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Five suicide attempts couldn’t kill her. An HIV diagnosis was supposed to finish the job. Instead, she walked into a body modification studio and started cutting away everything that made her human. Both ears. 32 teeth. Her nose. She split her tongue, implanted 18 horns into her skull, and covered every inch of skin in scales. Today she goes by “it” - and says she’s never been happier. Her full name is Eva Tiamat Baphhomet Medusa. The world calls her the Dragon Lady. She calls herself “the world’s most modified transsexual.” Before any of this, she was Richard Hernandez - a vice president at a bank in Texas. She grew up in Bruni, a town of 300 people near the Mexican border. As a freshman in high school, she walked up and down the streets screaming “I’m gay” at the top of her lungs in one of the most machismo regions in the country. “Closets are for clothes and tennis shoes,” she says. At 18, she left for Houston. Fresh from a town with no skyscrapers, she didn’t know you couldn’t trust just anyone. Two men raped her. She doesn’t hate them. “I’m not them,” she says. She became a banker. Built a career. Then came the HIV diagnosis, which later progressed to AIDS. She left the bank to take care of her health and nearly died. That’s when something shifted. “I decided I’m not going to die looking like a human,” she told Soft White Underbelly. “Being human has been such a negative part of life.” She spent over $60,000 on body modifications. Not with doctors - with body modification artists. She was the fifth person in the world to get horns implanted into her cranium. She was the first person ever to have both ears surgically removed for cosmetic reasons. She had her testicles removed and plans a full penectomy. “I will be a genderless dragon,” she says. “That’s what dragons are.” Her son hasn’t spoken to her since the transformation. She did some of the modifications specifically so he could see what his father was becoming. “His weird-looking, strange, used to be a man, is now a woman, is now a reptilian, dad,” she says. She was abandoned in the woods as a child by her birth parents. She denounced them in favor of a snake. She tried to take her own life five times before the transformation gave her a reason to stay. “My transformation is by and large what saved my life after five failed suicide attempts,” she says. “I am truly happy for the first time in my life.” She prefers the pronoun “it.” Just like a snake. She swallows food whole because she only has six teeth left - representing the mouth of a rattlesnake. Sirens drive her crazy because without ears, everything sounds louder. She makes cotton candy for the neighborhood kids, and her neighbors say her energy is “the most gentle and pleasant” they’ve ever been around. In the video below, you can see Tiamat sitting across from the interviewer with her full-face scale tattoos, horn implants, and no ears, calmly describing how she eats, why she removed her teeth, and the moment she decided to stop being human. Some will say she’s mentally ill and needs help, not a body modification studio. Others will say she found the only thing that kept her alive when nothing else could. If removing every trace of your humanity is what finally made you happy - were you ever really human to begin with?

I walked past a fridge on the pavement this morning and stopped mid-step — and @onlystreetsfun is the reason a moment like that might finally be worth something. It is a Solana launchpad that turns those moments into memecoins, and the campaign on @rarelistio is open now. Not because a fridge is art. Because it was just there, in the middle of an ordinary street, with no explanation at all — and by tonight, everyone who walked past it will have forgotten it existed. That is the part it gets right. The street is full of moments like that, and they vanish before you can save them. But here is the rule that hooked me: the coin starts with a photo you take inside the app, right there, in the moment. No camera roll, no screenshots, no stock photos, no meme you downloaded last year. If you were not there, there is no coin. So the photo is not decoration. It is proof. It is the face of the coin, and it is the reason the coin exists at all. I keep thinking about the artists I know who walk the streets with a camera and come home with nothing to sell. This flips that around: the moment itself becomes the work, and the work can be found, bought, sold, and shared the moment it goes live. My camera roll is full of screenshots I will never post. The street never repeats itself. What is the strangest thing you walked past this week?

code for review : Prompt : Create a 2D anime short for the web. It must look completely like real Japanese anime, as if it were taken directly from a finished theatrical anime film. This is traditional-looking, hand-drawn 2D anime, not a 3D animation, a moving illustration, or a stylized web graphic. Deliver the final result as a single, self-contained HTML file that plays offline, with a synthesized soundtrack. Use any tools, libraries, references, guides, literally anything etc. Use theatrical mecha and kaiju anime as the art style reference for the design, line work, painted backgrounds, color, and atmosphere. The film is 83 seconds long, in 39 shots. Its characters are a colossal silver archer robot, a fleet of container ships, and a leviathan. No people appear in the film. Use any tools or techniques you want, including 3D, as long as the final result looks 100% like hand-drawn 2D anime. SCENE A blazing sunny day on a coast. A massive armored archer robot, a hundred meters tall, stands in a deep lunge on a headland and draws a bow taller than itself. Close-ups: the hand on the grip, the limb and cable, the foot planted in the surf. Blue energy crawls along the arrow into the chest armor until the arrowhead blazes like crystal. The string snaps forward and a shockwave flattens the sea. The arrow is a harpoon trailing a thin cable. It tears the clouds into two walls above a ship's deck, climbs through the cloud tops, and reaches the edge of space in a blue flash along the planet's limb. Out at sea, container ships cross a colossal shadow. Four humpback whales breach beside a ship, with real arcs and full tail flukes, and dive tail last. From below, shapes move under the bright churning surface. Four whale heads rise from a boiling sea, and a ring of teeth rises around them: they are lures inside a mouth. They drop in and the jaws shut. The leviathan breaches through the fleet in one slow, enormous arc. Its belly slides past the bridge windows. The swell it leaves lifts the ships and stands one on end, spilling containers. Its ridged back and flukes sink into spray fog. High above, the arrow turns over and comes back red-hot through the atmosphere. Below the surface, the leviathan crawls through a luminous canyon on clawed forelimbs and swallows a fleeing whale. A thin streak meets the sea on the horizon and a white plume swells up. The harpoon drives through its back in a blue-white flash, lightning runs along its body, and the barbed tip punches out of its belly into the rock, which bursts apart. The cable stays attached the whole time, rising to the surface. A mountain of water swells from the sea. The dying leviathan erupts, rolls over between the ships and falls, and a wall of water takes the fleet. ANIME QUALITY STANDARD Every frame must look as if it was drawn by professional anime animators and painted by master background artists for a finished theatrical film. Archer: A massive, heavy anime mecha with sculpted overlapping armor plates, panel lines, bolts, markings and a faceted chest reactor that glows blue. Hands really grip the bow and string. The arrow never passes through the armor. Keep it on-model from every angle. Leviathan: Whale-like and colossal, always dwarfing the ships. Rough, dark grey-teal wet hide with barnacles and scars, a pale ribbed throat, a spined back, huge clawed flippers, and a cavernous maw with uneven teeth. A real bending body with weight, never a stiff model hanging on pillars of water. Whales: Real humpback anatomy with tail stock, big notched flukes and long curved flippers rooted in the body. Ships: Detailed container ships with corrugated multicolor containers, lashing bars and a white bridge tower. Line art: Confident, delicate, hand-inked anime line work with subtle variation in thickness and pressure. Coloring: Traditional anime cel coloring with clean color areas, hard-edged cool lavender-blue shadows, crisp highlights, and a bright, high-key, saturated palette. Never gloomy, grey or muddy, even in the darkest moments of the story. Backgrounds: Richly detailed, hand-painted anime backgrounds in a gouache style: towering white cumulus, a cobalt-to-turquoise sea at kilometer scale, a painted coast with a far town, Earth from orbit, a port city from the stratosphere. Underwater: Luminous cyan depth with god rays, a rippling surface seen from below, jagged canyon rock, silt and fish. Bright, not black. Lighting: Summer sun with colorful shadows, and a separate character key light so that nothing sinks into shade. Effects: Bold drawn anime FX on twos and threes. Sharp lightning with a white core, plasma trails, sheets of water pouring off the body, plumes, spray and a wall of water with real mass. Never particle mush or cotton-wool clouds. Animation: Authentic hand-drawn anime timing, with characters on twos, strong key poses, natural holds, and overlapping movement. Huge things move slowly and heavily. Nothing clips, slides or floats. Sound: An original epic score with ominous drones, brass and choir, near silence before the impact, then a colossal hit. Add a recurring whale-song motif, bow creak, charge whine, sonic boom, thunder and the sea, muffled underwater, all timed to the picture. Direction: Cinematic shots, macro close-ups against huge wide shots, thoughtful staging, and pacing that builds from quiet tension to a devastating climax. IT MUST NOT LOOK LIKE - 3D: No plastic materials, CGI shading, visible polygons, game-engine lighting, or computer-perfect perspective. - Blocky "Minecraft" shapes: No plain boxes, empty flat surfaces, or toy-like proportions. Every surface carries design detail. - SVG or vector art: No simple geometric shapes, perfect curves, uniform outlines, flat corporate illustration, or basic gradients. - Web animation: No sliding layers, constant bobbing, floating parts, smooth software easing, or puppet-like joint rotation. - Pasted-on elements: No 2D sprites floating in a 3D scene. - AI art: No warped shapes, melted details, flickering, or changing designs. - Non-anime art: No Western cartoon designs, realistic rendering, soft painterly shading on the characters, or generic digital illustration. - Amateur work: No stiff poses, empty backgrounds, muddy colors, clip art, placeholders, or unfinished details. You are free to change any part of the prompt, if it would result in better results. The result should feel enormous, terrifying and beautiful, a blockbuster in bright anime colors. Before finishing, inspect random frames as still images. If any frame does not look completely like real 2D anime, keep improving it. Do not stop until every frame could pass as a still from a theatrical anime film.

It's Walrus DAO's 4th birthday. Four years ago we launched Degen Divers, since then, we've worked with some great artists and released a ton of fun art NFTs on #Ergo#. ergo:native

好莱坞著名影星本·阿弗莱克（Ben Affleck）讲起 AI 来，居然头头是道，各种专业名词随手拈来。 在 GQ 这段访谈里，他从卷积神经网络、Transformer、张量，一路聊到反向传播、注意力层、感知机、推理，以及随机性计算和确定性计算的区别。中间还穿插着 Python、GPU、边缘检测、特征提取、训练数据标注。主持人听到一半忍不住打趣：谢谢你这样跟我讲，仿佛我真的听得懂。 他是怎么走到这一步的？ 按他自己的讲述，他从小就喜欢电脑。后来电影制作从胶片转向数字，他开始更深入地接触技术。在创办 Artists Equity 之前，他还经营过一家小型视觉特效公司，经常接触 GPU 和机器学习。 他学 AI，是从电影里的画面怎么处理开始的。一帧图像可以表示成张量，里面包含帧编号、每个像素的 RGB 数值等信息。通过卷积神经网络识别边缘、提取特征，就能判断窗台在哪里，帮助绿幕抠像、替换背景。他也会自己写 Python 脚本，不过按他自己的评价，编程水平挺烂的。 后来，特效团队告诉他，Google 和 OpenAI 正在用 Transformer 做一些很有意思的视频技术。他就直接联系这些公司，问能不能去看看。 第一次看到生成视频的效果，他受到的冲击很大，马上给马特·达蒙打电话，觉得他们的职业可能要完了。一度甚至想着，趁现在赶紧把还能拍的电影拍完。 但他没有停留在这个震撼里。接下来，他又和工程团队坐下来，研究训练数据、标注方式，以及这些系统到底能控制到什么程度。 他发现，生成出来的画面虽然逼真，但控制性和一致性仍然存在问题。你要求移动摄像机，模型有时会直接在画面里生成一台摄像机。对普通观众来说，一段惊艳的视频可能已经足够；但对电影制作来说，镜头、场景和连续性都得能够按照创作者的意图精确调整。 研究数据的过程中，他觉得技术团队忽略了一件事：电影拍摄本身就能产生大量有组织的原始数据。与网上抓取的压缩视频相比，专业拍摄流程里还有很多可以主动采集、组织和利用的信息。 于是，他拿出资金，另外成立了一家公司，花了好几个月构建自己的数据集。按他的描述，团队使用大量摄像机、激光雷达和定位设备，结合 Unreal 引擎与虚拟摄影棚，采集用于 AI 图像生成的数据。他随后招募了工程师、推理专家、数据架构师和视觉特效人员，把这件事继续做下去。 他特别在意训练数据的来源。拿同行的作品训练模型，再告诉对方模型的部分能力来自他们的创作，他觉得不舒服。他希望通过自己制作数据，减少对这类素材的依赖，也让电影人对使用这些工具更安心。 这家公司就是 InnerPositive，现在已经被 Netflix 收购。能看出来的是，他已经真正参与到数据、技术团队和产品用途的讨论里，而不只是为公司挂个名字。 他对当今最热门的话题 AI 安全也有自己的看法。他不认同 AI 必然变成“天网”、接管世界的说法，但很警惕把不可预测的系统放进涉及人生死的决策中，比如武器目标选择、自动安保。 他的理解是，我们过去习惯了像计算器一样工作的电脑，期待它每次都给出确定的结果。生成式 AI 的工作方式不同，输出具有随机性，不能因为它经常表现得很好，就把关键控制权交给它。 至于创作者对 AI 的恐惧，他觉得完全可以理解。一个人被告知自己的饭碗即将被取代，当然会担心。科技公司一边宣称要消灭大量工作，一边又期待大家热情拥抱自己的产品，这本身就很难说得通。 他还提出了一个判断未来预测的方法：先看看这个人过去的预测，究竟兑现了多少。宣布人类即将完蛋，很容易获得关注；真正把工具做得可控、让使用者放心，需要更具体的工作。 他还把 AI 安全落到了公司的责任上：如果你的产品伤害了别人，公司就得承担法律责任。在他看来，这是约束这场技术竞赛的重要力量。企业有动力不断提升能力、抢市场、赚更多钱，也必须为产品造成的后果负责。

Grammy-winning music duo Alicia Keys and Kaseem “Swizz Beatz” Dean — both TIME100 Art honorees — do not just create award-winning albums, but they also lead The Dean Collection, one of the most significant private collections of contemporary art by Black artists. At an event celebrating honorees in New York City Monday, Keys spoke on the energy and “magic” of a room full of artists.

Yesterday in Porto, I had the honour of interviewing the legendary Ai Weiwei about his book On Censorship, inside our permanent MANIFESTO library in partnership with Livraria Lello. What an honour to become a small part of this library’s rich history, and to have the opportunity to speak with one of the world’s most important artists and voices on censorship, freedom and the power of expression. A very special day, in a very special place. I can’t wait for you all to hear our conversation soon 📚🤞🏼 @service95