethan takes it very seriously — with the speed and cost of inference coming down every year, the future of custom video JIT UI is closer than you think. We talked about why videogen models may become the front end of AI, how generative UI could replace traditional HTML/CSS, why world models need to be real-time, interactive, and long-horizon, and why the future of video generation may depend more on language models and agents than on diffusion alone.We discuss:* Why fast iteration mattered more than meetings* Why small training bugs can drive huge model quality gains* Why coding models may make compute the bottleneck again* How image and video models are trained with synthetic captions* The role of VAEs and latent space in frontier video models* Why image models are the foundation for video models* The tradeoff between temporal compression and real-time interactivity* Flipbook, Neural OS, and the future of generative UI* Why future interfaces may go from user intent to pixels* The hidden cost of training video models: storage, egress, and GPU hours* How step distillation and consistency models (like OpenAI sCM) makes video inference orders of magnitude faster* Grok Imagine 0.9 and large-scale audio-video generation* Why audio-video alignment is harder than text-video alignment* Ethan's definition of world models* Reference-to-video, video extension, and long-context video generation* Why xAI's research communication undersells Grok Imagine* How xAI culture shaped the speed of development* AI watermarking, SynthID, and detecting generated media* Why prompt rewriting matters for video models* Grok Imagine Agent and the rise of video agents* Why language models may unlock better video generation* Robotics, physical AI, and embodied world models* Why Ethan left xAI and shifted focus toward LLMs* Self-managed context, memory, and the next frontier for language modelsEthan He* LinkedIn: https://www.linkedin.com/in/ethanhe42* X: https://x.com/EthanHe_42Timestamps00:00:00 Introduction00:01:25 From NVIDIA Cosmos to xAI00:03:24 Building Grok Imagine from Zero to One00:10:07 How Image and Video Models Are Trained00:18:53 Video Compression, VAEs, and Real-Time Tradeoffs00:22:10 Generative UI, Flipbook, and Neural OS00:32:10 The Cost of Training Large Video Models00:37:04 Distillation, GANs, and Fast Video Inference00:41:21 Audio-Video Generation and Grok Imagine 0.900:48:34 What Makes a World Model?00:55:51 Reference Videos, Long Context, and Video Memory01:00:11 xAI Culture, Research, and First-Principles Building01:09:45 AI Safety, Watermarking, and Prompt Rewriting01:13:10 Video Agents and AI-Assisted Creation01:27:32 Why Language Models Unlock Better Video01:31:15 Robotics, Physical AI, and Embodied World Models01:32:38 Why Ethan Left xAI01:34:16 Self-Managed Context and the Future of LLMs01:38:43 Ethan's Career Path and Closing ThoughtsTranscriptIntroduction: Ethan He, Latent Space, and the Path to xAISwyx [00:00:00]: We're here in the studio with Ethan He, most recently of xAI. Welcome.Ethan [00:00:10]: Thank you. Glad being here.Swyx [00:00:11]: We're also here with Vibhu. you were first coming to us or joining the latent space world because you were working on Kosmos at NVIDIA, and you did a paper. We loved it. you presented it as well, so thank you for doing that.Ethan [00:00:23]: I've actually, I also presented the MoEs twice at latent space.Swyx [00:00:29]: How did you actually hear about us? Did we reach out to you? Is that how it worked?Ethan [00:00:33]: No, actually, I-- the community. Like I realized, oh, there is this online community that people talk about AI and also learn from each other through papers every week through the Paperclip. It's very nice.Ethan [00:00:49]: I learned a lot.Swyx [00:00:49]: I think three years stop. We haven't stopped even on Christmas and New Years. many weeks I want to stop but it keeps going.Vibhu [00:00:58]: No, that was good. I think you had posted that you worked on a paper, and I was “Oh, very cool. We have Paperclip. Present then.”Vibhu [00:01:04]: But I might have reached out to you after.Swyx [00:01:05]: you-- because it's an amateur club, right?Swyx [00:01:08]: so it's very unusual and but we have sometimes paper authors come by and actually explain the paper. Today we just did, the poolside paper, which was apparently very good.Vibhu [00:01:18]: Came out yesterday.Vibhu [00:01:19]: pretty interesting, right? Fully open. They talk about everything, systems. So it's a good one. We'll, we'll recommend people to read it.Swyx [00:01:25]: Bring us up to speed on your transition to xAI, ‘cause I actually don't even know when you joined. just like tell the, tell the story about the sort of transition.From NVIDIA Cosmos to xAI: Scaling Video and World ModelsEthan [00:01:34]: Before xAI, I was working on Kosmos world model as in-- at NVIDIA. So Kosmos is, it's a giant video foundation models that can-- that aims to simulate the world and for-- it serves as a foundation of-- for all of the roboticists to build on top of. There, once I built the Kosmos one, I realized as this thing also has a scaling law similar to language model, we need to scale up the video models further. that's, that's why I realized I need to move to somewhere with much more compute resources. That's how ISwyx [00:02:13]: Than NVIDIA?Vibhu [00:02:14]: The GPU rich came themselves.Vibhu [00:02:19]: And timeline-wise, when was Kosmo? It was pretty early, right? It was open world model, open paper, everything.Ethan [00:02:25]: It was end of twenty-four.Vibhu [00:02:28]: End of twenty-four.Ethan [00:02:30]: Then at mid twenty-five, I moved to xAI. At that time-- I joined about the time when xAI was about to build video models and in multi-model models. There were no infra, no data, and no model, and it just-- as a few engineers, we built it in three months and released the first model, Grok Imagine zero point nine.Ethan [00:02:55]: And since then, I keep working on video models and move more from training and to post-training of the video models. For example, like a reference to videos, kind of like the cameo feature and, video extensions. And, before I left, I worked on a world model, leading a small team to focus on the real-time long horizon video generation.Building Grok Imagine From Scratch in Three MonthsSwyx [00:03:24]: Can you give like a rough roadmap of okay, you're on a brand-new team. Grok previously was only text, or they partnered with BFL for their image gen stuff. What do you-- what are the building blocks, right? You have compute, data you can procure somewhere. Like just what are like the sequence of things that people should think about when you're setting up a new team?Vibhu [00:03:43]: actually even deeper, not just data you can procure. You guys had to go through getting the data too, right? So you shipped it pretty fast, but yeahSwyx [00:03:51]: three months is likeVibhu [00:03:52]: From everythingSwyx [00:03:52]: actually like very surprisingly fast.Ethan [00:03:55]: One thing I say like thanks to my experience at NVIDIA, ‘cause first time when we were building Kosmos together, we built it, for about a year. So this is like the second time I do it. Roughly have an idea, what to do. I say the most important thing is the talent. Everyone were very strong and clever, very close with each other towards a common goal. So that speed up things a lot. So you reduce the communication bandwidth among people, and everyone can work towards the same goal. It's, it's like every day there's not that much meetings on the calendar, like maybe like a, like a sync a day, and after that it's, it's just all building. It was pretty fun at that time.Ethan [00:04:47]: And another thing is that xAI has very strong foundations of like data inference, model inference, and the supporting there can help the model develop a lot. When I look at, training models, I don't so actually the top important thing is like how many, how many iterations can you do, per day? and the more iteration can you do, you can, you can train the model much faster. So if you have very strong infra and you have a lot of compute, you can, you can train these models in very short period of time. That can give you a much larger buffer to, for errors, and it also gives you the opportunity to spot more bugs.Iteration Speed, Compute, and Debugging Model PipelinesSwyx [00:05:46]: What is an iteration? Is it like a few hundred steps or what are youEthan [00:05:50]: Let's say just the train-training the model, like from acquire new data and maybe design new algorithms and train a new model, maybe at smaller scale orSwyx [00:06:01]: So cycle time for like any hyperparam that you're searching.Ethan [00:06:04]: Cycle time and tune to like eval this model. Is this model better than my previous iteration?Ethan [00:06:11]: SoSwyx [00:06:11]: So it's like before you, someone had already set this up that you can iterate very quickly.Ethan [00:06:15]: I think the foundation there is extremely good forDeveloping and research models.Ethan [00:06:23]: And often I find is it-- this is kind of boring, but like a lot of the improvements does not come from new algorithms. It comes from finding small bugs here and there in the data pipeline, in the, in the model training pipeline. Those give, those give the biggest boost to the model quality.Vibhu [00:06:46]: It's interesting, right? So you say it's like small team, less communication bandwidth, but also a lot of quality is like find little bugs. It seems counterintuitive, right? You have a lot of people, you can iron out more of those, but it's interesting to see the other side, right?Swyx [00:07:00]: I also wonder, have you-- do you try using LLMs to look for bugs? I don't know.Ethan [00:07:05]: I remember at that time it was mid two thousand and twenty-five, so it's the coding model wasn't quite there yet. I remem- I remember like December two thousand and twenty-five, it was extremely good. Yeah, I've been, I've been using it at that time. It's, it's helpful. sometimes it produce codes that are kind of difficult to maintain, even though like the first time it built something extremely fast. But it gave the, like a spaghetti code, thousands of lines that I couldn't maintain, and the LLM itself couldn't figure out what's, what's wrong and how to improve on top of it. But now I find it much better. Yeah, I want to bring up another point here is now coding models are much more efficient and can help us implement stuff much faster. Compute might become a bottleneck again because previously, like if you want to train a new model, say you want to generate new synthetic data and then or write a new algorithm, it might take a few weeks. And during that period of time, you don't-- you might not have experiments to run. But now you can build that thing within a few hours, then you can immediately train a model.Ethan [00:08:24]: Now you have to have enough compute to try all of the ideas. So compute might be the bottleneck of iterating speed again.Swyx [00:08:36]: yeah, I actually, honestly, I think it's like kind of a stressful job because you're “Well, I should be trying everything, and if I'm not, then I'm not doing my job well.”Vibhu [00:08:48]: there's also the stress of you're eating thousands of GPUs per hour, which is very expensive and, compute can go to other researchers.Swyx [00:08:56]: You got the daddy Elon toVibhu [00:08:57]: You got daddy Elon.Ethan [00:08:59]: It wasVibhu [00:09:00]: But there's still finite amount of compute, like you want to use it, you want to use it well, you want more of it.Ethan [00:09:06]: That was quite stressful indeed. Yeah, I think one thing is the-- with coding models now, like a lot of these jobs can be automated, which is much better. A second, it's a, it's a marathon, so you got to maintain good health and, a regular schedule.Vibhu [00:09:28]: It's, it's hard to hear that when you shift from zero to nothing in two months.Swyx [00:09:32]: and, I think obviously the culture at xAI is very famously, people work very hard. one thing I did want to dive into, in our-- in the notes that you, that you sent ahead of time, you had specific comments about the cost of Video Gen training. presumably this is on the Colossus-1, right? the two hundred megawatt cluster. Any whatever you want to just share on that.Vibhu [00:09:54]: I think there's, there's three things we're talking about, right? So there's Video Gen, there's also the Image Gen model that you put out. Do you want to like complete the, okay, so zero to one, you have a few months. Just what are the stages of create Image Gen model?Swyx [00:10:06]: Oh, yeah, maybe I got distracted.How Image and Video Models Are Trained: Synthetic Captions, Tokenizers, and VAEsVibhu [00:10:07]: Sorry. and then, from there's Video Gen, there's Audio Gen. Would love to get into those next. But what is that first few months like? So small team, a lot of bugs, iterations, but what does it look like? Do we take something off the shelf? Do we just get data compute? What's, what's the few months like? How do you go to state-art Image Gen model? How do you just start?Ethan [00:10:28]: I cannot comment specifically how xAI did, but it's, it's a quite standard process. I can draw some, examples from Cosmos. So mainly it's building a video model, you actually need to build a image model first. And building these two models, the data you need is a hundred percent synthetic pair of language and image or language to video. Because on the, on the internet, actually, the videos don't naturally associate with text. So you can say, oh, like on YouTube, you have the title and you have the description and the commentsSwyx [00:11:11]: TitleEthan [00:11:11]: of a video, but usually they're not relevant to the video itself. And say maybe like the video is a natural scene of mountains or something, and the title is, I'm so happy today.Ethan [00:11:26]: So they have they have no correlation at all. So the first step is to, you have to generate synthetic pair of language with the videos. So you gather videos from the internet, and you use a VLM to caption the videos. So that part, here's a question, like how do you, how do you gather VLM to begin with? So if there's noSwyx [00:11:55]: You, so you fuse the model, right? LikeEthan [00:11:57]: Say if there's no like VLM exists, like how do you generate the text to the beginning, right? It's, it's impossible.Swyx [00:12:04]: I see.Ethan [00:12:05]: In the beginning, it's like you ask human to describe the video as detailed as possible.For example, you ask them to describe everything, like all objects, all characters, and all interaction and dialogues in the, in the videos. So that's in the protocol of Cosmos labeling. We require the objective we give to the labelers was that you have to describe the video as detailed as possible, such that a blind person hears a blob of text can reconstruct what the video is like from their head.Swyx [00:12:43]: Video or image? You're talking about images.Ethan [00:12:44]: Video or image, either one of them.Vibhu [00:12:47]: This was pretty common when we went from clip and DALL-E, right?Vibhu [00:12:51]: It's all training on really detailed captioning of images. So same is applied to video, but insteadEthan [00:12:57]: same appliedVibhu [00:12:57]: of using multimodal model to pass in video images and write rich descriptions, you can alsoSwyx [00:13:04]: I think there's this traditional perspective of supervised, or, very highly human curated thing. I feel like there's a unlock with unsupervised, right? Where like you have enough to bootstrap that you can just throw common corpus on it or, whatever. like unsupervised vision and language pairing, right? Like where you just have, interspersed image and text and it just learns. To me, that is the VLM breakthrough that is different from the clip, different from the LM era.Ethan [00:13:36]: It's interesting to see that you kind of need both data.Ethan [00:13:41]: For example, for theSwyx [00:13:41]: You need it to bootstrap it up. YeahEthan [00:13:43]: for the generative model training, there's also usually like a small percentage of unlabeled data. So the model is instructed to generate a video without any text instruction. That can also help the model generalize. So after this stage of generative synthetic pair, so, one important common step is to train a compressor or a tokenizer of the image or videos. So because, if you train-- If you can technically, theoretically train image or video models on pure pixels, but the problem is that the, it's, it's a lot of tokens. So like one image, it's, a thousand by a thousand, it's like one million tokens, one million pixels. It's impossible to train transformer on that. So it's, you need to train a tokenizer, which can go from image to latent space and latent space back to image.Swyx [00:14:45]: That's why we named the podcast.Swyx [00:14:48]: But, basically, you're talking about vocabulary science.Ethan [00:14:50]: so vocab.Swyx [00:14:51]: And so, what is, what is imp-- like a million is impossible?Ethan [00:14:54]: In generative models, the vocab is continuous. It's a continuous space. We can think about like you map an image to a vector. It's a, it's a fixed length vector. It's sixteen or forty-eight, something like that. And then you map that vector back to the image space. And the mapping is, has-- The mapping is patch-based. So you say you haveEthan [00:15:22]: a sixteen by sixteen patch and you match, you map that patch of pixels into this latent space.Swyx [00:15:29]: We've covered thisVibhu [00:15:30]: This is like the vision transformersSwyx [00:15:32]: VAEs,Ethan [00:15:33]: VAEs.Vibhu [00:15:34]: You basically compress your input, you do your generation, you're reasoning all that generation in smaller dimension, and then you project back out.Swyx [00:15:43]: VAE is a form compression, but I think the for me, the patching thing is from VIT, right?Ethan [00:15:48]: You can make those.Swyx [00:15:49]: Literally the, yeah, the paper is titled like sixteen by sixteen is all you need. something like that. and then I think also, people make a lot of comparisons with this kind of patching with convolutions.Swyx [00:16:02]: Which is you're, you're kind of re- reconstructing the old paradigm with the new.Ethan [00:16:05]: Actually, in VAEs, there are, there are both convolution networks and transformers. You can actually do both.Ethan [00:16:14]: After this VAE, so what you've got is you've got latent space tokens and you've got the language tokens. So now the training of the diffusion transformer, usually generative models use diffusion transformers. It is actually quite standard. It's, it's very similar to how you train a language transformer models. It's not that much difference. It's just the tokens, the visual tokens in, visual tokens out. The only difference is there's a denoising process. So you train the model to unmask some of the noise. So you add, you add random noise to the visual tokens, and then you train the model to remove those noise to generate the clean tokens. Any inference, the model can iteratively remove noise from a hundred percent noise.Swyx [00:17:12]: And then there's also, to speed things along on the tech tree of diffusion, there's CFG, and then there's, there's also, latent diffusion that, there's, there's someone in there. I think, somewhere along the line, obviously, like stability and all these other guys, pioneered a lot of this, architecture. I don't know if you want to get into that or just, or do the video side up to you.Bootstrapping Video from Image Models and Temporal CompressionEthan [00:17:37]: After you train such model, such image model, the reason it's a, it's a foundation for video models is that image models are cheaper to train, and they have much denser connection between language and text. So, sorry, language and images. For example, you train a billion, you train on a billion images, and there's a mapping from the text to the image. And the cost to train the same, like the, a billion, a billion text to a billion videos, that's much more expensive because videosNaturally have more tokens than images. Because the diffusion models, their understanding of, language purely come from this mapping. So if you don't have enough mapping, so if you only train on like a ten million videos or something, there-- you might not see enough language tokens in your training, so your model does not understand human intention enough. So that's why you really-- you train-- you first train this image diffusion models, and then you bootstrap the video model from there.Swyx [00:18:53]: One thing I did want to ask, because I-- actually, I think you're, you're the first per-- video model person I've ever talked to, I think. we've, we've like talked to Luma and all those folks. There's all these tricks in video compression where basically frame by frame there's not that much difference, so actually you don't have to regenerate or save the whole frame, right? but I think MP4 compression or something else like that.Swyx [00:19:16]: is it tempting to use that? Or as far as I can tell, everyone just treats it as, “No, we would just generate every frame.” Is that roughly the state-art?Ethan [00:19:27]: There are a few different approaches. Let's say first, like you want to just directly use MP4 compression and use that as the tokens for the transformers to train, right? So people actually have tried that, but the main challenge is the latent space for the MP4 tokens were not, were not very comprehensible for the models. It's, it's extremely hard to train on that. And there's aEthan [00:20:01]: So that's why they created VAEs, which creates more continuous, latent space, so the models can understand that latent space and learn from it much easier. Even within the VAEs, there are different difficulties of the latent space. So you can imagine something the simplest, the most naive VAE is like you have an image, and you just shuffle all of the images into a, into a vector. So you don't need to train any VAEs, right? But that latent space is extremely hard for models to train on top of. That's why there are some debate on like how do you compress the tokens. So you mentioned like you can compress frame by frame. Also, you can compress, the temporal dimension.Ethan [00:20:52]: The difference is if you compress the temporal dimension, you get a much higher compression rate. Because there's temporal redundancy between frames, because, this frame and the last frame, likely they are mostly similar, so there's only some small difference. for example, I think in 12.1 VAE, they have like a eight by eight by four compression rate. So the four temporal tokens are compressed into one tokens. That can save a lot of, save a lot of the context length. If you do it frame by frame, you have to do maybe like eight by eight by one. Your context length will be four times larger. That being said, the benefit of the frame-- per frame compression, we might come back to this later, is, real-timeness and interactivity. ‘Cause if you, if you strain the output of the model, frame by frame, you can-- the model can respond to any user request immediately. So if you have like a temporal four compression, four times compression, thenSwyx [00:22:06]: It might be laggyEthan [00:22:07]: there's a lag there in nature.Swyx [00:22:10]: So you're very pilled on this. let's just go ahead and bring it up ‘cause we have the visual prepared anyway. There's some frontier applications of real-time video gen. So Flipbook is one of the examples that went viral recently, right? What is Flipbook?Real-Time Generative UI: Flipbook, Neural OS, and Diffusion Front EndsEthan [00:22:23]: Flipbook is kind of like a web brow- web browser. You can see like it has the web bro- browser UI on top. The difference is all of the UIs are generated by generative image model in real time, and anything here are fake. But you can, you can explore inside this wor- this imaginary world. Say like we-- here we have engineering the Great Pyramid. Like the model generates this for us to understand how it works, and if we want to navigate around and understand further, we can click on some of the, some of the description here, and the model will generate a new page, new subpage describing the details we want to know about.Swyx [00:23:14]: So it's basically kind of we're playing a video, but it's pausing for our next interaction, and then it just plays the next thing based on our interaction.Swyx [00:23:23]: Which is kind of cool.Vibhu [00:23:25]: and you kind of decide your story. So this was, how do you make a pyramid? levering technique seemed interesting, right? It shows how do you take Okay, I want to know what is thisSwyx [00:23:35]: The demo, the demo tweet had more animation between frames.Vibhu [00:23:38]: I think it's just skipping,Swyx [00:23:39]: Oh, it's just skipping a lot of frames.Ethan [00:23:40]: they also have a video modeVibhu [00:23:42]: It takes a lot. There's a lot of peopleEthan [00:23:42]: but, a lot of people are using it.Ethan [00:23:45]: So it's not available.Vibhu [00:23:46]: There's a live video stream. We can try,Swyx [00:23:50]: So this is an example of the kind of future that you see at the extreme. We don't-- we're obviously not in it today.Swyx [00:23:56]: But in a world where inference is completely free this is better than generating code and text?Ethan [00:24:02]: So this is, this is a final state of where Viva will be at for word model, I think. Imagine internet doesn't exist, and then you type in google.com. Like what should, what should, what should a model show you?the model can imagine something, and this is what the model imagine. And these web pages, they completely do not exist. So I think as the inference costs come down, we are going to have generative UI for everything. If you think about how the coding model works, so they write code for a web page, and they render the code might be con- converted into binary, and the binary render the pixels on the screen. So we in machine learning, every time we have some breakthrough, obviously it's, it's more intuit. So why don't we have like user instruction to the pixel directly? So the generative UI will be user intention to the pixels directly. And say like even if I want email, let's say everyone have the same interface, but I want, I want it slightly different. I want the email to show to me like a TikTok, so I can swipe left and right for the emails. And or maybe you want something else. We can have completely different things. Or like I have I'm looking at, Instagram stories, and I don't like the Like button. I always may click it. And, generative UI resolved it. So it's going to be a revolutionary replacement of the interface. So in the future, we might have much more powerfulEthan [00:25:50]: LLMs and coding models running behind the scene. And in the, in the front-end, the diffusion model will actually be the front-end to show stuff to you. That's how I imagine it.Swyx [00:26:02]: Diffusion front-end, deterministic back-end.Swyx [00:26:04]: Something like that. I find that very expensive, but,Vibhu [00:26:08]: I find it interesting you called LLMs writing code on the back end deterministic, but okay.Swyx [00:26:14]: you write it onceVibhu [00:26:15]: Compare it toSwyx [00:26:16]: And then you execute.Ethan [00:26:17]: If you think about the cost, say, let's say H100 costs $1 per hour, and if you use this eight hours a day and thirty days, so, every month you're paying this two forty, you'll actually not wanna pay for that. That's even more expensive than Cloud Code Max. But if you think about the compute costs come down like two times every year, and I think the future will likely arrive like within few years.Vibhu [00:26:49]: It's everything, right? compute cost comes down, compute gets faster, model gets smarterEthan [00:26:54]: More efficientVibhu [00:26:54]: model gets smaller.Swyx [00:26:55]: I don't know why you say two times, ‘cause I think it's like 100 times. In language models, it is roughly one hundred to a thousand times every twelve to eighteen months, for the same given level of LMSys, ELO.Vibhu [00:27:08]: That's a net of everything, right? That's model performance alongside compute. So different than just compute costs come down. But, a very interesting future.Swyx [00:27:19]: So the web designers will have to shout out that accessibility is an issue, right? how do you deal with screen readers or whatever. But yes, this is higher bandwidth storytelling than anything you can possibly generate with code, right? So I think that's the rough idea.Ethan [00:27:34]: And I'd like to add a little bit that so human naturally have the maximum bandwidth when we are looking at things, look at videos, and we also have maximum output bandwidth when we are talking. So in the future, it might be something like we talk to AI models, and the AI model responds back with a generative UI. So that would be the maximum input and output bandwidth to interact with AI models before neural link happens.Vibhu [00:28:06]: And it's also very custom, right? Some people are very visual, some people are not as visual, right? They prefer the text. But the best thing about generative UI, right, it can also be text.Swyx [00:28:17]: There's another project that we wanted to highlight, which is the Neural OS. Kinda similar idea, but here you're literally operating, simulating an operating system with a video model.Swyx [00:28:27]: and you can play Doom, you can do Firefox. I find this like mildly less impressive, obviously, because it's an OS that I can run.Swyx [00:28:37]: But here everything is imagined.Vibhu [00:28:40]: I was, used to the Command+W to close the Firefox tab. It didn't crash. That's why I saidSwyx [00:28:45]: It's too immersive.Vibhu [00:28:46]: It's, it's too immersive for me.Swyx [00:28:47]: Too immersive.Vibhu [00:28:48]: I wanted to close the tab.Vibhu [00:28:49]: But yes, I can play generated diffusion.Swyx [00:28:51]: this is shockingly fast.Swyx [00:28:54]: Because I remember there was a demo about like maybe one to two years ago. Someone tried to do the first-person shooter with a image model. There was no consistency. It was very slow. But here it looks like realistically it's-- this is Doom.Vibhu [00:29:07]: I think there's two sides to that, right? There's okay, what is running a game? The heavy part of it is actually the game engine, all the lighting, all that stuff, the graphics. This is just kind of video, right? Like we've solved consistency. This is still, it looks like a few years old image generation. There's some temporal consistency, but it's, it's kind of just images stitched together as frame video. But it's a good visual representation to pi- to picture the future you wanna see, right? that's, that's what I see in these more so.Ethan [00:29:38]: This reminds me of how the video models gets better and better. So Neural OS is kinda if you just look at it feels like it's just a crappy version of the, like the Windows we could have, right? And, but the difference is, so the model, this model is overfitted on the existing operating systems. It can generate nothing different than that. But it's actually also similar to video models. So when we are training these video model, image model, we train them on internet. There's no imaginary supernatural stuff on the internet. But once we train this model, you can prompt the model to generate something supernatural that have never existed in the data set. So if you train your Neural OS or neural computer on the standard screen recordings on the entire internet. The model can imagine completely new interface to interact with the computer.Swyx [00:30:43]: This is one of those things that is magical to me. usually generalizing out of distribution is bad, but somehow we have learned some kind of internal world model that you say, this plus, but it looks like rainbows and butterflies, it'll do it and it will kind of make sense.Swyx [00:31:03]: So yeah, that's kind of cool. Yeah, I don't know if there's any comment more on there. I do, I do wanted to, I did wanted to touch a little bit more on the model architecture stuff, which I think you were getting. It's, really fascinating. We don't get a chance to talk about this enough. So one of the papers that we covered, we've covered every annual, segment anything release. and I don't know if you follow-- you're a computer vision guy, so youEthan [00:31:26]: I knowSwyx [00:31:27]: . So they did memory attention, which is kind of interesting. And I always think, anything where you can, across the temporal dimension, keep some consistency, I think it's, very fascinating, and I don't know if Basically, does that-- the CV side bleeding into video gen side, I think is underexplored, right? we talk about it for labeling, but actually you can borrow the architecture itself.Ethan [00:31:50]: There's, there's also complete different approaches, right? you brought up the term world model, so we went from video model to world model. There is diffusion, but there's also other approaches that people are doing. So maybe we get into those after as well,?Swyx [00:32:03]: He has a whole definition of world models and stuff. I feel like we threw a lot at you. Whatever you want to comment on.Why Video Models Are Expensive: Storage, I/O, and Training ScaleEthan [00:32:10]: I think one thing that we should actually comment back on is okay, so we were talking about the steps to train image gen to video model. One thing we don't see as much of is okay, you brought up the delta in training data, right? SoEthan [00:32:24]: you won't have as much a video model might not generalize, but what is the cost of training a large video model? So we know for LLMs roughly, okay, even like the poolside thing that came out today, right? It's a Gemma level model trained on roughly forty trillion tokens at this many H200s over this much time, right? You can see what is the exact cost of that. So how many GPU hours over how much H200 costs? So how do we do the back-end math of, same thing for video models, image models. How do you, how do you kind of break that down? I can share some back-envelope calculation. So surprisingly, video models is-- the cost is very-- is comparable to language models and obviously the largest scale is language model, maybe like a medium scale to language models. I said just storing the videos alone, it costs a lot. You can, you can maybe look up on AWS or something.Ethan [00:33:20]: You really, say if you have a billion videos and let's say, let's just say like each video, like five megabyte, then you need five petabyte to just store those videos. And also remember we talk about you use a VAE to compress the videos, and you also need to store, typically you need to store those continuous feature, in-- also in your storage. That's also comparable size with the videos themselves. So just storing these videos and the features is tens of petabytes alone. And,Swyx [00:33:58]: I just, I just looked up the calculation. Five petabytes on S3 Standard is one hundred K per month.Ethan [00:34:05]: AndSwyx [00:34:05]: It's comparableEthan [00:34:05]: and you needSwyx [00:34:06]: AndEthan [00:34:06]: And then like tens of petabytes, two hundred K. And even more expensive is you have the ingress and egress.Swyx [00:34:13]: Oh, yeah.Ethan [00:34:14]: Like you-- through the internet. You have to just to download those videos, I believe it's, it's more expensive on AWS than just storing those videos.Swyx [00:34:25]: Storing, yeah.Ethan [00:34:25]: And each training runs, you probably need to pull them once. If you train multiple times, it's, it's even more than that. So it's like just storing the network, those costs is just, it would be a few, a few millions per month to just storing everything, not to mention the GPU cost.Ethan [00:34:45]: AndSwyx [00:34:45]: my side tangent, the compute rental, like GPU rental is very efficient. There's one side, okay, you can be XAI and build your data center. Should we not just build our, storage compute as well? LikeEthan [00:34:57]: Of courseSwyx [00:34:57]: cloud cost compared to just,Ethan [00:34:59]: You save so muchSwyx [00:35:00]: store. Yeah, exactly.Swyx [00:35:01]: Especially with like egress and stuff. So.Ethan [00:35:04]: That's a good idea, but it also comes to-- there are some of its own challenges.Swyx [00:35:09]: Of course, of course.Ethan [00:35:10]: like people who build the GPU data centers, they might not expect this much, storage. And yeah, people build storage, typically they just build it somewhere with just CPUs.Swyx [00:35:23]: I just looked it up. Five-- AWS only charges for egress, not ingress. Tier five for five petabytes is two hundred and thirty K.Ethan [00:35:32]: Even more expensive than the storage.Swyx [00:35:34]: But storing is per month, right? You check in, then you cannot check out. so it's so cool. It's okay. So there's that side.Ethan [00:35:41]: So the TLDR, my backhand mathSwyx [00:35:42]: Data is larger than you think. Yes.Ethan [00:35:44]: my backhand math of GPU hours times GPU cost is also very much, I'm missing some storage.Swyx [00:35:49]: You're also-- you're basically like also more IO bound than normal training.Swyx [00:35:55]: Yes. ‘Cause like data loading, so caching everything, it becomes super important.Ethan [00:36:00]: So in Cosmos, we did a lot of optimizations to make it not IO bound. So, speaking of the training, actually training the model, the GPU cost, if you look up like the open source model, how big these video models are, I think like LTX has nineteen B parameters. That's a dense model. And people are also exploring, MoEs, so it might be twenty B active and, like a hun- hundreds B, total. So that's, that's even-- that's similar size as medium-sized LLM models. And if you, if you look at number of tokens-Uh, we disclose that in Cosmos. It's also like tens of trillions of tokens on the visual tokens. So putting this together, the cost of, training these video models, it's actually comparable with LLMs. Not to mention, the infra is slightly different from LLM, so it might be less efficient to train these models.Inference Speedups: Step Distillation, Consistency Models, and GANsSwyx [00:37:04]: Do you get the benefits of traditional diffusion speed-up? So for, images, there's LCM, LoRAs for, fine-tuning. There's, there's a lot of stuff that's beenEthan [00:37:15]: Flow matching.Swyx [00:37:16]: there's flow matching. There's a lot of stuff that's been done. there's some overlap that applies to diffusion on the inference side and stuff or?Ethan [00:37:23]: so the difference-- the inference side is a completely different story.Ethan [00:37:28]: I think for the training side, it might be a little bit hard to reduce that cost. And for the inference side, the biggest gain is from the distillation of these models. You can-- It's called step distillation, slightly different from knowledge distillation in LLMs. So you-- Typically, for flow matching models, you need like 100 steps or something. Like a distortion model even need even more, like 1,000 steps to generate a good image or video. A step distillation is try to learn to generate fewer step from the model itself. It's kind of like now we-- you use the full model to generate in 100 steps, and then you take a model that only generate 10 steps and let that model to learn from the perfect one.Ethan [00:38:25]: why this workSwyx [00:38:27]: Strong to weak seemingly.Ethan [00:38:28]: It is. It's kind ofSwyx [00:38:29]: DistillationEthan [00:38:29]: kind of like strong to weak. the-- from the modeling perspective, the strong model, the teacher model is trying to model the image and videos of inter-internet, and that distribution is extremely complex. But the step distilled model is just trying to learn from the teacher. The teacher is a model, and the size is fixed, as the distribution is much simpler than the whole internet. That's the intuition I have why step distillation can work. So usually these models serve in productions, they only run in a few steps. In Cosmos, I believe we have, we have like four step and eight steps. If you do some simpler task, image-image translation, it can even run in fewer step, like one step in Cosmos Transfer.Swyx [00:39:22]: I think this is the same intuition that guides a lot of the consistency model work. I sent you a link for, SCM. I don't know if you covered that. To me, that was actually one of, the most impressive papers I've ever seen from OpenAI.Swyx [00:39:34]: That this is the unifying grand concept of consistency models. I don't know if you have any comments on this.Ethan [00:39:41]: So there are, there are a few different approaches,Swyx [00:39:46]: Oh, yeah. Here it is.Swyx [00:39:47]: Two steps versus twenty or 100 steps, whatever. It's already done.Ethan [00:39:52]: So there are, there are a few different approaches, for example, consistency model, and there are also Actually, we shouldn't forget GAN. So GAN, actually, that was, that was the OG ofSwyx [00:40:05]: OGEthan [00:40:05]: step distillation ‘cause it trained just one step to begin with. So actually, a lot of, uh-- For example, there's a distribution matching distillation which use, which uses GAN, as one of the laws for distillation. It-- GAN just tells you, “Hey, generate an image,” and thenEthan [00:40:31]: it has a discriminator to tell, is this image real or not? So the model, the model just need to learn one of the distribution, not the full distribution. Because in training, the model is asked to reconstruct the ground truth image from the internet, which is extremely hard. And in-- When you're training GAN, it's a step process. It's just a, “Hey, you generate image. Does this image look as real as the image from the internet?” Which is a much simpler task. And, yeah, combining a lot of these approaches together, people typically do that, like consistency model and distribution matching and GAN, and we can get these few step models.Audio-Video Generation and Time AlignmentSwyx [00:41:21]: Then there's one step I wanted to add, which is audio and video.Ethan [00:41:26]: So, Grok Imagine zero point nine, I believe it's, it's a first audio video transmodel deployed at a large scale. SoSwyx [00:41:39]: And that was your first model?Ethan [00:41:40]: that was, Grok Imagine's first model. It's, it's audio video, joint generation. I think the hard part is, the modality alignment, ‘cause before this transmodel, we have, we have text to video alignment. We have this, correspondence between text and video. Typically, most of the VLMs, they understand images and videos. Video's very rare, and they don't understand audio mostly. And if you look at the audio generation on the LLM side, you can talk to them perfectly fine, but if you ask them to sing a song or something, it typically is not very good. Also, they don't have, they don't have music either. The hard part is thatUh, actually audio has two component. It has like a discrete component, a continuous component. The discrete component is like the language.Ethan [00:42:44]: So when we speak, it's just, someSwyx [00:42:47]: It's an ASR issue, yeah.Ethan [00:42:49]: It's, it's text token with some characteristics, I would say.Ethan [00:42:54]: But musicSwyx [00:42:56]: I think the speech guys would disagree with this.Swyx [00:42:57]: Like disfluencies and then,Vibhu [00:43:00]: There's tones you can get angry.Ethan [00:43:01]: Well, I say largely.Ethan [00:43:03]: the mu- but the music is completely different. It's, it's very continuous, and you cannot model them like discrete tokens in language models. this is like the hard part for models is, not to mention we have to align text, video, and audio together.Ethan [00:43:26]: SoVibhu [00:43:26]: How?Ethan [00:43:28]: So significant-- some significant challenges are like-- So first, like we talk about as the VLMs, they cannot understand most of them cannot understand audio.Ethan [00:43:39]: So you have to have some way to do the synthetic data generation for audio. You have to caption the model, and that involve, that involve synthetic data and human data effort a lot. And not just surprisingly, most of the LLMs are very bad at recognizing, like the beat, tone, and the details of the of music. They can, they can give some general prediction of which song is this, but it's very hard to describe the details of the music. like we mentioned in image generation, like you have to describe image as detailed as possible so that someone blind can reconstruct that. So here is like someoneVibhu [00:44:32]: DeafEthan [00:44:32]: someone deaf can reconstruct how the music sounds like without actually listening to it. Maybe you can think of it need to have the-- or they call the script.Vibhu [00:44:49]: Subtitles, yeah.Ethan [00:44:49]: You gotta have all the details of the music, and the dialogue.Vibhu [00:44:55]: So is the challenge there typically stuff like music and audio, or is it just Like is there a baseline? Okay, there's enough data where we can understand, narration, conversation, but there's nuances in audio that's where you hit all the data issues or is it just from stage zero, you just do it all right?Ethan [00:45:15]: So one important thing is like the alignment. So the model, the model has to know like the video and audio, the, uh-- it has to have a time-based alignment, like at which time step the video and the audio token correspond to each other. But we actually don't have this kind of alignment for most of the other modalities. If you think about like text and image, text and video, they are loosely aligned. So you can, you can have a description of what's going on in the video, but you don't have to exactly, You typically don't have exact description, oh, at, time step one second like what happened?Vibhu [00:46:02]: It's veryEthan [00:46:03]: At time step two second what happenedVibhu [00:46:03]: coarse. Yeah.Swyx [00:46:05]: So what was the ideal time step? You have to oblate it, and then it's like four seconds or something.Ethan [00:46:09]: So that comes down to how you design the model to, for the model to be aware of as a time, as a time modality. So the model is like a time aware. And that's something pretty unique if you think about LLMs. So if you ask LLM to complete a task, say they, uh-- you ask them and they will say, “Oh, this task will probably take twelve hours to complete,” and they come back in one hour. Say “I've already spent two days on this and I've exhausted everything.”Ethan [00:46:47]: So the LLMs them-themselves, they don't have a sense of time there.Vibhu [00:46:53]: I actually don't think that's just them not having a sense of time. I think it's somewhat based, right?Vibhu [00:46:58]: Like you tell someone, “Okay, go work on this feature. Go implement this,” there's a general understanding you would have of how long that would take without LLMs working at LLM speed, right? So you think back like two years ago, if I tell you to like build me like a new front end for latent space, have a search bar, have all this, you'll estimate that it'll take a few days, right?Vibhu [00:47:19]: So you tell an LLM, “Go build this.” It'll take me a few days. But I think it's somewhat grounded as opposed to them not having the best-- Not saying that they have a great understanding, but I think that example is like you can see where it comes from, right? You're trained on all over the text.Swyx [00:47:35]: They're, they're trying to estimate what a human would say.Vibhu [00:47:37]: because that's what the, that's what the data kind of represents. It's not themEthan [00:47:41]: It came from the corpus on the internet. People have a estimate of how much time.Vibhu [00:47:45]: And not even just in direct like training samples, right? Just your world understanding of tokens of how long stuff takes, right? Go read a book. It'll take you a while, right?Vibhu [00:47:56]: Even if you do nothing but read a book, it takes a few days. So yeah, LLM, I read it took me a few hours.Vibhu [00:48:01]: It'll take me a few hours to go through this research. But this is a tangent.Swyx [00:48:05]: Somewhat, yeah.Swyx [00:48:06]: This is a train of thought I haven't really expressed until now is, which is basically like a full world model must also be recursive, meaning that the participant in the world model must also be aware that they have a world model. which is like this whole recursive thing down the, down the line. but yes, and that the world model can be wrong and that they need to update it and blah. Yeah. We've, argued this on the, newsletter as well, that there needs to be sort of recursive or adversarial world models.World Models: Real-Time, Long-Horizon, Interactive VideoVibhu [00:48:34]: just, to ask, how do you define world model?Swyx [00:48:38]: Oh, yeah, let's go there.Ethan [00:48:40]: SoVibhu [00:48:40]: So just for context, we talked about, video generation, and then there's a-- if you say there's a distinction between world models, what's your, what's your definition? How do you see the two?Ethan [00:48:53]: So disclaimer, I'm not going to debate, what is world model. Yeah. there are many definitions, so I'll just talk about my definition. Since I came from the multi-model, multi-model domain, so mainly talking from video. So world model is like real-time interactive long horizon videos. So there are three parts. so we-- let's talk about them one by one. So the so interaction, so we just, we just look at Facebook and neural computer. So the interaction part of it, so you, world model can allow you to interact with them through keyboard, mouse, and maybe also voice. So these all is-- all is a modality. You can, you can interact with the model, and the model should respond reasonably. Second part is real time. So once you, once, say, you move your mouse, if, say, the world model generate a game, how fast can the game respond? So if you're like professional CS: GO players- -my say, oh, you have to respond- He's beginner within sub ten milliseconds or- Yeah even less. So that's not most of the- No, sixty FPS. Let's go. Oh, three hundred FPS. Oh, five hundred FPS. Wait. okay, yeah. I didn't do the math, but yeah, okay. Uh- Yeah, three hundred FPS, that's a three millisecond. So you have to respond- Oh, s**t. Okay. YeahEthan [00:50:29]: within a millisecond. Most of the video models cannot do that. Yeah. And, but if you, say, if you have a video model that is, say, like a digital human, the response time might be more generous. Maybe typically, for real-time voice interaction, it's like two hundred millisecond. So that's, that's much more generous. But even two hundred millisecond is pretty, it is pretty tricky, ‘cause remember we mentionedEthan [00:51:01]: you have this, temporal compression coming from the VAE. So if you, if you don't compress the temporal dimension, your sequence length is going to explode. So if you want to have this real-time, real-timeness in your model, you have to do is one context problem. And the third part is long horizon, ‘cause we-- if you're not going to just play with, video games just, a few seconds, most video models only a few seconds. We're going to play with minutes, hours. The model have to be able to generate long-form content.Ethan [00:51:42]: So putting these three together, it's, real-time, long horizon interactive videos. I think the final state will be, for example, like a video, a video version of Playbook, where you can, you can interact with, a neural computer. You move your mouse, and you click on the generative interface, and it will reply to you through pixels- generating in real time. But getting there, it's, it's a very long way to get there. So one of the first step, at Grok Imagine, where I led a small world model team there, was to build video extension. So, video extension- it's the first step of interactivity. Yeah. It's, it's the first step. Yeah. So it's the first step- You have it here, video editing, yeah. Yeah. Yeah. So the first step is because, this unlocks long horizon videos. Typically, for most of the video generation models, you give it a prompt or an image as an initial frame. You generate video, that's it. That's just, one time, done. And some creators would try to, use the last frame as a first frame for the second video. It can-- sometimes it works, but if you do it a few times, it says the quality would decrease. And- It doesn't have that context- Yeah over the full video, so the temporal- Yeah, exactly. Yeah, ‘cause you only gave it the last frame, of course, right? Yeah. Exactly. And- it's actually a pretty fun hack. if you've seen like- Oh, no, he's saying something better. Yeah. And for example, like Vue, I remember Vue 3 has like a second context of the last video. It is slightly better than using the last frame, but it has the same problem-- similar problem that it, the quality would decrease. if you extend a few times to, one minute, the video quality would look much worse than the first video. Second, another problem is that the model doesn't have long-range knowledge of, what's happening before. Say, if they generate some dialogue, some, two people speaking, and their voice might change, over some time, especially if the second conditioning, it does not cover the previous context. So these are the core challenges. So the Grok Imagine video extension, it has historical context of all of the previous generated videos. It can, It has, it has the context of, who is speaking and what objects have appeared and everything, having that to generate the next video. So if we naively do this, you can imagine, just, put all of the previous history video tokens into the context. The context lens will easily explode. Especially for video models, that can be like a few, a few million context, I would imagine- context lens. Yes.Yeah.Swyx [00:54:58]: Let's run with that.Ethan [00:54:59]: for example, like in Cosmos, I think just five seconds of video is like a fifty K or sixty K number of tokens. So like if you do, if you do fifty second, that's a five hundred K tokens. If you do longer than that, easily explode. This long horizon, problem was the first step we're trying to solve world model. It turns out people, yeah, people love video extension. Like a lot, a lot of the creators love using video extension to create longer form videos. This is the part I liked that you have a, you have an intermediate step toward the final goal instead of just a straight shot to the final version very much.Swyx [00:55:48]: But I can see you have a strong vision of where we want to end up.Long Context, Redundancy, and Efficient Interactive VideoVibhu [00:55:51]: Does it seem like it's an efficiency issue? okay, we're at a few million tokens context,. If you draw the parallel to language models, we had very short context, two thousand, eight thousand, then, you scale it up one million, ten million. sure, there's effective context, but at the end of the day, it's just what's it worth? sure, there's a whole training data side. In video, it might be slightly easier ‘cause we have a hundred million token video, right? Just take a movie with the full context there. Like is this efficiency from an inference standpoint that like it's expensive, but we know how to solve it? Or like why is this not the approach? So like my broader point was on your second point of world models, you say it needs to be interactive and live, right? You should be able to play a game and see the interaction live. So one thing I see with research is a lot of what you actually serve is different than what you build, right? So we talked about distillation. You train big model, you distill it, you do quantization, speculative decoding. We do all this stuff to serve it efficiently. Should we not just have a solution, like a world model that can interact well, do inference optimization, serve it, distill it secondary, so make it real time after you solve it? So like a-- another parallel is say, continual learning, right? What we need is someone to solve it and show it works inefficiently. Give it a few years, people will make it efficient. Same thing with regular attention, right? It worked. Over a few years, people have different forms of attention, and we've scaled it to be efficient at log context,? So kind of two things there, right? One is it seems like it works. You've scaled it. Can we not just scale it a lot more efficiently over time? Do we need a separate approach if this works? And same thing with interaction, right? if we can get it done, like if we can solve some way that it works, we can solve making it more efficient from an inference standpoint later.Ethan [00:57:53]: that's actually a very good point. So in videos, there's actually a lot of redundancies. So we solve a lot of the pixel redundancy from VE, but there's more redundancy in long range and long horizon videos. Say, if a character appear in the first clip and then it disappeared, it only reappear at the end of the video, you probably don't need the-- the context, like in the middle of the generation. So you only need that character, where you need. So that's why, I helped build another feature. It's a reference video.Vibhu [00:58:36]: Is it here?Swyx [00:58:36]: is it the same model release or different one?Ethan [00:58:39]: It's a different one.Ethan [00:58:41]: You probably need to search onSwyx [00:58:43]: I'll find itEthan [00:58:43]: X reference to video.Ethan [00:58:46]: So reference video allow you to like upload up to seven images as condition and generate the video. Say, if like I want-- it can, it can be characters or objects or even scenes. Say like I want, I want condition on, Sean's selfie and holding a bladeSwyx [00:59:07]: We have a dogEthan [00:59:08]: or whatever.Swyx [00:59:08]: We put the dog in the thing.Ethan [00:59:09]: you can put them there and the video models will generate the video from and copies the context over. So that can solve a lot of the problems there, like the long context problem. It doesn't need to have a very long context, but it's-- I feel like it's an intermediate solution. The modelSwyx [00:59:29]: It's cheating.Ethan [00:59:30]: the model should be able to like selectively know, where should I draw the references. So say if I want to generate a movie, I generate it autoregressive, like a ten second at a time or something. And now this character appear, I can look back to where it first appear and, bring that back. Yeah, this one, I put the references. Yeah, that's, Optimus, Einstein myself, Annie.Vibhu [01:00:02]: Oddly enough, I used Grok Search to find it, and it pulled your LinkedIn post. But yeah we found it.Ethan [01:00:08]: Interesting.Vibhu [01:00:10]: ButxAI's Underrated Work, Culture, and WatermarkingSwyx [01:00:11]: this is a problem. This is not your fault, but like XAI doesn't communicate all this work that you do very well because they just have the model release and then that's it. But actually, these details are very good.Swyx [01:00:22]: As far as I understand, everything you just described is state-art, like no one else has done it.Vibhu [01:00:30]: A lot of-- yeah, I have a lot moreSwyx [01:00:32]: And then, and then you just put this blog post with the cookies. I'm this is not enough,?Swyx [01:00:37]: but I, obviously this is like the high level numbers that people want to know. But no, okay, soVibhu [01:00:42]: And I wonder, like part of that is also some labs don't share research into what happens. And ifSwyx [01:00:50]: No, but this is literally bragging about how good they are, right?Swyx [01:00:54]: Like, why would you not say that you are capable of extending with full context? this is not a secret sauce. This is like we did the work. yeah, I don't know.Ethan [01:01:02]: different labs have slightly different communication styles.Swyx [01:01:07]: Anyway, if anyone from XAI is listening we are always happy to help you tell your story. Yeah, okay, so you did references, and I think, I think kind of the point you're, you're making is it is sort of like a kludge, right? this is-- you can do seven, but what about 100?Swyx [01:01:23]: Right? Then you need a completely different thing.Ethan [01:01:26]: So I think it's-- this is, a mechanism to, select the context from the history, and you might not put the entire history into the context. for example, there's a paper called Frame Pack, which haveEthan [01:01:41]: a heuristic that the latest history, the last one second, I put the entire history, and the history before that, I would, compress it and makes the video smaller. So they follow this pattern, this build overall pattern that the maximum sequence length is fixed. So the further you are from the current frame, you have a smaller image. So this is just a heuristic. I think it can be more automatic. The model is aware like which history part of it can be select. So this part of the research is actually being actively, worked on by a lot of people. It's also quite interesting. I feel this is actually, this part of long context is a little bit ahead of the LLM part.Ethan [01:02:31]: So for example, like in LLMs, if you-- so contexts keep growing. Let's say if you call tool and the tool call history is extremely long, that's still in context, and keep growing, keep growing. Even if you switch the topic to something else, the whole context was there. There are some agentic harnesses that help you to, say, prune the tool results and, prune Like when you, when you query a file, only show like the top 200 lines or something. Those were very heuristic-driven.Swyx [01:03:08]: For listeners, we did a write-up on the cloud code, leak where there are eight different kinds of pruning, including like you prune the tool results and all that. So you can, you can read up on that kind of thing.Ethan [01:03:17]: I think, one breakthrough in continual learning might be like a way to automatically, manage its own context.Swyx [01:03:27]: These are all heuristics, and they will be replaced by machine learning.Ethan [01:03:30]: InterestinglyVibhu [01:03:32]: TheEthan [01:03:32]: the same thing is being researched in both LLMs and video models.Vibhu [01:03:36]: The interesting thing is also like in the paper you showed, it's actually happening at the model level, right? Compared to like language models, sure, we have base attention, but we'll do our own compression, we'll do our own pruning, which is separate from model error.Vibhu [01:03:49]: Eventually, it all just boils in, hopefully.Swyx [01:03:52]: I think this is a form of like attention, but like also know sort of reasoning attention. I feel like that's different than normal attention.Swyx [01:04:03]: Does that, does that make sense?Ethan [01:04:04]: It's, it's different in the sense that attention, not to mention, set sparse attention aside,
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La historia de la técnica está sembrada de inventores olvidados cuyas creaciones seguimos usando, aunque nadie los recuerde con calles, placas ni estatuas. El caso más conocido es el del teléfono. Todos atribuyen su paternidad a Alexander Graham Bell, que patentó el aparato el 7 de marzo de 1876, pero Antonio Meucci ya había registrado un aviso previo en 1871 para su «telégrafo parlante», un prototipo que puso a funcionar con éxito en su casa de Staten Island y con el que se comunicaba con su esposa inválida. Meucci perdió la prioridad por una nimiedad, los 10 dólares que no pudo pagar para renovar el aviso y convertirlo en una patente. Algo parecido ocurrió con el alambre de espino. Dabb, Smith y Hunt patentaron una serie de diseños en 1867, pero fue Joseph Glidden quien, en 1874, logró fabricarlo en masa adaptando un molinillo de café, fundó la Barb Fence Co. y amasó una fortuna. Su ejemplo demuestra que no basta con tener la idea, también hace falta capital y capacidad industrial para triunfar. La máquina de coser repite el mismo patrón. Walter Hunt la concibió en 1833, pero no la patentó, en parte porque su hija, una ludita, temía por su empleo de costurera. Años después, Elias Howe patentó su propia versión que intentó vender en Inglaterra. No lo consiguió, pero al regresar a EEUU comprobó como le habían robado la patente. Ganó en los tribunales la llamada «Guerra de las máquinas de coser» contra Isaac Singer y el propio Hunt. Howe se hizo rico y le terminaron dedicando un estatua, sellos con su efigie y hasta calles con su nombre. El destornillador de estrella es otro de esos casos en los que el verdadero inventor se ha olvidado. John Thompson lo patentó en 1933, pero cedió los derechos a Henry Phillips, que se enriqueció con los royalties y prestó su nombre al invento. De Thompson apenas sabemos que era mecánico y que murió en 1940, condenado al anonimato pese a haber ideado algo que todos tenemos en casa. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La historia de la técnica está sembrada de inventores olvidados cuyas creaciones seguimos usando, aunque nadie los recuerde con calles, placas ni estatuas. El caso más conocido es el del teléfono. Todos atribuyen su paternidad a Alexander Graham Bell, que patentó el aparato el 7 de marzo de 1876, pero Antonio Meucci ya había registrado un aviso previo en 1871 para su «telégrafo parlante», un prototipo que puso a funcionar con éxito en su casa de Staten Island y con el que se comunicaba con su esposa inválida. Meucci perdió la prioridad por una nimiedad, los 10 dólares que no pudo pagar para renovar el aviso y convertirlo en una patente. Algo parecido ocurrió con el alambre de espino. Dabb, Smith y Hunt patentaron una serie de diseños en 1867, pero fue Joseph Glidden quien, en 1874, logró fabricarlo en masa adaptando un molinillo de café, fundó la Barb Fence Co. y amasó una fortuna. Su ejemplo demuestra que no basta con tener la idea, también hace falta capital y capacidad industrial para triunfar. La máquina de coser repite el mismo patrón. Walter Hunt la concibió en 1833, pero no la patentó, en parte porque su hija, una ludita, temía por su empleo de costurera. Años después, Elias Howe patentó su propia versión que intentó vender en Inglaterra. No lo consiguió, pero al regresar a EEUU comprobó como le habían robado la patente. Ganó en los tribunales la llamada «Guerra de las máquinas de coser» contra Isaac Singer y el propio Hunt. Howe se hizo rico y le terminaron dedicando un estatua, sellos con su efigie y hasta calles con su nombre. El destornillador de estrella es otro de esos casos en los que el verdadero inventor se ha olvidado. John Thompson lo patentó en 1933, pero cedió los derechos a Henry Phillips, que se enriqueció con los royalties y prestó su nombre al invento. De Thompson apenas sabemos que era mecánico y que murió en 1940, condenado al anonimato pese a haber ideado algo que todos tenemos en casa. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Muchos creen que el éxito es trabajar más…tener más dinero… lograr más cosas… Yo también lo creí. Trabajé durante décadas. Gané millones. Perdí millones. Construí empresas. Viví momentos increíbles. Pero hubo algo que entendí demasiado tarde: La paz, la familia, la salud y el tiempo… valen más de lo que imaginamos cuando somos jóvenes. En este video quiero compartirte las lecciones más importantes que aprendí después de los 70 años. Las cosas que hubiera querido entender antes. Y cómo cambié mi vida financiera y personal antes de que fuera demasiado tarde. Si hoy estás trabajando sin descanso… si sientes ansiedad constante… si estás persiguiendo dinero pero perdiendo tranquilidad… este video es para ti.
UGREEN continues to release new and updated accessories to help you stay charged on the move and keep track of all your items' locations. UGREEN Nexode Air 65W Charger The Nexode Air has an ultra-compact and palm-sized design. It is super light for a 65-watt charger as UGREEN has used their proprietary Airpyra stacked architecture to shrink down its size while still delivering high output numbers. Making the Nexode Air charger even more compact is the folding 3-pin plug. The 3 pins fold down completely flat into the base of the charger. The charger comes with one USB-C port on the front of the device. The Nexode Air utilises advanced GaN technology, enabling fast, efficient charging with lower heat and a smaller form factor. Like with all UGREEN charging products, there is a whole host of safety features built in to protect both the charger and the devices you are charging and to prolong the life of the batteries being charged. It is certainly the smallest charger we have come across to date that delivers this type of power, making it a great solution for on-the-go charging. The UGREEN Nexode Air 65W Charger delivers super-compact power on the go and will be available directly from the UGREEN website with an RRP of €34.99. UGREEN FineTrack Series The UGREEN FineTrack Series is a selection of smart trackers, which are an alternative to something like Apple's AirTags. We took a look at the first version of the FineTrack series here last year. UGREEN have updated the line now with some new trackers which focus on longer battery life than the original devices. UGREEN FineTrack Mini 2 Smart Finder The UGREEN FineTrack Mini 2 Smart Finder is a small device, ideal for connecting to something like a set of keys. The tracker comes with a silicone case and keyring connector to protect it from life's rough and tumble and help you attach it appropriately. The FineTrack Mini 2 comes with an inbuilt battery which can last between 5 and 7 years. The device is IP68 rated, which means it can withstand being fully submerged in 2 meters of water for up to 60 minutes. It also comes with a very loud 110dB speaker to help you audibly locate the device if needed. UGREEN FineTrack 2 Smart Finder The FineTrack 2 Smart Finder is a small ball-shaped device which comes with a short lanyard for attaching. The FineTrack 2 Smart Finder has similar specs to the FineTrack Mini 2 Smart Finder, also coming with an internal battery rated for 5 to 7 years of use and a 110dB speaker. The design lends itself towards being attached to a backpack or similar, but its solid design means it will be suitable for many applications. Both of these devices have high-visibility fluorescent accents, which make them stand out in low-light environments. They are both certified to work with Apple's "Find My" service, which means you can benefit from their global network for locating your devices and also get smart reminders on your phone when you leave a device behind. It is really straightforward to add the devices in the Find My App. You just head to "Items", click the "+" symbol and then press the button on the front of the tracker. Once you have given the device a name, you can then track its location from within the app, get directions to where it is located, play a sound to help find it and keep an eye on the battery level. More Info/ Where to Buy? To find out more about either the Nexode Air 65W Charger or the new FineTrack devices, visit the UGREEN website here: https://www.ugreen.com/en-eu The products will be available to pick up from the UGREEN website directly or Amazon this week.
Ja iepriekšējie stāsti vairāk bija par sugām, kas atbilst nosaukumam "pavasara vēstnesis", šoreiz stāsts par vasaras vēstnesi – svīri. Svīre ir putns, kurš Latvijā ierodas no dienvidiem viens no pēdējiem un uzturas te vien dažus mēnešus. Stāsta Latvijas ornitoloģijas biedrības pārstāve Ance Priedniece. "Svīre ir tālās distances gājputns, kas pārziemo Āfrikā uz dienvidiem no ekvatora. Latvijā svīre atgriežas maija sākumā vai vidū, bet Latviju pamet aptuveni trīs mēnešus vēlāk – augustā. Tātad kārtīgs vasaras putns," iepazīstina Ance Priedniece. "Svīres ir putni, kas lielāko daļu dzīves pavada gaisā, bet uz kādas virsmas nolaist tikai, lai ligzdotu. Tās var gan gulēt gaisā, gan baroties. Un tas galvenokārt barojas ar dažādiem kukaiņiem vai zirnekļiem, ko tās noķer gaisā. Pat lai padzertos, svīres mēdz lidot. Tas var pielidot ļoti tuvu ūdens virsmai, lai padzertos," iepazīstina Ance Priedniece. Kā svīri atšķirt no bezdelīgām un čurkstēm, kas varētu šķist līdzīgas pēc izskata? Svīre gandrīz pilnībā melni brūna ar nelielu gaišu laukumu pie rīkles pazodē. Gan bezdelīgām, gan čurkstēm mugurpuse zilganmelna, diezgan zaigojoša, vēders balts un bezdelīgai ir arī arī rūsgana rīkle. Būtiskākā atšķirība no bezdelīgām un čurkstēm ir spārni un aste. Svīres spārni lidojumā ir izvietoti sirpjveida formā. Tie ir šauri un ļoti gari. Svīres tos nekad lidojuma laikā nepiekļauj ķermenim. Svīres nekad neredzēsim, tupot uz vadiem vai televīzijas antenām, visticamāk, arī ne uz mājas jumta. Svīru kājas ir īsas, ar ļoti asiem nagiem un pirkstiem, kas visi ir vērsti vienā virzienā, lai var viegli pieķerties dažādām virsmām, kā sienām. Taču svīres nevar paiet, un, ja tās kaut kādu apstākļu dēļ nokļūst uz zemes, tās ir diezgan bezpalīdzīgas, un tās nevar pacelties gaisā. Šādā gadījumā būtu vienkārši jāpaņem svīre un jāpamet gaisā, un, visticamāk, tā aizlidos.
Hour 2 for 5/7/26 Drew and Nick pray the Chaplet of Divine Mercy (1:00). Then, Dr. Eugene Gan from Franciscan University from Steubenville joins Drew to discuss media's effect on us (30:44), screentime and AI (45:11), and what Dr. Gan is seeing at his University (48:32). Link: https://eugenegan.weebly.com/
The subject of whether you should top your pepper plants can bring on a pretty strong debate among gardeners. That's because this is one of those topics where the answer genuinely is: it depends. And I mean that in a very specific, evidence-based way that comes down to two things: your climate and your pepper type. I'll be straight with you, I do not top my peppers. We are in a zone 6b in west central Missouri and our season is just short enough that for our large sweet peppers, by the time a topped plant recovered and loaded up with new fruit, I'd be in a race with the first frost, so I don't love my odds of winning. And for our smaller peppers, both hot and sweet, they branch naturally. They've never needed my help getting bushy and they generally end up so loaded with fruit there's no need for me to create new growing points. But that does NOT mean topping is wrong. In fact, if your growing season is long enough and you are growing the right type of pepper, there is a solid, research-grounded argument for it and I want to make that argument fairly today. Let's dig in! References: Illinois Extension (University of Illinois) — Frillman, N. (2021). “Pruning tomatoes and peppers for healthier plants and a stronger harvest.” Flowers, Fruits, and Frass Blog. https://extension.illinois.edu/blogs/flowers-fruits-and-frass/2021-05-17-pruning-tomatoes-and-peppers-healthier-plants-and Nebraska Extension — “Garden Peppers.” University of Nebraska–Lincoln Extension Publications. https://extensionpubs.unl.edu/publication/967/html/view University of Minnesota Extension — Ask Extension response on topping pepper plants (2021). https://ask.extension.org/kb/faq.php?id=740168 University of Minnesota Extension — Weisenhorn, J. Ask Extension response on topping for yield (2016). https://ask.extension.org/kb/faq.php?id=333053 University of Maryland Extension — Home and Garden Information Center. Ask Extension response on topping chile plants (2024). https://ask.extension.org/kb/faq.php?id=869966 University of Minnesota Extension — “Growing Peppers in Home Gardens.” https://extension.umn.edu/vegetables/growing-peppers-home-gardens Peer-Reviewed Research: Humadi, F. (1980). “Effects of plant growth retardants and mechanical topping on growth and yield of pimiento pepper (Capsicum annuum L.).” Dissertation, University of Tennessee. Tennessee Research and Creative Exchange. https://trace.tennessee.edu/utk_graddiss/7869/ Buczkowska, H., & Najda, A. (2001). “Impact of plant topping on chemical composition of sweet pepper fruit.” Zeszyty Naukowe Akademii Techniczno-Rolniczej w Bydgoszczy. Rolnictwo, 46, 33–37. Cao, D., Chabikwa, T., Barbier, F., Dun, E. A., Fichtner, F., Dong, L., Kerr, S. C., & Beveridge, C. A. (2023). “Auxin-independent effects of apical dominance induce changes in phytohormones correlated with bud outgrowth.” Plant Physiology, 192(2), 1420–1434. https://doi.org/10.1093/plphys/kiad034 Avent, A. R., & Armitage, A. M. (2015). “Effects of Paclobutrazol and Pinching on Ornamental Pepper.” HortScience / Journal of the American Society for Horticultural Science. ResearchGate: DOI 10.21273/HORTSCI. Hu, Q., Wei, Y., Gan, X., Zhang, O., Huangpu, J., Hu, B., & Wu, L. (2016). “Effects of pruning methods and harvest time on yield and benefit of pepper in greenhouse.” Jiangsu Agricultural Sciences, 44, 182–185. Resources: Just Grow Something: https://justgrowsomething.com Gardening Courses: https://justgrowsomething.com/courses Just Grow Something Merch and Downloads: https://justgrowsomething.com/shop Just Grow Something Gardening Friends Facebook Group: https://www.facebook.com/share/g/18YgHveF5P/ Check out how you can become a patron on Patreon: https://www.patreon.com/JustGrowSomething Feed my coffee habit: https://buymeacoffee.com/justgrowsomething Amazon storefront: https://www.amazon.com/shop/justgrowsomething Get 10% off and FREE shipping on my favorite raised planters at Planter Box Direct using code JUSTGROW10: https://planterboxdirect.com/?ref=593 Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
GP, Senior Director of Aerospace & Defense Strategy at Infineon Hi-Rel, talks with Pat Hindle about the benefits of GaN power conversion technology for space applications and the implications on satellite architecture. Sponsored by Infineon Hi-Rel.
Microwave Journal editors Pat Hindle and new addition Tim Rainear discuss the April Amplifiers and Oscillators themed issue product articles, talk with Infineon Hi-Rel about Space-qualified GaN, and review industry news and events. Sponsored by RFMW and Infineon Hi-Rel.
Merriam-Webster's Word of the Day for February 1, 2026 is: gargantuan • gahr-GAN-chuh-wun • adjective Gargantuan describes something that is very large in size or amount; something gargantuan is, in other words, gigantic. // Bigfoot is said to be a creature of gargantuan proportions. See the entry > Examples: “By the late 1870s, he was asked to take part in the gargantuan task of evaluating and cataloguing the results of the five-year Challenger expedition—an ambitious British global research voyage, the first ever dedicated purely to science. [Ernst] Haeckel's contribution to the final 50-volume Report of the Voyage of H.M.S. Challenger took a decade to complete and spanned three volumes, 2,750 pages, and 130 plates.” — Michael Benson, Nanocosmos: Journeys in Electron Space, 2025 Did you know? Gargantua is the name of a giant king in François Rabelais's 16th-century satiric novel Gargantua, the second part of a five-volume series about the giant and his son Pantagruel. All of the details of Gargantua's life befit a giant. He rides a colossal mare whose tail switches so violently that it fells the entire forest of Orleans. He has an enormous appetite, such that in one incident he inadvertently swallows five pilgrims while eating a salad. The scale of everything connected with Gargantua led to the adjective gargantuan, which since William Shakespeare's time has been used for anything of tremendous size or volume.
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