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🚨 HERE’S WHY BITCOIN IS NONSTOP DUMPING RIGHT NOW It's NOT because of the stock market AI bubble. It's NOT because of the rising inflation. It's NOT because of retail panic selling. Bitcoin no longer trades like a supply-and-demand asset. The crypto market has changed FOREVER. And what we're seeing right now is not ordinary price action. It’s not weak hands, changing sentiment, or retail panic. Something much bigger is happening behind the scenes, and most people haven't even realized it yet. By the time the crowd catches on, it'll already be too late. This didn't happen overnight. The structural shift has been developing for YEARS, and now we're seeing its consequences. Here's what nobody wants to acknowledge: The moment synthetic supply enters the equation, genuine scarcity loses its meaning. And once scarcity stops determining price, the market no longer discovers value through actual ownership. Price discovery moves into derivatives. That's precisely what has happened to Bitcoin. We've already witnessed this exact transformation in: → Gold → Silver → Oil → Equities Once derivatives became dominant, the underlying market structure changed permanently. Bitcoin is now facing the same reality. The entire original investment thesis was based on 2 fundamental principles: 1. A fixed maximum supply of 21 million BTC. 2. No rehypothecation. Both principles lost their effectiveness once Wall Street built an entire financial system around Bitcoin: → Cash-settled futures → Perpetual swaps → Options markets → ETFs → Prime broker lending → Wrapped BTC → Total return swaps And from that moment onward, synthetic Bitcoin exposure became effectively UNLIMITED. Not in actual blockchain supply. But in the financial markets that determine the price. Synthetic Float Ratio (SFR). This is the missing metric most people aren't aware of. When synthetic exposure exceeds the available real supply, price stops following demand. It becomes driven by positioning, hedging, and liquidation cascades. Wall Street now has the ability to manufacture Bitcoin exposure and trade against the underlying asset. Their playbook is really simple: 1. Manufacture unlimited paper BTC 2. Short aggressively into rallies 3. Trigger cascading liquidations 4. Cover positions at lower prices 5. Take profit and repeat This isn't simple speculation. It's financial inventory manufacturing. A single real BTC can simultaneously support: → An ETF share → A futures position → A perpetual swap → An options delta → A broker loan → A structured note ALL AT THE SAME TIME. 6 separate financial claims backed by one actual on-chain Bitcoin. That's NOT the decentralized free market people believe they're participating in. That's a new financial system operating under the Bitcoin name. You can ignore this reality, but you cannot escape its consequences. Quick reminder I’ve successfully called every major Bitcoin top and bottom for the past 10+ years. I publicly called the $17K BTC bottom in 2022 and the $126K top in 2025. Then, I called the $57K local bottom in 2026. Missed those calls? Don't worry, you'll get another chance soon. If you haven’t followed yet, now is the best time.

Multi-agent workflows have a scaling problem! The agents inside the same workflow rarely need the same amount of capacity at the same time. Say you have a planner, multiple research agents, and a final synthesis agent. The planner might finish quickly while requests start piling up behind one of the research agents. Scaling the entire application would add capacity everywhere, even though only one part of the workflow actually needs it. CanyonOS is an open-source, workflow-aware platform for multi-agent Python applications and the harness between your agents. Each agent runs as a separate service with its own queue and replica limits, so the busy research agent can get additional capacity while the planner and synthesis agents stay where they are. It also handles communication between the agents and gives you visibility into what happens across the workflow after a request comes in. CanyonOS records the path a request took, including the agents it called, parallel branches, model usage, execution time, and estimated model costs. And you don't need to add tracing decorators or a separate instrumentation SDK throughout your agent code. You still integrate the workflow with CanyonOS, but tracing is handled at the platform layer. I also ran a multi-agent portfolio analysis workflow through it with separate agents working across three stocks. A single request produced 10 traceable steps across the workflow, and I could see which agents ran, where the LLM calls happened, how long each stage took, and the estimated model cost. For multi-agent applications, being able to operate each agent independently while still seeing the complete execution path becomes much more useful as the workflow grows. CanyonOS is open source. Link to the GitHub repo in the comments!

Meet Gemini 4 Hydrogen: built for rapid coding, multimodal synthesis, and everyday workflows. It finishes tasks 2.5x faster than 3.8 Flash and surpasses Argon on the @ArtificialAnlys Intelligence Index.

Today, @llama_index is an applied research lab for document OCR and document work. Our core focus is investing in building the best-in-class models+ agents at the pareto frontier of accuracy/cost/latency for document processing. To do this, we have to invest in all the different components around the research infra stack: 1. Building comprehensive and fair benchmarks. Today we have ParseBench, ExtractBench, and ExtractBench Pro. They're already the most popular benchmarks in parsing and extraction today, and we're just getting started. 2. Investing in data curation and synthetic data generation. 3. Investing in compute and our training pipeline. This has produced models like OCRia-1. 4. Investing in agent optimization - tune everything around the models to further hillclimb cost and accuracy. 5. Closing the loop based on feedback - whether from active usage of our product, implicit/explicit customer feedback, or automated verification. We are accelerating our capabilities at a crazy pace. Today, our work is documented in our research page: There is a lot more to come!

We’re so impressed with the creative things builders are bringing to life with Gemini 4 Carbon. @GlitterPixely coded a meadow of 52,000 wildflowers and grass blades from scratch in CUDA and C++ with Carbon, synthesizing the wind to match every gust 🧵

Gemini 4 Carbon is now rolling out to developers, enterprises, scientists, and consumers! We built it to be a true partner for your hardest coding, research, and engineering workflows. Here's a fun example where Carbon read research papers on how songbirds sing and built an interactive model of a bird’s vocal organ…tuning the live audio physics against real bird recordings so you can hear 6 species sing or play it like a music synthesizer.

Our strongest frontier model, Gemini 4 Carbon, is now available. Built for deeply complex, long-horizon workflows that push a frontier model’s intelligence, Carbon delivers frontier performance in agentic workflows across complex knowledge work, software engineering and web development, cybersecurity, and scientific reasoning. While Gemini 4 Argon remains the ideal model for the majority of software engineering and knowledge work, Carbon steps in for your hardest tasks that push a model to its limits — from complex, multi-step debugging to open-ended scientific research. Available starting today: — Consumers: use it in the @GeminiApp and AI Mode in Search for Google AI Ultra subscribers — Developers and Enterprises: build via the API in @GoogleAIStudio and @AndroidStudio, Google @Antigravity for Google AI Ultra subscribers, and Gemini for business — Scientists and Researchers: apply for a chance to get 6 months free via @Antigravity — Cybersecurity Defenders: apply to join the Fairwind Program for access to Carbon for cyber Watch how Carbon brings reasoning and coding together, turning avian research into an interactive 3D simulation of a songbird’s vocal organ that synthesizes the sounds of six bird species live.

🚀 Summer 2027 Research Internship Opportunity! We are looking for passionate research interns to join the Deep Learning Group at Microsoft Research in Redmond for a 12-week internship. Our research interests include: 🤖 Computer-Use Agents: Building general-purpose agents that operate across coding, command-line (CLI), and graphical user interfaces (GUI). 🧩 Environment, Task & Verifier Synthesis: Creating scalable ecosystems for agent training and evaluation. 🧠 Reinforcement Learning: Developing scalable RL methods to advance agent capabilities. 🔄 Recursive Self-Improvement: Exploring how agents can continuously improve their own capabilities and learning processes. Who we're looking for: 🎓 PhD students with strong research backgrounds and a passion for advancing agentic AI. 💡 Experience with LLMs, VLMs, reinforcement learning, or agentic systems is a plus. 📄 A strong research track record, demonstrated through publications or impactful projects, is highly valued. If you're excited about these directions, feel free to reach out with your CV and research interests at qianhuiwu@microsoft.com!

Fable 5.2 is crazy creative. I’ve made music my whole life and used to be a film composer. So I vibe coded my dream ambient DAW, at night, in about a week. Ableton Push support, multiple mics, effects, a synth, and an agent inside that composes with me. I asked for birds in Lydian and it played birds in Lydian. I feel supported by this model. It augments me, and the whole point is that I play more music. If you’re a filmmaker or a designer or you use any professional piece of software, go make your own version that is yours.

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.