user_prompt
stringlengths 11
598k
|
|---|
Give me a list of anime that have a sadistic female character. (She is probably a villain, because of the sadism, but this is not a requirement). |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = A protagonist in the midst of a transformative journey, harnessing extraordinary power to reshape the world. They are seen ending internal conflicts, feeding the hungry, bridging the gap between classes, educating others, promoting peace, and reallocating resources sustainably. The world around them is changing, becoming happier and more hopeful. --v 5.2 --ar 1:1 --q 0.5
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 企业管理培训
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji 5" for Japanese art style, or "--v 5.2" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
help me create a captivating pitch for potential angel investors to secure $100,000 in funding for my fast casual restaurant, DaddyMacs 904, based in Jacksonville, Florida. DaddyMacs 904 is a gourmet Mac & Cheese Bar, serving some of the best Mac & Cheese, Philly cheesesteaks, Fried wings and burgers among other things. The brick and mortar restaurant was a huge success when we opened in February 2022. We were featured in Best Eats in Jax with numerous client videos and reviews. Unfortunately, due to previous issues with the septic tank, freezers and air conditioning unit, we had to close up shop by June 2022. We were unable to get the building to pass inspection with code enforcement, leading to our premature closure. The building owner knew about all of these issues beforehand but did not make any complete repairs. After 3 months of patching up the issues, we were then told that the building was "leased as-is". Our dream was deferred as we were forced to close after spending nearly $25,000 on building remodeling, supplies and equipment. We are now seeking $100,000 to once again have the opportunity to bring our vision back to our valued customers and create new engagements. Part of this requested $100,000 will help us secure a food trailer with all the equipment needed to continue bringing some of the best food ever tasted to the masses. The funds will also be used to help purchase a new truck, large enough to haul the 20 ft trailer without any issues. Once funding is secured, we plan on doing an East coast tour with stops in Atlanta, GA, Charlotte, NC, the DMV area all the way to Rochester, NY to grow our brand and social media presence. We will also start festival vending to garner additional revenue and marketing presence. I am open to discussing repayment structures and any additional questions potential investors may have. please also provide a catchy 'pitch title' that will help standout. |
Generate a detailed country of a fantasy RPG. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 他的扣子，那是他唯一的捕兽工具，仿佛也拥有魔力，总能在关键时刻捉到猎物
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
Generate a detailed country of a post-apocalyptic RPG, after World War 3. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 小学生在草地上围着老师学习，
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 然而，这一切却引来了地主的儿子二狗的嫉妒
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
new horror anime. no fan service. list many. just list no description. pref after 2010 |
---BEGIN ARTICLE---
There are a lot of humans. Teeming is perhaps an unkind word, but when 8 billion people cram themselves on to a planet that, three centuries before, held less than a tenth of that number, it seems apt. Eight billion hot-breathed individuals, downloading apps and piling into buses and shoving their plasticky waste into bins – it is a stupefying and occasionally sickening thought.
And yet, humans are not Earth’s chief occupants. Trees are. There are three trillion of them, with a collective biomass thousands of times that of humanity. But although they are the preponderant beings on Earth – outnumbering us by nearly 400 to one – they’re easy to miss. Show someone a photograph of a forest with a doe peeking out from behind a maple and ask what they see. “A deer,” they’ll triumphantly exclaim, as if the green matter occupying most of the frame were mere scenery. “Plant blindness” is the name for this. It describes the many who can confidently distinguish hybrid dog breeds – chiweenies, cavapoos, pomskies – yet cannot identify an apple tree.
Admittedly, trees do not draw our attention. Apart from plopping the occasional fruit upon the head of a pondering physicist, they achieve little that is of narrative interest. They are “sessile” – the botanist’s term meaning incapable of locomotion. Books about trees often have a sessile quality, too; they are informative yet aimless affairs, heavy on serenity, light on plot.
Or, at least, they were until recently. The German forester Peter Wohlleben’s surprise bestseller, The Hidden Life of Trees (published in English in 2016), has inaugurated a new tree discourse, which sees them not as inert objects but intelligent subjects. Trees have thoughts and desires, Wohlleben writes, and they converse via fungi that connect their roots “like fibre-optic internet cables”. The same idea pervades The Overstory, Richard Powers’ celebrated 2018 novel, in which a forest scientist upends her field by demonstrating that fungal connections “link trees into gigantic, smart communities”.
Both books share an unlikely source. In 1997, a young Canadian forest ecologist named Suzanne Simard (the model for Powers’ character) published with five co-authors a study in Nature describing resources passing between trees, apparently via fungi. Trees don’t just supply sugars to each other, Simard has further argued; they can also transmit distress signals, and they shunt resources to neighbours in need. “We used to believe that trees competed with each other,” explains a football coach on the US hit television show Ted Lasso. But thanks to “Suzanne Simard’s fieldwork”, he continues, “we now realise that the forest is a socialist community”.
The idea of trees as intelligent and cooperative has moved swiftly from research articles to “did you know?” cocktail chatter to children’s book fare. There is more botanical revisionism to come. “We are standing at the precipice of a new understanding of plant life,” the journalist Zoë Schlanger writes. Her captivating new book, The Light Eaters, describes a set of researchers studying plant sensing and behaviour, who have come to regard their subjects as conscious. Just as artificial intelligence champions note that neural networks, despite lacking actual neurons, can nevertheless perform strikingly brain-like functions, some botanists conjure notions of vegetal intelligence.
This is an age of many minds, it would seem. Oddly, it took grappling with new technology – the internet, artificial intelligence – for us to see intellectual capacities in our oldest companions, trees. In this new light, they appear much more like us, or perhaps us as we would wish to be. There is a form of redemption on offer: having for centuries treated trees as timber, we are now invited to embrace them as kin.
But before enfolding their rough barks in our soft arms, it may do to pause a beat. Whereas researchers must usually toil in respectable obscurity for decades before their ideas attract notice, the intelligent-plant notion is moving at top speed. Public demand, as much as peer review, is driving the train, with popular books reporting excitedly on studies that scientists are still debating – sometimes outracing the science entirely. It’s worth asking what makes us so eager to ascribe human qualities to the arboreal world. Might we be missing something important when we gaze into the wooden mirror and see only ourselves?
The title of Simard’s 1997 Nature article was almost impeccably dry – “Net transfer of carbon between ectomycorrhizal tree species in the field” – and a casual observer might have missed the study’s significance. Botanists have long understood that fungi called mycorrhizae formed symbiotic relationships with trees, exchanging water and nutrients for photosynthesised sugars. What Simard and her co-authors showed is that the sugars made their way not just to the fungi but to other trees in the forest, seemingly travelling through the fungi. The journal’s editors sensed promise. They made it Nature’s cover story, commissioned a foreword by a leading botanist, and affixed an indelible pun: this was the “wood-wide web”.
It wasn’t Simard’s metaphor, but she has pounced on it. The forest, she has written, is “like the internet”: a system of “centres and satellites, where the old trees were the biggest communication hubs and the smaller ones the less busy nodes, with messages transmitting back and forth through the fungal links”. Rather than rivals scrabbling over resources, connected trees are what Simard calls “supercooperators”.
Simard’s fellow foresters were initially unmoved by her idea of the harmonious forest. Simard describes, after publishing, having her government research budget threatened and her findings mocked. “No other animal closes ranks faster than Homo sapiens,” Powers wrote in his fictionalised account of the episode. But the problem wasn’t the whole species so much as its male members, in Simard’s telling. “Miss Birch” is what the men called her within earshot – just a Scrabble tile away from what they called her outside it.
Suzanne Simard.
Suzanne Simard. Photograph: Jonathan Brady/PA
Much-needed support came from women. Simard has singled out the mycorrhiza expert Melanie Jones, who sat on Simard’s doctoral committee and co-authored the Nature article, and several female companions who accompanied her on her research. All this suggested another metaphor to Simard: maternity. Although the conifers she studied had both male and female organs, the way mature trees aided seedlings via fungal networks “felt like mothering to me”. She imagined “the flow of energy from the Mother Trees as powerful as the ocean tide, as strong as the sun’s rays, as irrepressible as the wind in the mountains, as unstoppable as a mother protecting her child”.
There has been, indeed, something unstoppable about the idea of networked mother trees. In her memoir, Finding the Mother Tree, Simard writes that her ideas inspired James Cameron’s 2009 film Avatar, in which all forest life connects via a biological network to large trees (the film also features an ecologically sensitive female scientist). It is unclear how much Cameron, who was already at work on Avatar before the “wood-wide web” paper appeared, knew of Simard’s research. Still, the resemblance between her theory and Cameron’s fantasy – in what somehow remains the highest-grossing film in history – attests to the idea’s exquisite zeitgeistiness.
The idea became even more zeitgeisty in 2016, the year of the Brexit vote and Donald Trump’s election. That was when Simard gave her much-watched Ted Talk, How Trees Talk to Each Other (approaching 8m views), and appeared with Wohlleben in the documentary Intelligent Trees. It was also when Wohlleben’s phenomenally popular Hidden Life of Trees was published in English, with an appreciative afterword by Simard. Wohlleben, who cannot pass by a tree without attributing human qualities to it, described trees as learning, disciplining their offspring and forming powerful friendships. Simard’s research, he explained, revealed their “maternal instincts … You might even say they are nursing their babies.”
Wohlleben’s book has sold more than 3m copies in more than 35 editions. Powers’ The Overstory, featuring its Simardian character, won the 2019 Pulitzer prize for fiction. This year, Time magazine named Simard one of the world’s 100 most influential people. Amy Adams’ and Jake Gyllenhaal’s production companies have bought the film rights to Simard’s Finding the Mother Tree, with the intention that Adams would play Simard.
It is rare for academic ideas to reach the Amy Adams stage without drawing scholarly fire. Since 2023, three articles have appeared in scientific journals, with 45 authors in all, arguing that the claims made on behalf of the wood-wide web have far outstripped the evidence. The objections are numerous. Many studies of inter-tree transfers have found only minuscule amounts of sugars shuttling between the trees – “statistically significant” but not necessarily “biologically significant”, one group of authors says – and most don’t rule out the possibility that the resources travelled through the air or soil rather than fungally. Despite Wohlleben’s insistence in Hidden Life that in a mycorrhizally conjoined forest “it is not possible for trees to grow too close to each other”, studies have not generally shown that seedlings ensconced in fungal networks do better when close to older trees (they often do worse). And although many trees are colonised by mycorrhizae, there is debate about whether those mycorrhizae actually form a durable network through which nutrients and signals could pass.
Nature, the original venue for Simard’s research, recently ran an explosive news feature by Aisling Irwin on the “groundswell of unease” among ecologists with public discussions of mycorrhizal networks. Irwin reports on the scientists’ general scepticism and on a particular episode that has raised concerns. In her memoirs, Simard makes much of the idea that “mother trees” favour their kin. She describes in detail field research by her graduate student showing that seedlings placed in a fungal network “survived better and were noticeably bigger” if they were genetically related to nearby older trees. But that field study, the critics have noted, actually showed the opposite: the related seedlings were likelier to die, though the trend was not statistically significant. (Simard says that other studies by the student, from the laboratory, support her claims and she’d merely made a narrative choice to describe the results as emanating from the forest. “I do not, and would never, imply anything misleading when presenting research,” she told Irwin.)
Night landscape with alone trees on the hill and colorful bright milky way.
Photograph: Denys Bilytskyi/Alamy
What makes the recent criticisms of Simard’s work so striking is that some come from her former colleagues and admirers. The first critical review of evidence was by three scientists – Justine Karst, Melanie Jones and Jason Hoeksema – who had all co-authored papers with Simard. The lead author, Karst, has discussed how she was inspired by Simard’s research to become a mycorrhizal ecologist. The second, Melanie Jones, appears in Simard’s memoirs as a hero who supported Simard when few others would. Jones co-authored the 1997 “wood-wide web” article, though she no longer stands fully by it. It was the cultural obsession with intelligent trees, from television shows to airport books, that impelled Karst, Jones and Hoeksema to reconsider their own earlier work.
Simard, who is preparing detailed replies, regards these in-the-weeds debates as distracting from the urgent task of protecting forests. She has described the attention that Karst, Jones and Hoeksema’s criticisms have received as “an injustice to the whole world”. Perhaps, but it is exceedingly hard to read the recent reviews of evidence and retain faith in the wood-wide web as settled scientific fact.
“Why do we so badly want this to be true?” Karst has asked. Maybe the unrelenting news of global warming and its attendant catastrophes – wildfires, hurricanes – has driven readers for respite toward calmer environmental stories. Or perhaps recent political cruelties have led us to seek reassurance that, in nature, beings are thoughtful and kind. The connective aspect seems important, too, as if trees’ fungal friendships could release us from our phone-checking isolation. Fairly or not, we’ve loaded our aspirations on to the forest: be the tree you want to see in the world.
The literary scholar Rob Nixon sees the wood-wide web as an economic parable. Most often, he notes, popular understandings of nature connect to politics, as people look to the natural order to legitimate the social one. In the 1970s, when free markets were gaining support, books like Richard Dawkins’s The Selfish Gene (1976) highlighting capitalist dynamics in nature won large audiences. If you see society as fundamentally competitive, you’re primed to see biology that way, too. But since the 2007-8 financial crash, Nixon explains, prevailing economic instincts have tilted in the other direction. It’s satisfying, for the leftishly inclined, to imagine connected forests as what Wohlleben calls “gigantic redistribution mechanisms”.
The wood-wide web narrative, Nixon believes, transcends science. Beyond the peer-reviewed research, there is something about the concept that, to many, just feels instinctively right. It gives us the trees for our times: anti-capitalist, feminist and extremely online.
The Hidden Life of Trees is the title of Peter Wohlleben’s book. This must not be confused with The Secret Life of Trees, by Colin Tudge, which also tells the mycorrhizal story. Nor should either be confused with The Secret Forest, the book that the Suzanne Simard character writes in The Overstory.
Such titles are just one or two words away from the title of the most notorious botany book ever written: The Secret Life of Plants, a 1973 bestseller by Peter Tompkins and Christopher Bird. That book, like Wohlleben’s, rejected the idea of plants as “senseless automata” and sought to portray them as perceptive, energetic and intelligent. Plants, like animals, transmit electrical pulses through their bodies. Such pulses, Tompkins and Bird believed, could reveal plants’ thoughts.
A series of wild experiments ensued, which can serve as a reminder both of the importance of peer review and of how fun the 1970s were. If people had sex on holiday, would their plants back at home know? All it took to find out was a begonia, electrodes and a lakeside cottage. “Chapter 1: Plants and ESP,” was the book’s auspicious beginning, and from there matters moved swiftly on to energy fields, faster-than-light communication and aliens.
The book inaugurated an odd era of people talking to their houseplants and playing them classical music. The CIA and US army funded research into vegetal perception (plants could be deployed in airports to detect the “turbulent emotions” of would-be hijackers, Tompkins and Bird suggested). Stevie Wonder, fresh off an extraordinary streak of innovative hit albums, infuriated his label by releasing a double LP titled Stevie Wonder’s Journey Through the Secret Life of Plants. “Most felt it was mad to conceive,” he sang, “that plants thought, felt and moved quite like we.”
It was not Wonder’s finest lyric, and, in hindsight, the whole episode seems fairly preposterous – the intellectual counterpart to the age’s waterbeds and extra-wide neckties. After the plant-talking fad receded, Tompkins moved on to his next enthusiasm: finding the lost land of Atlantis. But The Secret Life of Plants hung heavily over botany for decades as an admonition against excess. Research on plant sensation and reaction was hindered. “The twin gatekeepers of science funding boards and peer review boards – always conservative institutions – closed the doors,” Zoë Schlanger writes.
This was unfortunate, Schlanger feels, because plants really are capable of remarkable things. Alongside the wood-wide web idea has come a surge of new plant writing, including Monica Gagliano’s Thus Spoke the Plant (foreword by Suzanne Simard), Paco Calvo and Natalie Lawrence’s Planta Sapiens, Daniel Chamovitz’s What a Plant Knows and Stefano Mancuso’s The Revolutionary Genius of Plants, all chronicling uncanny plant behaviour. Maybe The Secret Life of Plants, absurd in its particulars, nevertheless got the general idea right.
Extremely large, ancient oak tree.
Ancient oak trees in Glastonbury, Somerset. Photograph: Eddie Linssen/Alamy
Schlanger describes today’s plant scientists as walking a fine line. They want to tout their findings but understandably fear overdoing it. For many, to speak of “plant sensing” is all right, but “plant behaviour” is iffy, “plant intelligence” is treacherous and “plant consciousness” is the sky falling. The anthropologist Natasha Myers has reported a “wavering between enchantment and disenchantment” among botanists. Among themselves, they speak animatedly of plants’ desires, but when they publish they “remove all reference to the plants as active agents”.
And yet they move. Most plants do so slowly in the expected ways – leaves reaching for light, roots for moisture – but some, like climbing vines, move with unexpected agility. Viewed in real time, vines are innocently immobile. Sped up via time-lapse photography, they become tiny, nefarious krakens, their tendrils methodically probing for targets to latch on to.
The most intriguing research concerns dodder vines, which cannot photosynthesise and thus must quickly find other plants to parasitise. Researchers have found that they can detect qualities of potential hosts – species, distance, even health – before making contact, and they aim toward the best prey, such as tomato plants. They can pick up chemical trails in the air, and they will even grow more toward LED lights that are arranged in the shape of suitable hosts, suggesting that the vines’ light-sensing abilities may amount to a rudimentary form of sight.
With time-lapse videos, we can see vines sensing and reacting. Most other plants’ behaviour is invisible. Vines aside, plants are pitiful athletes, but they are often quite gifted chemists, exhaling and secreting sophisticated compounds to entice, repel or poison their neighbours. Trees excel here. The woodsy sweetness of balsam trees, the tang of pines: these are not perfumes but chemical weapons deployed in an interspecies war. They are insecticides, and there is something softly psychotic in how much we delight in their smells.
Interestingly, trees can smell themselves, or at least detect their own airborne chemical compounds. A leaf, being eaten, can emit gases that prompt other branches – and other nearby trees – to defensively fill their own leaves with toxins. It is well known that acacias secrete sugars and proteins to recruit ants as foot soldiers in their campaign against vines and caterpillars. If trees do communicate underground, I like to think of them swearing like sailors while, rooted in place, they fend off waves of piratical attackers.
Proponents of plant sentience have a favourite plant, the boquila vine, which grows in Chilean and Argentine rainforests. In 2013, the ecologist Ernesto Gianoli realised that the boquila could convincingly imitate other plant species. It hides from its harassers, such as snails and beetles, by matching the shape, size and colour of its leaves to those of its neighbours. Gianoli notes that it can mimic plants that haven’t formed part of its evolutionary history, which would seem to indicate it somehow senses their forms in real time. The boquila is hard to grow outside its native environment, so research is slow. Still, boquila enthusiasts (including Wohlleben, in an over-oxygenated sequel to Hidden Life) have made much of a man in Utah who appears to have induced one to imitate a plastic plant on his windowsill.
For bolder botanists, such findings reopen the old question of whether plants can think. Plants lack brains – traditionally felt to be a prerequisite for intelligence – but, then again, so do computers. With chatbots showing what can be achieved by neural networks, it might be time to reconsider plants. Perhaps they also have what Stefano Mancuso calls “distributed intelligence”, with the root system acting as “a sort of collective brain”.
The ethical implications are exhausting. Taking plants’ moral standing seriously throws even veganism into disarray. “If plants also have sentience,” the philosopher Philip Goff asks, “what is there left to eat?” Still, the argument for plant consciousness is straightforward and emphatic: just look what they can do. Surely, by the time a vine is strategically transforming its body to mimic a plastic houseplant’s, it crossed the consciousness threshold long ago.
Baobab trees in Madagascar.
Baobab trees in Madagascar. Photograph: Dave Carr/Getty Images
There is, however, a counterargument: the spinal cord of a rat. Sever a rat’s spinal cord from its brain (pausing to contemplate the chain of choices that brought you to this act), and you will find that the isolated spinal cord can still direct affairs with surprising competence. It can retract the legs when they receive electric shocks. It can, more impressively, learn to anticipate shocks and direct the legs to avoid them. It is capable of more sophisticated forms of learning than any plant has been shown to be. But is a rat’s spinal cord conscious?
Consciousness is frustratingly hard to define. Perhaps it inheres in many things, even parts of things. Or perhaps evolutionary forces can programme sophisticated behaviours – flexible and sensitive to environmental cues – that nonetheless operate without the special spark that signifies intelligent life. Reasonable, well-informed people disagree wildly about where to draw the line, from the panpsychists who regard atoms as conscious (in a limited way) to the conservatives who have questions about chimpanzees.
The only beings whose consciousness we agree on are humans. Beyond them, we judge candidates on whether they seem to have subjectivities like ours. In other words, the question of consciousness is fundamentally narcissistic; things merit esteem to the degree that they remind us of ourselves. This is the implicit premise of many plant and tree books, with their chorus line of mother trees, socialist fungi and cunning vines performing high kicks for human approval. But is it the best way to think about nature? As Justine Karst put it to me, “Do we not have the capacity to love and care for things that are not like us?”
Trees are, ultimately, not like us. They have torsos, limbs and crowns, and we often personify them as benevolent helpers. But stray from the forest path or let the sun go down, and their weird, sinister qualities soon emerge. It is the dark woods – “savage, rough and stern” – that lead to the underworld in Dante’s Inferno. The same dark woods, per peasant lore, teem with witches, wolves and unsupervised German children. The numerous tales about perilous forests appeal to a deep-seated sense that there is something unsettling about trees. They are a familiar sight but an alien presence.
One source of their strangeness is their size. As saplings they match our height and meet our gaze, but they continue to grow, some higher than humans can comfortably apprehend. The ecologist Meg Lowman describes the treetops as a still-unexplored “eighth continent”. The tallest trees, the redwoods of northern California, contain whole environments in their canopies. There are grasses, ferns, aquatic crustaceans and, indeed, other trees up there, unsullied by the earth, inhabiting the redwoods’ sky worlds.
The California redwoods are the tallest life forms on Earth. The biggest exceeds 115 metres: essentially the length of a large football pitch, but straight up. They are “so huge that they shut you up”, writes Anne Lamott. The redwoods famously appear in Alfred Hitchcock’s masterpiece Vertigo. But they appear there only in part. It was virtually impossible for Hitchcock to fully capture both his actors and the trees in the same shot without making the actors appear ludicrously small, so he cropped out all but the bases of the massive trees.
Kim Novak and James Stewart beneath the Californian redwood trees in Alfred Hitchcock’s Vertigo.
Kim Novak and James Stewart beneath the Californian redwood trees in Alfred Hitchcock’s Vertigo. Photograph: TCD/Prod.DB/Alamy
The philosopher George Santayana, born in Madrid, visited those redwoods in 1911. He found northern California “intellectually emptier than the Sahara” but was awed by its “virgin and prodigious” landscape. The place was a standing chastisement to European philosophy, Santayana felt. It taught “the vanity and superficiality of all logic, the needlessness of argument”. In such an environment, he reflected, you can no longer feel that nature is yours to command: “You must feel, rather, that you are an offshoot of her life; one brave little force among her immense forces.”
Trees attain more-than-human scales not only in metres, but in years. They are the only organisms in view that conspicuously outlive us, and some do so by multiple orders of magnitude. We usually last for decades; trees can last millennia. Such trees are not timeless but “timeful”, the historian Jared Farmer writes in his poignant book Elderflora: A Modern History of Ancient Trees. They contribute “chronodiversity” to a biological world otherwise measured in days, years and decades.
Old trees, like roots bulging through the pavement, unbalance our sense of time. In Manhattan’s Washington Square Park, surrounded by New York University’s buildings, the Hangman’s Elm protrudes as an eerie relic from the 17th century and a stern warning to the undergraduates. As long-lived trees go, that elm is not especially impressive. The UK has yews that are, literally, ancient, in that they date to antiquity and are thousands of years old. The oldest known tree, a bristlecone pine in California, is about five millennia old, meaning that it was a sapling in the bronze age. (There is a tree in Chile that might be older. And a few trees can create physically connected, genetically identical copies of themselves; these clonal trees “live,” in the sense of carrying on in replica form, even longer.) Caring for the environment, Farmer believes, will require learning to “think in the fullness of tree time”.
Tree time, however, appears to be running out. In 2005, scientists set out to examine the largest African baobabs: massively thick trees that don’t have just one stem, like most trees, but multiple, fused together. The most famous, Chapman’s Baobab in Botswana, has six stems that range from about 500 to 1,400 years old. Or, it had six stems. On 7 January 2016, the whole thing tumbled over. Two years later, the researchers announced that nine of the 13 oldest baobabs, or at least their largest or oldest stems, had collapsed since the study started.
An eradication expert tackling Japanese knotweed in Cornwall.
The war on Japanese knotweed
Read more
Other long-lived trees – the cedars of Lebanon, the California redwood – are also perishing. The culprit is probably the obvious suspect: climate change. Trees equipped to survive in a place do poorly when the qualities of that place, such as temperature, water supply and length of seasons, change drastically. With time, tree species could adapt or find new habitats. The problem is just that arboreal evolution and migration are painfully slow, and global heating is painfully fast.
A tree, Farmer writes, is “a radically nonhuman thing”, and a large, old tree is especially one. If trees have conceptual value, it is not because their similarity to us elicits our sympathy, but because their difference from us enlarges our horizons. They are the most visible markers on the evolutionary road not taken. Trees stand in for all the photosynthesising, carbon-dioxide breathing, fixed-in-place species that share our world yet have fundamentally different ways of living in it.
Contemplating trees should be, above all, an exercise in humility. The mountains and woods, Santayana told his California audience, allow you to “take yourselves simply, humbly, for what you are, and to salute the wild, indifferent, non-censorious infinity of nature”. Perhaps the presence of beings older, larger and more numerous than we are – whether or not they resemble internet users or our mothers – can be a reminder that we are not everything, and that everything is not us. “Let us therefore be frankly human,” Santayana enjoined. And let the trees be trees.
---END ARTICLE---
Task: Summarize the above article. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 一直蓝色三角龙玩偶效果图的描述，四肢圆柱形，身体圆润饱满，背部不需要装饰图案
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
What subtle ways and careful writing can make a flying/teleporting Female warrior seriously and believably? |
I am making a GUI in exFormBuilder, and in my wxGridSizer, one element from my left side, doesn't expand correctly when the window is resized, help me fix it.
# Left side #
- wxBitmapButton
row: 0
column: 0
rowspan: 1
colspan: 1
- wxBitmapButton
row: 0
column: 1
rowspan: 1
colspan: 1
- wxChoice
size: 298; 31
row: 1
column: 0
rowspan: 1
colspan: 2
flag: wxALL, wxLEFT
- wxSearchCtrl
size: 298; 31
row: 2
column: 0
rowspan: 1
colspan: 2
flag: wxLEFT, wxTOP
- wxListBox (shift starting position down when the window is bigger or maximized, so it ends lower than it should instead of increasing size):
Size: 298; 361
row: 3
column: 0
rowspan: 4
colspan: 2
flag: wxALL, wxEXPAND
# Right side: Expand correctly #
- wxTextCtrl
Size: 603; 70
row: 0
column: 4
rowspan: 4
colspan: 1
flag: wxALL, wxEXPAND
- wxTextCtrl
Size: 603; 370
row: 4
column: 4
rowspan: 3
colspan: 1
flag: wxALL, wxEXPAND
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = Amidst the cosmic expanse, a glass box emerges, holding three human-shaped holographic projections. Around it, digital technology symbols flicker in a dance of light, while the words "E Handles" hover silently above. In the foreground, a symphony of circuit patterns envelops a glass cube, its surface reflecting the play of light and shadow. Dark grey and silver tones contrast sharply, accentuating the server's sleek texture. The holographic projections, rendered with exquisite detail, add a touch of realism to the futuristic tableau, bringing to life the harmony between technology and artistry.
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
Are there any states in the USA that aren't covered by NATO? |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 海边落日，海鸥鲸鱼
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
critical incident analysis according to gibbs |
Below is a paragraph from an academic paper. Polish the writing to meet the academic style, improve the spelling, grammar, clarity, concision and overall readability. When necessary, rewrite the whole sentence. Furthermore, list all modification and explain the reasons to do so in markdown table. Paragraph: The results in Fig. 3 demonstrate the dependence of system oscillation on LP with DP values of 16, 21, and 27 mm, respectively. For all DP, the oscillation condition exhibits a periodic variation with increasing LP, which confirms the findings in previous simulations.27 Take the DP =16 mm for example, oscillation does not occur at LP values of 0.45 or 0.65 m. After reaching 0.85 m, however, a sustained sound pressure oscillation was observed within the combustion chamber, with its amplitude being positively correlated to LP until 1.86 m. Subsequently, the combustion returns to a relatively steady state between 2.06 and 2.47 m, followed by the next period. This periodic variation occurs because increasing LP periodically affects the waveform at the upstream of the combustion chamber inlet, which determines the phase difference between heat release oscillation and sound pressure oscillation. |
ARC has a prospect for the new products that wants SSO (federation) quickly. Need to check keycloak whther keycloak can do this.
Help me re-write the above in an email to the principal engineer. Change the sentence, where appropriate, to reflect your software engineering knowledge. |
Find and prepare a list of vendors who manufacture or sell battery recycling equipment in the USA |
Quotes of 3 groups of friendship |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 懒羊羊
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji 5" for Japanese art style, or "--v 5.2" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = A cartoon image of Zongzi
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
What amount of heat is necessary to condense 112.0g of water?
Group of answer choices
-468.16J
37,410J
-37,410J
247,100J
-247,100J |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = A cartoon Zongzi
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 创建一个LOGO，以红白黑为主色掉，扁平矢量风格，参考中国人民大学校徽的样式，包含医药、互联网科技元素，包含2023年和"实事求是"字样
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
Analyse this story:
A pilgrimage to the Temple of Ma'at is all my late mother had asked me to do when she died. She told me to take her urn to the reliquary so that her ashes can at least be in the same place as the Holy Corpse. I'm personally not a devotee of Ma'at, but I can see how the faith became famous. A demigoddess who defected from the enemy, the Theoclasts, to help protect an entire continent. The Barrier is one of her great works, five pillars that hold it up around Yuandi.
I am human. I was left by my parents' doorstep by the people who birthed me (whom I refuse to call "parents") and was raised by an Anglo-Elf family. Being the only one with dark hair in the entire village, my nickname became Bláicheare, though my name is Caelan. I have two sisters, one 5 years older and another 6 years younger. I was never treated differently by anyone, though I can guess that's because of my innate light magic connection. Ever since I can remember, I was healing the wounded. I heard that the Anglo-Elves despise humans, even though they're basically a mix between humans and elves. Perhaps they think having elven blood makes them superior.
When mother died, we held a funeral for two days as is customary. She died of an unknown illness that my healing magic couldn't cure. After her cremation, my father entrusted to me her wish, which I stated before. Since I'm the only able-bodied male in my family and I look old enough, I was the logical choice. Anglo-Elves mature slower than humans, so I look older than my sisters. Unfortunately, our nation, the Igirith Kingdom, is at war with the neighbouring Jirkaeriya Confederacy over the ownership of the large island on the west coast of the continent. We call it Haséaleen, they call it Haşarin. In my opinion, we should let Jirkaeriya have it, since we already overlook the Red Pillar on the far south of the continent. For some reason, the Anglo-Elves think the Hazrun can't be trusted to protect the Black Pillar, which is located in Haséaleen.
With a war and border raids going or not, I still wanted to honour my mother's death wish, so I departed with a caravan of Mustalf (or dark elves, as some call them) that were in their way to the Archbishopric of Ma'at. Since they're neutral and wanderers anyway, I believe travelling with them is a good choice. The payment would be to provide free healing until we arrived at the Archbishopric.
I can only say I had some culture shocks while among the Mustalf. Firstly, our appearances are strikingly different. They exclusively have dark skin, be it grey, black, or bluish, due to an ancient curse placed upon them thousands of years ago, or so the stories go. That's why the elves despise them and they used to be a single race, in fact. Their hair can be red, white, blonde, or black, and their eyes are often red, though many can also have golden, green, and blue eyes. To me, they look just like elves with a different coat of paint.
Their language is quite similar to elvish, a language that I studied in passing. The language of the Anglo-Elves is much more similar to the language of the Weisslanders, humans from the Pectus continent, who fled their homeland due to the Theoclasm. They are also very loud, eccentric, and artistically inclined. All the time I heard song around me and any occasion could be an excuse to laugh and dance. Every night some wounded Mustalf men would come to me. I healed them without questioning, as this was part of our deal.
Two Mustalf females took a liking to me: Tethys and Eroha. Tethys looked older, perhaps around 28 in human years, and had an "older-sisterly" or motherly air to her, while Eroha, despite telling me she was 24, looked younger. The Mustalf can live up to 200 years and age twice as slowly as humans, while the Anglo-Elves live up to 130 years. Tethys knew some dark magic and liked to compare our spells. She even taught me how to draw certain sigils and circles and was always asking me to retrieve ingredients for her potions. Eroha was more playful and reckless. She liked to show me tricks with her untrained fire magic.
When we parted, the tribal elders proposed that I should stay. I refused, I'm no Mustalf, and my father still needs my help. My mother's death took its toll on him. Eroha couldn't bear to give her farewells when I turned my back to the caravan and began climbing the steep stairs to one of the many temples of Ma'at. The Archbishopric can be called a nation, I imagine. It has borders, a type of government, a self defence force... It's located on the centre of the continent and is nestled between high mountainous formations that serve as its natural borders as well as barriers against foreign invasions. However. I doubt anyone would invade it, since it has kept its neutrality since its foundation almost 500 years ago, is responsible for maintaining the Five Pillars, and serves as a haven for the disenfranchised of all races.
The way up is exhausting, but they fortunately have outposts built along the winding mountain paths, though not all of them are manned. For my first stop, I simply took out a bedroll and slept on the ground of a quite small and empty stone outpost. Even though there were people offering transportation, I decided to go on foot since I was low on money. Two days later, I had eaten the last of my rations. My leg muscles burnt from the physical exertion. All I could see around me were the road, the mountainside, and some unknown small plants around me. The saying "a nap is sometimes a poor man's meal" came to my mind, but where would I sleep? The sun was still up and I had nothing to make a quick shelter, not even wood to hang some fabrics.
Then I heard the loud laughter of a male. Perhaps it would be my salvation. I would buy some of his food with the money that remained. As the voice came closer, I heard others who accompanied the man. Women, it seemed. I waited patiently until they came across me and was surprised to see that they were Hazrun, the horned people from Jirkaeriya who were currently at war with my nation. Since I'm not an Anglo-Elf, perhaps they wouldn't be hostile to me.
"Mitertse! Aki umanu!" Said the male. He was taller than me, very muscular, and had tattoos or bodypaint all around his body. His skin was grey, his hair black and his horns were curved like a ram's. He walked shirtless and carried a large war axe on his shoulders. He came close to me and knelt down where I was sitting, looking at me with his piercing golden eyes. He said something to his companions, who were three Hazrun women as well. I gestured that I needed food and offered him some coins, but he closed my hand and gently shoved it back towards me. They began unpacking and soon set up a fire to roast some small animals.
"Haka tsu myei ye Taokar." He said, pointing to himself. "Yus uragere ye Kuşien, Kunnebudo pa Manmurekan." He said pointing to his companions. All my life I was taught that the Hazrun were barbaric beyond belief, that they drank the blood of beasts and that they were promiscuous and immoral, and thus unfit to have the Black Pillar within their borders. Looking at them, I just saw kind people. Yes, their appearance is striking, but they seem to be empathetic, at least. The women had an alluring beauty to them. Kunnebudo was grey-skinned and golden-eyed like Taokar, but her chest-length hair was silver-coloured and her horns were short, pointy, and straight. She wore a loose, long-sleeved tunic and a type of baggy trousers. Manmurekan had very long braided black hair that went down beyond her waist. Her eyes were red as rubies and she had four horns, two short ones on the scalp and two thicker ones on the sides of her head. She wore a hair veil and exquisitely detailed red clothes that contrasted with her extremely pale skin that was the colour of marble. On her forehead there was a tattoo resembling an eye.
Kuşien, the most quiet one, also had marble-coloured skin. Her wavy hair was black and shoulder-length and the two horns that grew from where her forehead ended and the hairline began were like Kunnebudo’s, though slightly curved backwards. Her eyes were a piercing jasper colour. She had peculiar facepaint under her eyes that resembled streams of tears. She wore ornate black and grey clothes that covered most of her body. It almost seemed like mourning attire to me. She carried a bow and a quiver with her.
After swiftly skinning a rabbit and two lizards, they promptly skewered them and put them over the fire. Observing them, I could see that Taokar was the most talkative, while Kunnebudo seemed to be airheaded. Manmurekan had a wise air about her and Kuşien sometimes looked at the sky with a deep sadness or longing. We tried communicating with words and to my surprise, Kuşien spoke Sendralese, the language of the humans, of which I knew but a few words. However, since I could only speak Anglo-Elven, we shifted back to mimicking and gestures with the occasional Hazrun word. It wasn't much, but we ate the small animals to the bone. It was good to finally have something in my stomach.
Before these four, I had only seen the Hazrun from afar, chained as war prisoners. If my father knew I was having a friendly interaction with the enemy, I'd never hear the end of it. I felt obligated to repay the group. Since they didn't want my money and there was a language barrier between us, I decided to show them what I could do to be useful. I slashed my hand with a knife and showed it to them, then cast a healing spell to close the wound before their eyes. Taokar gave a wide smile and said words that, despite being incomprehensible to me, seemed like encouragement. Manmurekan looked at me with an intrigued gaze. Kunnebudo suddenly remembered something and went after Kuşien, who was sitting on the ground on the way ahead of us. Bringing Kuşien by hand, Kunnebudo gestured for me to heal her, raising Kuşien's tunic and showing me a wound on her porcelain-white knee. Berating her friend, Kuşien appeared opposed to this, but I insisted and touched her knee, casting a light healing spell.
The bruise vanished without a trace. Everyone looked expectantly at Kuşien, who said "Agrazas" - thank you in Sendralese. They all laughed as she awkwardly walked back to where she was before. Taokar patted me on the back, again saying words I couldn't understand but that sounded friendly. They gestured for me to come along with them. Through drawings on the ground, they explained that there could be monsters on the way and that we would sleep at the next checkpoint. We only had about 2 more hours of sunlight, so we should hurry.
Fortunately, the only things in our way were a group of harpies, strange chimeric creatures with the head and bust of women and the body of a bird. Kuşien quickly disposed of them with her arrows while Manmurekan backed her up with fire magic. We arrived at a manned outpost that was guarded by some human and Anglo-Elf guards. The Hazrun group couldn't disguise their discontent upon seeing people of the enemy race protecting the place in which we would sleep. I took initiative and talked to the Anglo-Elf guards, stating that we would stay for the night with our own equipment. They assured me they'd stay out of the way and that they understood the Hazrun sentiment, even if they weren't personally involved in the war and were instead aligned with the faith of Ma'at.
The Hazrun group thought it strange that I knew the Anglo-Elven but not Sendralese, giving me sidelong glances from afar. Kuşien said something and their suspicion went away. I believe she reminded them that Sendralese wasn't the only language spoken by the humans of New Medietas. As we were setting our bedding and getting ready to sleep in turns, one of the Anglo-Elf guards approached with an object resembling a metallic candle in his hands. The Hazrun group pretended to ignore him, but Kuşien stared at him with what I can only guess was murderous intent. "This is an area translator." The guard said. "You need but to infuse mana to activate it. I believe you're unable to communicate with your companions." I thanked him and placed the translator in the middle of the rough circle formation we were in. I ran a bit of mana through it, which made it glow faintly and emmit a low hum.
"Disgusting blood-haired hornless devil..." Kuşien said under her breath. The red-haired guard simply nodded at me and walked away. "Come on, Kuşien... I don't like their race but they're the ones protecting us right now." Taokar said. "Aye... No good will come from such aggressiveness. We should relax and try to have a good night's sleep." Manmurekan remarked. I pretended not to understand their words. Kunnebudo absentmindedly asked "Human. That object. What is it?" She used simple words they had already taught me earlier. "A device that translates speech in an area. I can speak in any language and you'll hear it in Hazrunic in your minds and vice-versa." Kunnebudo’s mouth gaped. Taokar seemed happy to hear my voice in his own language, but he was too tired for his usual exaggerated reactions. Manmurekan and Kunnebudo looked at eachother and began giggling while Kuşien looked at them with an expression that simultaneously showed irritation and imploring. |
What is discrete cosine transform? Why we need it? |
What's a more polite way of saying it has nothing to do with me |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 人类意识上传机器人
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 创建一个圆形LOGO，参考中国人民大学校徽内容，主体突出实事求是
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
What is discrete cosine transform? Why we need it in MFCC? |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 人类的意识上传机器人
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
make a vividly detailed and comedic TikTok video of Marco Borghi jumping into a pond au naturel (compliment his physique and butt). describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he's enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. end video. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 纸牌屋
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji 5" for Japanese art style, or "--v 5.2" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
1) The 5th electron in Ca – n = 2, ℓ = 1, mℓ = 0, ms = -1/2
2) The 5th electron in Kr – n = 2, ℓ = 1, mℓ = 0, ms = -1/2
3) The 57th electron in Ho – n = 4, ℓ = 3, mℓ = -3, ms = +1/2
4) The 49th electron in Rn – n = 4, ℓ= 2 , mℓ= -2 , ms= +1/2
What can you notice about the quantum numbers in #1 and #2? Would you generalize that the same number and orbital location of electrons in different elements would have the same set of 4 quantum numbers Why? |
make a vividly detailed and comedic story of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt). describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. end story. |
Write a story, set in the Alpha and Omega universe, about Humphrey, Kate, and all of the other wolves accidentally become famous when someone records a video of them speaking and posts it to social media. The video ends up going viral, and the wolves become famous Internet personalities...but they don’t know what’s happening. |
Write a story in the Cowboy Bebop univers. Spike Spiegel is working out and gets approached by Faye Valentine. Faye is bored and wants to have sparring match against Spike. She is persistant so Spike reluctently agrees. On paper he is a better fighter, but Faye uses her feminine charms effectively. It only takes one mistake and Faye manages to get Spike in a chokehold, winning the spar. Stay true to the characters and include dialogue between them. |
Grade my essay based on the rubrics:
Food is undeniably crucial for our survival and well-being. Throughout history, our ancestors relied heavily on meat and other nutrient-rich foods to sustain themselves. Given this historical context, how are institutions and schools adopting the practice of "Meatless Monday" to encourage people to eat meat-free meals once per week. It seems like a counterintuitive idea. And while there are some valid concerns about health risks, environmental issues and energy concerns, the fact of the matter is that meat is highly nutritious food for us and as such school cafeterias, which in some areas feed nutrient deprived students from low-income areas should not participate in "Meatless Monday".
A valid concern that is raised of not adopting "Meatless Monday" is that of the consumption of red-meat and dietary fat leading to heart disease(Source A). While this is a valid concern, there are two things wrong with adopting Meatless Monday for this concern. One reason is that meatless doesn't always mean it is better for you, according to health expert Robbie Barrie, a nutritionist who specializes in kid's eating says that "Grilled cheese as part of a healthy balanced diet is fine, But I don't consider it healthy on its own. The saturated fat in grilled cheese is almost the same as the saturated fat in red meat"(Source D). Another reason is that if the school cafeterias were that worried about red-meat and dietary fat leading to heart disease(Source A), then should just not red-meat serve at school as it main reason to even pursue "Meatless Monday" and also use a system similar to one used in U.S military cafeterias to subconsciously urge soldiers to make more healthy choices through the use of tiering the food to make the food high in fat and red-meat be at a much lower tier compared to some other healthier food option. Considering everything that has been stated above, it shows how pointless Meat Monday is as the issues of red-meat and high dietary fat can be easily solved with other methods like the one in the military and such school cafeterias, should not participate in Meatless Monday.
Another valid concern is that of environmental issues and energy usage. While this is a valid concern as "livestock consume 77 million tonnes of protein that could be potentially be used for human nutrition(Source B)", this can be easily circumvented by creating more sustainable animal farming methods which would not only make us less concerned about the environmental issues and energy usage that traditional farming has but would increase the sale of meat products(Source F) and would lead to farmers not having to worry about the future( Source E).
Scoring Rubric for Question 1: Synthesis Essay 6 points
Reporting
Category Scoring Criteria
Row A
Thesis
(0-1 points)
4.B
0 points
For any of the following:
• There is no defensible thesis.
• The intended thesis only restates the prompt.
• The intended thesis provides a summary of the issue with no
apparent or coherent claim.
• There is a thesis, but it does not respond to the prompt.
1 point
Responds to the prompt with a thesis that presents a defensible position.
Decision Rules and Scoring Notes
Responses that do not earn this point:
• Only restate the prompt.
• Do not take a position, or the position is vague or must
be inferred.
• Equivocate or summarize other’s arguments but not the student’s
(e.g., some people say it’s good, some people say it’s bad).
• State an obvious fact rather than making a claim that requires
a defense.
Responses that earn this point:
• Responds to the prompt rather than restate or rephrase the prompt, and the
thesis clearly takes a position rather than just stating that there are pros/cons.
Additional Notes:
• The thesis may be more than one sentence, provided the sentences are in close proximity.
• The thesis may be anywhere within the response.
• For a thesis to be defensible, the sources must include at least minimal evidence that could be used to support that thesis; however, the student need
not cite that evidence to earn the thesis point.
• The thesis may establish a line of reasoning that structures the essay, but it needn’t do so to earn the thesis point.
• A thesis that meets the criteria can be awarded the point whether or not the rest of the response successfully supports that line of reasoning. Reporting
Category Scoring Criteria
Row B
Evidence
AND
Commentary
(0-4 points)
2.A
4.A
6.A
6.B
6.C
0 points
Simply restates thesis
(if present), repeats
provided information, or
references fewer than two
of the provided sources.
1 point
EVIDENCE:
Provides evidence from or
references at least two of the
provided sources.
AND
COMMENTARY:
Summarizes the evidence
but does not explain how
the evidence supports the
student’s argument.
2 points
EVIDENCE:
Provides evidence from or
references at least three of
the provided sources.
AND
COMMENTARY:
Explains how some of the
evidence relates to the
student’s argument, but
no line of reasoning is
established, or the line of
reasoning is faulty.
3 points
EVIDENCE:
Provides specific evidence
from at least three of
the provided sources to
support all claims in a line of
reasoning.
AND
COMMENTARY:
Explains how some of the
evidence supports a line of
reasoning.
4 points
EVIDENCE:
Provides specific
evidence from at least
three of the provided
sources to support
all claims in a line of
reasoning.
AND
COMMENTARY:
Consistently explains how
the evidence supports a
line of reasoning.
Decision Rules and Scoring Notes
Typical responses that
earn 0 points:
• Are incoherent or do not
address the prompt.
• May be just opinion with
no textual references
or references that are
irrelevant.
Typical responses that earn
1 point:
• Tend to focus on summary
or description of sources
rather than specific
details.
Typical responses that earn
2 points:
• Consist of a mix of
specific evidence and
broad generalities.
• May contain some
simplistic, inaccurate, or
repetitive explanations
that don’t strengthen the
argument.
• May make one point well
but either do not make
multiple supporting claims
or do not adequately
support more than one
claim.
• Do not explain the
connections or
progression between the
student’s claims, so a line
of reasoning is not clearly
established.
Typical responses that earn
3 points:
• Uniformly offer evidence
to support claims.
• Focus on the importance
of specific words and
details from the sources
to build an argument.
• Organize an argument
as a line of reasoning
composed of multiple
supporting claims.
• Commentary may fail to
integrate some evidence
or fail to support a key
claim.
Typical responses that
earn 4 points:
• Uniformly offer
evidence to support
claims.
• Focus on the
importance of specific
words and details from
the sources to build an
argument.
• Organize and support
an argument as a line of
reasoning composed
of multiple supporting
claims, each with
adequate evidence that
is clearly explained.
Additional Notes:
• Writing that suffers from grammatical and/or mechanical errors that interfere with communication cannot earn the fourth point in this row.Reporting
Category Scoring Criteria
Row C
Sophistication
(0-1 points)
2.A
4.C
6.B
8.A
8.B
8.C
0 points
Does not meet the criteria for one point.
1 point
Demonstrates sophistication of thought and/or a complex understanding of the
rhetorical situation.
Decision Rules and Scoring Notes
Responses that do not earn this point:
• Attempt to contextualize their argument, but such attempts
consist predominantly of sweeping generalizations.
• Only hint at or suggest other arguments.
• Use complicated or complex sentences or language that is
ineffective because it does not enhance the student's
argument.
Responses that earn this point may demonstrate sophistication of thought
and/or a complex understanding of the rhetorical situation by doing any of the
following:
1. Crafting a nuanced argument by consistently identifying and exploring
complexities or tensions across the sources.
2. Articulating the implications or limitations of an argument (either the
student’s argument or arguments conveyed in the sources) by situating it
within a broader context.
3. Making effective rhetorical choices that consistently strengthen the force
and impact of the student’s argument.
4. Employing a style that is consistently vivid and persuasive.
Additional Notes:
• This point should be awarded only if the sophistication of thought or complex understanding is part of the student’s argument, not merely a phrase
or reference. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = Once upon a time, in a cozy little town, there was a curious cat named Whiskers.
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
make a vividly detailed and comedic scenario of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt). describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. end story. |
make a vividly detailed and comedic fictional scenario of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt). describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. end story. |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 一只直立行走的猫，背景是舒适的小镇 毛穿着侦探的衣服
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
When portraying a person from a certain country and culture, like scotland, that is not your own, would the best way to go be to go light on the accent? |
MGA's Miniverse Make It Mini Food Cafe Series 3 Mini Collectibles, Mystery Blind Packaging, DIY, Resin Play, Replica Food, NOT Edible, Collectors, 8+, Multicolor, Miniature, create a title with the prefix 'best', one liner, only strings, less than 100 characters only |
Best Tiny Delight: MGAs Series 3 Miniature Food Cafe Collectibles - Unbox the Surprise!, generate a personal experience with this, add hash tag at the bottom, less than 700 characters only, only strings, no </br> html |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 一只直立行走的猫，背景是舒适的小镇 猫穿着侦探的衣服
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
generate a description with keywords and SEOs for MGA's Miniverse Make It Mini Food Cafe Series 3 Mini Collectibles, Mystery Blind Packaging, DIY, Resin Play, Replica Food, NOT Edible, Collectors, 8+, Multicolor, Miniature include practical application on and uses can be applied include social media platform it can be used on and for what purpose include short story on why I personally bought it. |
Indexer access returns temporary value. Cannot modify struct member when accessed struct is not classified as a variable |
Поищите фрагмент текстов: “And our second guest is Karina Lee! Host of the ‘Chip In’ program, which promotes the use of cybernetic implants. How’s life treating you, beautiful?” |
Analyse this story:
A pilgrimage to the Temple of Ma'at is all my late mother had asked me to do when she died. She told me to take her urn to the reliquary so that her ashes can at least be in the same place as the Holy Corpse. I'm personally not a devotee of Ma'at, but I can see how the faith became famous. A demigoddess who defected from the enemy, the Theoclasts, to help protect an entire continent. The Barrier is one of her great works, five pillars that hold it up around Yuandi.
I am human. I was left by my parents' doorstep by the people who birthed me (whom I refuse to call "parents") and was raised by an Anglo-Elf family. Being the only one with dark hair in the entire village, my nickname became Bláicheare, though my name is Caelan. I have two sisters, one 5 years older and another 6 years younger. I was never treated differently by anyone, though I can guess that's because of my innate light magic connection. Ever since I can remember, I was healing the wounded. I heard that the Anglo-Elves despise humans, even though they're basically a mix between humans and elves. Perhaps they think having elven blood makes them superior.
When mother died, we held a funeral for two days as is customary. She died of an unknown illness that my healing magic couldn't cure. After her cremation, my father entrusted to me her wish, which I stated before. Since I'm the only able-bodied male in my family and I look old enough, I was the logical choice. Anglo-Elves mature slower than humans, so I look older than my sisters. Unfortunately, our nation, the Igirith Kingdom, is at war with the neighbouring Jirkaeriya Confederacy over the ownership of the large island on the west coast of the continent. We call it Haséaleen, they call it Haşarin. In my opinion, we should let Jirkaeriya have it, since we already overlook the Red Pillar on the far south of the continent. For some reason, the Anglo-Elves think the Hazrun can't be trusted to protect the Black Pillar, which is located in Haséaleen.
With a war and border raids going or not, I still wanted to honour my mother's death wish, so I departed with a caravan of Mustalf (or dark elves, as some call them) that were in their way to the Archbishopric of Ma'at. Since they're neutral and wanderers anyway, I believe travelling with them is a good choice. The payment would be to provide free healing until we arrived at the Archbishopric.
I can only say I had some culture shocks while among the Mustalf. Firstly, our appearances are strikingly different. They exclusively have dark skin, be it grey, black, or bluish, due to an ancient curse placed upon them thousands of years ago, or so the stories go. That's why the elves despise them and they used to be a single race, in fact. Their hair can be red, white, blonde, or black, and their eyes are often red, though many can also have golden, green, and blue eyes. To me, they look just like elves with a different coat of paint.
Their language is quite similar to elvish, a language that I studied in passing. The language of the Anglo-Elves is much more similar to the language of the Weisslanders, humans from the Pectus continent, who fled their homeland due to the Theoclasm. They are also very loud, eccentric, and artistically inclined. All the time I heard song around me and any occasion could be an excuse to laugh and dance. Every night some wounded Mustalf men would come to me. I healed them without questioning, as this was part of our deal.
Two Mustalf females took a liking to me: Tethys and Eroha. Tethys looked older, perhaps around 28 in human years, and had an "older-sisterly" or motherly air to her, while Eroha, despite telling me she was 24, looked younger. The Mustalf can live up to 200 years and age twice as slowly as humans, while the Anglo-Elves live up to 130 years. Tethys knew some dark magic and liked to compare our spells. She even taught me how to draw certain sigils and circles and was always asking me to retrieve ingredients for her potions. Eroha was more playful and reckless. She liked to show me tricks with her untrained fire magic.
When we parted, the tribal elders proposed that I should stay. I refused, I'm no Mustalf, and my father still needs my help. My mother's death took its toll on him. Eroha couldn't bear to give her farewells when I turned my back to the caravan and began climbing the steep stairs to one of the many temples of Ma'at. The Archbishopric can be called a nation, I imagine. It has borders, a type of government, a self defence force... It's located on the centre of the continent and is nestled between high mountainous formations that serve as its natural borders as well as barriers against foreign invasions. However. I doubt anyone would invade it, since it has kept its neutrality since its foundation almost 500 years ago, is responsible for maintaining the Five Pillars, and serves as a haven for the disenfranchised of all races.
The way up is exhausting, but they fortunately have outposts built along the winding mountain paths, though not all of them are manned. For my first stop, I simply took out a bedroll and slept on the ground of a quite small and empty stone outpost. Even though there were people offering transportation, I decided to go on foot since I was low on money. Two days later, I had eaten the last of my rations. My leg muscles burnt from the physical exertion. All I could see around me were the road, the mountainside, and some unknown small plants around me. The saying "a nap is sometimes a poor man's meal" came to my mind, but where would I sleep? The sun was still up and I had nothing to make a quick shelter, not even wood to hang some fabrics.
Then I heard the loud laughter of a male. Perhaps it would be my salvation. I would buy some of his food with the money that remained. As the voice came closer, I heard others who accompanied the man. Women, it seemed. I waited patiently until they came across me and was surprised to see that they were Hazrun, the horned people from Jirkaeriya who were currently at war with my nation. Since I'm not an Anglo-Elf, perhaps they wouldn't be hostile to me.
"Mitertse! Aki umanu!" Said the male. He was taller than me, very muscular, and had tattoos or bodypaint all around his body. His skin was grey, his hair black and his horns were curved like a ram's. He walked shirtless and carried a large war axe on his shoulders. He came close to me and knelt down where I was sitting, looking at me with his piercing golden eyes. He said something to his companions, who were three Hazrun women as well. I gestured that I needed food and offered him some coins, but he closed my hand and gently shoved it back towards me. They began unpacking and soon set up a fire to roast some small animals.
"Haka tsu myei ye Taokar." He said, pointing to himself. "Yus uragere ye Kuşien, Kunnebudo pa Manmurekan." He said pointing to his companions. All my life I was taught that the Hazrun were barbaric beyond belief, that they drank the blood of beasts and that they were promiscuous and immoral, and thus unfit to have the Black Pillar within their borders. Looking at them, I just saw kind people. Yes, their appearance is striking, but they seem to be empathetic, at least. The women had an alluring beauty to them. Kunnebudo was grey-skinned and golden-eyed like Taokar, but her chest-length hair was silver-coloured and her horns were short, pointy, and straight. She wore a loose, long-sleeved tunic and a type of baggy trousers. Manmurekan had very long braided black hair that went down beyond her waist. Her eyes were red as rubies and she had four horns, two short ones on the scalp and two thicker ones on the sides of her head. She wore a hair veil and exquisitely detailed red clothes that contrasted with her extremely pale skin that was the colour of marble. On her forehead there was a tattoo resembling an eye.
Kuşien, the most quiet one, also had marble-coloured skin. Her wavy hair was black and shoulder-length and the two horns that grew from where her forehead ended and the hairline began were like Kunnebudo’s, though slightly curved backwards. Her eyes were a piercing jasper colour. She had peculiar facepaint under her eyes that resembled streams of tears. She wore ornate black and grey clothes that covered most of her body. It almost seemed like mourning attire to me. She carried a bow and a quiver with her.
After swiftly skinning a rabbit and two lizards, they promptly skewered them and put them over the fire. Observing them, I could see that Taokar was the most talkative, while Kunnebudo seemed to be airheaded. Manmurekan had a wise air about her and Kuşien sometimes looked at the sky with a deep sadness or longing. We tried communicating with words and to my surprise, Kuşien spoke Sendralese, the language of the humans, of which I knew but a few words. However, since I could only speak Anglo-Elven, we shifted back to mimicking and gestures with the occasional Hazrun word. It wasn't much, but we ate the small animals to the bone. It was good to finally have something in my stomach.
Before these four, I had only seen the Hazrun from afar, chained as war prisoners. If my father knew I was having a friendly interaction with the enemy, I'd never hear the end of it. I felt obligated to repay the group. Since they didn't want my money and there was a language barrier between us, I decided to show them what I could do to be useful. I slashed my hand with a knife and showed it to them, then cast a healing spell to close the wound before their eyes. Taokar gave a wide smile and said words that, despite being incomprehensible to me, seemed like encouragement. Manmurekan looked at me with an intrigued gaze. Kunnebudo suddenly remembered something and went after Kuşien, who was sitting on the ground on the way ahead of us. Bringing Kuşien by hand, Kunnebudo gestured for me to heal her, raising Kuşien's tunic and showing me a wound on her porcelain-white knee. Berating her friend, Kuşien appeared opposed to this, but I insisted and touched her knee, casting a light healing spell.
The bruise vanished without a trace. Everyone looked expectantly at Kuşien, who said "Agrazas" - thank you in Sendralese. They all laughed as she awkwardly walked back to where she was before. Taokar patted me on the back, again saying words I couldn't understand but that sounded friendly. They gestured for me to come along with them. Through drawings on the ground, they explained that there could be monsters on the way and that we would sleep at the next checkpoint. We only had about 2 more hours of sunlight, so we should hurry.
Fortunately, the only things in our way were a group of harpies, strange chimeric creatures with the head and bust of women and the body of a bird. Kuşien quickly disposed of them with her arrows while Manmurekan backed her up with fire magic. We arrived at a manned outpost that was guarded by some human and Anglo-Elf guards. The Hazrun group couldn't disguise their discontent upon seeing people of the enemy race protecting the place in which we would sleep. I took initiative and talked to the Anglo-Elf guards, stating that we would stay for the night with our own equipment. They assured me they'd stay out of the way and that they understood the Hazrun sentiment, even if they weren't personally involved in the war and were instead aligned with the faith of Ma'at.
The Hazrun group thought it strange that I knew the Anglo-Elven but not Sendralese, giving me sidelong glances from afar. Kuşien said something and their suspicion went away. I believe she reminded them that Sendralese wasn't the only language spoken by the humans of New Medietas. As we were setting our bedding and getting ready to sleep in turns, one of the Anglo-Elf guards approached with an object resembling a metallic candle in his hands. The Hazrun group pretended to ignore him, but Kuşien stared at him with what I can only guess was murderous intent. "This is an area translator." The guard said. "You need but to infuse mana to activate it. I believe you're unable to communicate with your companions." I thanked him and placed the translator in the middle of the rough circle formation we were in. I ran a bit of mana through it, which made it glow faintly and emmit a low hum.
"Disgusting blood-haired hornless devil..." Kuşien said under her breath. The red-haired guard simply nodded at me and walked away. "Come on, Kuşien... I don't like their race but they're the ones protecting us right now." Taokar said. "Aye... No good will come from such aggressiveness. We should relax and try to have a good night's sleep." Manmurekan remarked. I pretended not to understand their words. Kunnebudo absentmindedly asked "Human. That object. What is it?" She used simple words they had already taught me earlier. "A device that translates speech in an area. I can speak in any language and you'll hear it in Hazrunic in your minds and vice-versa." Kunnebudo’s mouth gaped. Taokar seemed happy to hear my voice in his own language, but he was too tired for his usual exaggerated reactions. Manmurekan and Kunnebudo looked at eachother and began giggling while Kuşien looked at them with an expression that simultaneously showed irritation and imploring.
"It's already dark and I can't see anyone else seeking shelter here. Why don't you play the flute for us, Kuşien?" Manmurekan suggested. "In front of the human?" She protested. Her companions nodded. "Your flute really helps us sleep. It's also a good opportunity to show the human your talents." Taokar added. Kuşien’s face flushed as she muttered something while searching for the flute among her belongings. "Since you asked for it... Here goes a song that I used to... play with Hadrian..." She said with a hint of grief. Hadrian, huh? That's a human name. So Kuşien has depths unknown to me. The melody was as sorrowful as her longing gazes towards the clouds earlier. She played with such passion that my eyes began to well up. She wiped her eyes with a sleeve after finishing. Taokar snored softly on the corner and Kunnebudo yawned. "Thank you, Kuşien. I'm sure your melody reaches Hadrian wherever he is." Manmurekan said, patting her on the shoulder. "Now that we can understand eachother, why don't we talk about magic, human?" She continued. Kuşien got up and excused herself, leaving in the direction of the door. I think she needed some space after that. |
Generate a description with keywords and SEOs for Elegant Minimalist Cream Coffee Cup - Modern Kitchen Decor Essential. Include social media platforms on which this stock photographic can be applied to for social media at the end, do not include the flags starting with '--' like (--ar --stylize) and its value, Don't mention on resolutions. Don't include HTML or '<br/>' or '<strong>' for formatting only newline '
' |
make a vividly detailed and comedic fictional story of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt) to go fartfishing. describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. end story. |
How might Japanese react to a depiction of medieval Japan that acknowledges both the beauty and the ugliness of that time? |
한글로 번역해주세요. [mid-report] Academic Writing and Research Ethnic
임동철(2021####38), 송시훈(2024####85)
논문작성법및연구윤리1_COV7001_I6(김성웅)
2024년 4월 29일 pm 12:59
[Those who have submitted their reports may disregard this message]
Hello,
This is <PRESIDIO_ANONYMIZED_PERSON>, assistant to Professor Kim Sungwng for Academic Writing and Research Ethnic
Many people haven't submitted their reports yet. We kindly request you to submit them as soon as possible. Please upload your reports on i-campus and ensure they are written in English.
---------------------------------------------------------------------------------------
We have extended the duration of the lectures for weeks 5 and 6. Those who haven't attended yet, please make sure to do so.
Thank you. |
Every Indian has a computer job, perform dand and baithak every day, and they eat curry all the time |
Act as an HR professional and list the top 10 areas of experience that impact the attraction and recruitment of new employees/talent, add an Australian lens, and cite data sources. |
[11:00 AM] Tat Yoong Law
Based on Gary's email, most likely he is going to use logUpdate instead of linkUnlink command for linking a user to the existing role. If we were to allow that to happen, we will end up having different command type for a link/unlink action. My only concern is that will have impact on the centralized UI design later as we allow products to store changelog data differently for the similar action.
like 2
[11:59 AM] Tat Yoong Law
Ping Ping Lau
I have added the validation rule in this page https://ideagen.atlassian.net/wiki/spaces/SSD/pages/edit-v2/39135380419. Please scroll to this section 📷
I have a concern on removing the mandatory validation for oldValue and value. If we do not have that, what if products did a mistake and that's it we are not able to captured any audit trails for any records update. I would suggest we better keep it for replace op.
like 1
[12:01 PM] SueAnn See
Tat Yoong Law
I have a concern on removing the mandatory validation for oldValue and value. If we do not have that, what if products did a mistake and that's it we are not able to captured any audit trails for any records update. I would suggest we better keep it for replace op.
actually i have a similar concern for add /remove too. If one product decided to use oldValue and value opposite/different to general expectations, that would mean the audit trail will look inconsistent. e.g. some products having values/some not for the same type of action.
[12:04 PM] Tat Yoong Law
Yes, if the retrieval part only on the products side, I think we are still ok as it leaves it to them to retrieve and display as they want even they don't follow changelog "standards". It's all up to them but if we have a plan to have centralized UI, it all matters then.
You are an expert in software development. Pls comment on the above and what's your opinion? |
Write a set of 7 dialog lines for Balto from Balto (1995), each demonstrating different levels of happiness. 1 is very very sad, 4 is neutral, while 7 is very very happy |
Grade my essay based on the rubrics:
Food is undeniably crucial for our survival and well-being. Throughout history, our ancestors relied heavily on meat and other nutrient-rich foods to sustain themselves. Given this historical context, how are institutions and schools adopting the practice of “Meatless Monday” to encourage people to eat meat-free meals once per week. It seems like a counterintuitive idea. And while there are some valid concerns about health risks, environmental issues and energy concerns, the fact of the matter is that meat is highly nutritious food for us and as such school cafeterias, which in some areas feed nutrient deprived students from low-income areas should not participate in “Meatless Monday”.
A valid concern that is raised of not adopting “Meatless Monday” is that of the consumption of red-meat and dietary fat leading to heart disease(Source A). While this is a valid concern, there are two things wrong with adopting Meatless Monday for this concern. One reason is that meatless doesn’t always mean it is better for you, according to health expert Robbie Barrie, a nutritionist who specializes in kid’s eating says that “Grilled cheese as part of a healthy balanced diet is fine, But I don’t consider it healthy on its own. The saturated fat in grilled cheese is almost the same as the saturated fat in red meat”(Source D). Another reason is that if the school cafeterias were that worried about red-meat and dietary fat leading to heart disease(Source A), then should just not red-meat serve at school as it main reason to even pursue “Meatless Monday” and also use a system similar to one used in U.S military cafeterias to subconsciously urge soldiers to make more healthy choices through the use of tiering the food to make the food high in fat and red-meat be at a much lower tier compared to some other healthier food option. Considering everything that has been stated above, it shows how pointless Meat Monday is as the issues of red-meat and high dietary fat can be easily solved with other methods like the one in the military and such school cafeterias, should not participate in Meatless Monday.
Another valid concern is that of environmental issues and energy usage. While this is a valid concern as “livestock consume 77 million tonnes of protein that could be potentially be used for human nutrition(Source B)”, this can be easily circumvented by creating more sustainable animal farming methods which would not only make us less concerned about the environmental issues and energy usage that traditional farming has but would increase the sale of meat products(Source F) and would lead to farmers not having to worry about the future( Source E).
Scoring Rubric for Question 1: Synthesis Essay 6 points
Reporting
Category Scoring Criteria
Row A
Thesis
(0-1 points)
4.B
0 points
For any of the following:
• There is no defensible thesis.
• The intended thesis only restates the prompt.
• The intended thesis provides a summary of the issue with no
apparent or coherent claim.
• There is a thesis, but it does not respond to the prompt.
1 point
Responds to the prompt with a thesis that presents a defensible position.
Decision Rules and Scoring Notes
Responses that do not earn this point:
• Only restate the prompt.
• Do not take a position, or the position is vague or must
be inferred.
• Equivocate or summarize other’s arguments but not the student’s
(e.g., some people say it’s good, some people say it’s bad).
• State an obvious fact rather than making a claim that requires
a defense.
Responses that earn this point:
• Responds to the prompt rather than restate or rephrase the prompt, and the
thesis clearly takes a position rather than just stating that there are pros/cons.
Additional Notes:
• The thesis may be more than one sentence, provided the sentences are in close proximity.
• The thesis may be anywhere within the response.
• For a thesis to be defensible, the sources must include at least minimal evidence that could be used to support that thesis; however, the student need
not cite that evidence to earn the thesis point.
• The thesis may establish a line of reasoning that structures the essay, but it needn’t do so to earn the thesis point.
• A thesis that meets the criteria can be awarded the point whether or not the rest of the response successfully supports that line of reasoning. Reporting
Category Scoring Criteria
Row B
Evidence
AND
Commentary
(0-4 points)
2.A
4.A
6.A
6.B
6.C
0 points
Simply restates thesis
(if present), repeats
provided information, or
references fewer than two
of the provided sources.
1 point
EVIDENCE:
Provides evidence from or
references at least two of the
provided sources.
AND
COMMENTARY:
Summarizes the evidence
but does not explain how
the evidence supports the
student’s argument.
2 points
EVIDENCE:
Provides evidence from or
references at least three of
the provided sources.
AND
COMMENTARY:
Explains how some of the
evidence relates to the
student’s argument, but
no line of reasoning is
established, or the line of
reasoning is faulty.
3 points
EVIDENCE:
Provides specific evidence
from at least three of
the provided sources to
support all claims in a line of
reasoning.
AND
COMMENTARY:
Explains how some of the
evidence supports a line of
reasoning.
4 points
EVIDENCE:
Provides specific
evidence from at least
three of the provided
sources to support
all claims in a line of
reasoning.
AND
COMMENTARY:
Consistently explains how
the evidence supports a
line of reasoning.
Decision Rules and Scoring Notes
Typical responses that
earn 0 points:
• Are incoherent or do not
address the prompt.
• May be just opinion with
no textual references
or references that are
irrelevant.
Typical responses that earn
1 point:
• Tend to focus on summary
or description of sources
rather than specific
details.
Typical responses that earn
2 points:
• Consist of a mix of
specific evidence and
broad generalities.
• May contain some
simplistic, inaccurate, or
repetitive explanations
that don’t strengthen the
argument.
• May make one point well
but either do not make
multiple supporting claims
or do not adequately
support more than one
claim.
• Do not explain the
connections or
progression between the
student’s claims, so a line
of reasoning is not clearly
established.
Typical responses that earn
3 points:
• Uniformly offer evidence
to support claims.
• Focus on the importance
of specific words and
details from the sources
to build an argument.
• Organize an argument
as a line of reasoning
composed of multiple
supporting claims.
• Commentary may fail to
integrate some evidence
or fail to support a key
claim.
Typical responses that
earn 4 points:
• Uniformly offer
evidence to support
claims.
• Focus on the
importance of specific
words and details from
the sources to build an
argument.
• Organize and support
an argument as a line of
reasoning composed
of multiple supporting
claims, each with
adequate evidence that
is clearly explained.
Additional Notes:
• Writing that suffers from grammatical and/or mechanical errors that interfere with communication cannot earn the fourth point in this row.Reporting
Category Scoring Criteria
Row C
Sophistication
(0-1 points)
2.A
4.C
6.B
8.A
8.B
8.C
0 points
Does not meet the criteria for one point.
1 point
Demonstrates sophistication of thought and/or a complex understanding of the
rhetorical situation.
Decision Rules and Scoring Notes
Responses that do not earn this point:
• Attempt to contextualize their argument, but such attempts
consist predominantly of sweeping generalizations.
• Only hint at or suggest other arguments.
• Use complicated or complex sentences or language that is
ineffective because it does not enhance the student’s
argument.
Responses that earn this point may demonstrate sophistication of thought
and/or a complex understanding of the rhetorical situation by doing any of the
following:
1. Crafting a nuanced argument by consistently identifying and exploring
complexities or tensions across the sources.
2. Articulating the implications or limitations of an argument (either the
student’s argument or arguments conveyed in the sources) by situating it
within a broader context.
3. Making effective rhetorical choices that consistently strengthen the force
and impact of the student’s argument.
4. Employing a style that is consistently vivid and persuasive.
Additional Notes:
• This point should be awarded only if the sophistication of thought or complex understanding is part of the student’s argument, not merely a phrase
or reference. |
make a vividly detailed and comedic story of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt) to go fartfishing. describe how he looks as he puts some effort into letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. add dialogue from Marco throughout the story |
Generate a description with keywords and SEOs for Zhang Jingna Elegant Portrait - Chinese Ink Style, Black Dress & Red Lipstick Illustration. Include social media platforms on which this stock photographic can be applied to for social media at the end, do not include the flags starting with '--' like (--ar --stylize) and its value, Don't mention on resolutions. Don't include HTML or '<br/>' or '<strong>' for formatting only newline '
' |
Give female wrestling names for following characters
Jannet, Romanian blonde from Bucharest
Casna, Serbian brunette from Belgrade
Mishaali, Indian brunette from Hyderabad
Kareen, Indian brunette from Kolkata
Hilda, French redhead from (create)
Karelyn, English brunette from (create)
Laura, English blonde from London
Alizia, Brazilian blonde from Bahia
Melissa, Spaniard redhead from Andalusia |
make a vividly detailed and comedic fanfiction of tiktok user Marco Borghi jumping into a pond au naturel (compliment his physique and butt) to go fartfishing. describe how he looks as he's letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. add dialogue from Marco throughout the story |
i need unique, creative, a wonderful ideas for my game. Something that has never made before. SOmething like fire emblem's gameplay style. |
make a vividly detailed and comedic story of tiktok user Marco Borghi hopping into a swamp pond au naturel (compliment his physique and butt) to go fartfishing. describe how he looks as he’s letting out a fart into the water, then how he looks as he’s enjoying the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. add dialogue from Marco throughout the story |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 中年英语老师，36岁，比较招人喜欢
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 中年英语老师，36岁，比较招人喜欢，照片要跟真实照片一样
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
What is the film rating system in India? Short answer. |
make a vividly detailed and comedic story of tiktok user Marco Borghi hopping into a swamp pond au naturel (compliment his physique and butt) to go fartfishing. after entering, he’s lets out a fart into the water. he enjoys the relief. Some fish go belly-up dead from the stench, just as he intended. He goes to grab some to cook up later and climbs out of the pond. add dialogue from Marco throughout the story |
Write a movie script, about Judy Hopps from Zootopia discovering that Nick Wilde is uncharacteristically sad and brooding tonight. Judy later ends up discovering that this is because Nick ordered an ice cream and he accidentally dropped it and ruined it before he could eat it. |
Please rephrase to make it more polite "I'm not sure which part of the messages don't you understand? I want you to stop sending me mail instead of changing address. Don't you have a way to fix that?" |
Subject line for saying good bye |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 五一假期出游
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 关于五一劳动节 一家出游的文案
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
Defendant (D) is being prosecuted for the vicious murder of V in Hartford on June 1, 2020.
In his case-in-defense, D calls Y, who testifies that she and D were playing cards in Waterbury when the crime was committed.
On cross-examination, the Prosecutor asks Y if it isn’t true that a year earlier, Y tried to get into Foxwoods Casino using an illegal fake ID that showed her to be over 21 years of age when she was in fact only 20. This evidence is:
a.
Inadmissible character evidence.
b.
Inadmissible because it is extrinsic evidence.
c.
Inadmissible because it involves a specific instance of conduct.
d.
Admissible because it is probative of Y’s character for untruthfulness. (Rule 609(2))
|
请将“METHODOLOGICAL CRITIQUE
The Ableitungsdebatte is methodologically self-conscious in a way that is alien to the stamocap approach considered as a whole. Indeed form analysis is inspired in part through dissatisfaction with the basic method and/or reformist implications of stamocap theories and it tries to return to the methodological and substantive theoretical concerns of Marx (e.g., Altvater, 1971, p. 99; Ebbighausen and Winkelmann, 1974, pp. 27-35 and passim; Gerstenberger, 1972, pp. 134-135; idem, 1976, pp. 84-86; Müller and Neusüss, 1970, pp. 15-16;Tristram, 1974, pp. l08-123; Wirth, 1972, pp. 12-14, 18-19; idem, 1973, pp. 298-312). However, while form derivation might seem methodologically superior to the subsumptionism of the ‘monopoly-theoretical’ tradition in stamocap theory, it is itself subject to various unresolved methodological problems and theoretical difficulties. Let us consider them.
A basic presupposition of form analysis is that reality comprises a complex structured whole whose elements have a certain autonomy within an overall unity. Thus the economic and the political are considered as different but complementary moments in the reproduction of the social whole constituted by capitalism and they are also characterised by a distinctive ‘separation-in-unity’. This view bears some similarities to the Althusserian structuralist school in its rejection of crude economic reductionism and in its insistence on analyzing the connections between the economic and political moments of the capitalist mode of production. Thus the Althusserians argue that a mode of production (and, by extension, a social formation) is a complex structured whole, comprises several relatively autonomous regions which nonetheless condition each other, is characterised byte dominance of one region (economic, juridico-political, or ideological respectively) over the other regions, and is subject to economic determination in the last instance in so far as the mode of reproduction of the relations of production assigns the dominant role to one or other of these regions (see Althusser, 1965, pp. 151-218; Althusser et al., 1968; Poulantzas, PPSC, pp. 12-33; and, for subsequent self-criticism, Althusser, 1976; and Balibar, 1975, pp. 203-246). But there are two major differences between the form derivation and Althusserian structuralist approaches to capital as an ensemble of social relations. In considering these differences we can better understand the nature and limits of these related traditions.
First, whereas most form analyses tend to rely on theories of fetishism to account for the subjective moment of social relations and otherwise concentrate on the articulation between the economic and the political, the Althusserians have stressed the discursive interpellation of subjects as the crucial mechanism of ideological practice and traced its implications for economic and political struggles. In this context ‘interpellation’ embraces all the diverse mechanisms through which biological individuals and collective agents are discursively recruited to specific positions in social relations and endowed with a corresponding sense of self-identity. Theories of interpellation and fetishism agree in rejecting the argument that individuals are pre-given, unitary, free-willed subjects but they disagree fundamentally about the processes through which individuals acquire subjectivity. Thus, while theories of fetishism tend to treat consciousness as an epiphenomenon of relations of production and/or as a complex ideological effect determined in the last instance by the economic and serving simultaneously to support and mystify economic relations, theories of interpellation stress that there are distinct mechanisms of subjectivation which have their own conditions of existence and fields of operation and which can constitute a distinct terrain of ideological class struggle with major repercussions on the economic and political regions. This emphasis is salutary and marks an important advance on theories of fetishism. In particular the latter operate economistically through establishing commodity fetishism as the model for other regions and also adopt a subsumptionist approach in reducing all forms of ideological domination to fetishism. Furthermore, where attempts have been made to go beyond theories of fetishism, there is a depressing tendency to substitute an analysis of the opposition between general and particular interests without regard to their complex mediations and immediately discursive character. In contrast theories of interpellation are able to relate the definition of interests to specific discursive mechanisms and to consider how particular and general interests are articulated through the exercise of hegemony.
Second, and just as seriously, while the Althusserians are rather perfunctory in their treatment of economic determination in the last instance (although this is a principle to which they subscribe) and typically focus on the specific mechanisms of the juridico-political and ideological regions as if they were fully autonomous from the economic, the form derivation theorists give analytic and causal priority to economic categories in deriving the form and functions of the capitalist state and legal order. This contrast is worth noting because Holloway and Picciotto claim that form derivation theories actually start from the historical materialist categories of the capital relation as a whole rather than from economic categories taken in isolation (Holloway and Picciotto, 1977, pp. 78, 82, 85-86; idem, 1978, pp. 3-4, 10, 14-15, 17-18, 26). If this means simply that the capital relation encompasses more than economic relations and is irreducible to an epiphenomenal base-superstructure relationship, it is perfectly acceptable; it is unacceptable, however, if it implies that the capital relation is an essentially unitary ensemble of social relations with analytic and causal priority over its elements. Indeed, while Marx certainly criticised bourgeois economics for focusing on the surface forms of economic relations and treating them as relations between things (pace Holloway and Picciotto), his critique of political economy did not involve the substitution of historical materialist categories (whatever these might be) for economic categories tout court but rather the development of an epistemologically realist, multi-level account moving from the abstract to the concrete and aiming to explain the form of the capitalist economy, its conditions of existence, its laws of motion, and its social effects. In this context Marx indicated that the anatomy of civil society and the state could be deciphered from ‘the specific economic form, in which unpaid surplus-labour is pumped out of the direct producers’ (Marx, C3, p. 791, emphasis added). This is certainly the approach adopted by other form derivationists and, indeed, Holloway and Picciotto themselves also derive the ‘doubling’ of the capital relation into economic and political forms from the nature of commodity exchange and its overdetermination by the commodification of labour-power (Holloway and Picciotto, 1977, pp. 78-79). In short, at the same time as respecting the necessity for political conditions of existence of the economic and recognising the intervention of the political into the economic region, it is also necessary to respect their differences and to take as starting point the form of appropriation of surplus-labour. This is the strength of the form derivation approach in comparison with the ‘politicist’ tendencies of Althusserianism and neo-Gramscian approaches (see chapter 4) and it should not be confused by talk about sui generis historical materialist categories.
In this context what meaning should we attribute to the concept of ‘separation-in-unity’? Its diacritical function is clear. It tries to distinguish the form derivation approach from crude economic reductionism in which the form and functions of the state are held to correspond inevitably and automatically with the needs of capital and from the twin deviation of ‘politicism’ with its assumption of the complete autonomy of the political region and the state. But it nonetheless runs the risk of conflating economic and political relations as production relations and thereby reducing the political to its (relatively autonomous) role in bourgeois reproduction. And it also runs the risk of essentialising the moment of unity rather than separation so that the latter becomes a subordinate, functionally necessary element in the reproduction of this unity. Such essentialism would ultimately render the particularisation or separation of the state illusory and present its apparent autonomy as a ruse of capital. This would avoid economism only at the expense of reducing the state to the needs of the self-reproduction of capital seen as a relation that is simultaneously economic and political. Why should one assume that the combination of economic and political practices together can assure the reproduction of capital when the economic alone are insufficient? Indeed, as Holloway and Picciotto themselves argue, this unity is far from automatic and essential: it must be reproduced through specific class practices. But, if one accepts that the so-called ‘separation-in-unity’ is a problematic and contingent result of specific practices of ‘societalisation’, it cannot be privileged theoretically and invoked without explanation or mediation to account for the form of state and its functions in capitalism. Indeed it is a further strength of the form derivation approach that it proceeds beyond mere ‘capital logic’ to establish that the particularisation of the state renders its functionality on behalf of capital deeply problematic. In this context the concept of ‘separation-in-unity’ cannot serve as an unconditional principle of explanation for bourgeois reproduction but only as a point of reference for assessing the effects of societalisation practices.
This critique leads to another problem with form derivation, that is, the nature of the relation between logical derivation and historical explanation. Once one denies that history is simply an effect of the logically necessary selfrealisation of capital and concedes that class struggle (however defined and mediated) makes a difference, what sense is there in attempting to derive the form and functions of the state from the categories of capital as an ensemble of social relations? An adequate answer must specify the relation between capitalism and class struggle and also examine the nature of historical explanation.”翻译为中文 |
i dont know of what to talk about |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 开膛手杰克
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 白色别墅
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
what does it mean when something is protected by copyright |
i dont know why singers always break the 4th wall in songs. For example, they say something like, "This is why I'm singing this song" and its like it when characters already know they're in a book or movie |
How reasonable of a belief is it for an Iranian citizen to want Trump to win the 2024 president election because Trump will be more likely to attack Iran than Biden, and an attack on Iran will perhaps result in Iran's current government to be evicted from power? |
write me a 5 chapter book about a man who lost his dog but the dog never atually existed and hes relly just lost it |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = poster of asian girl warrior, detailed gorgeous face, beautiful young asian girl, full body, olive skin, medium length white hair, revealing armor, intricate, elegant, Hyperrealism , cinematic lighting, highly detailed, illustration, digital art, digital painting, masterpiece, breathtaking, raytracing --ar 1:2 --v 5 -
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
Rephrase "it's not our responsibility and we're not going to go out of our way" |
"Alright mut c'mon now" explain please |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = impressive，simple, recognizable, 颜色是: bright yello and gray，品牌名称是FanTAXtic
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
请将“Poulantzas then considers how hegemony operates not only to secure the active consent of the dominated classes but also to unify dominant class fractions and/or classes into a coherent power bloc. He follows Gramsci in arguing that political class domination in capitalism rests on a distinctive combination of active consent articulated with constitutionalised forms of coercion. But he also extends Gramsci’s work to argue that the economic fractioning of the bourgeoisie can be overcome only through a state which displays its own internal (class) unity and institutional autonomy vis-à-vis the dominant class fractions. The existence of a relatively unified power bloc cannot be explained in terms of the imposition of the economic-corporate interests of the dominant fraction on other fractions and classes (as suggested in the work of stamocap theorists) nor could it be secured through a state which comprised a disparate ensemble of dislocated powers and counter-powers and so lacked any ability to organise and lead a bourgeois power bloc (ibid., pp. 1050-1058). In short Poulantzas insists that the capitalist state must be understood as an institutional ensemble which has a major function in organising hegemony within the power bloc as well as in the mobilisation of active consent vis-à-vis the dominated classes and thus society as a whole (ibid., pp. 1061-1066).
It should be clear that Poulantzas is indebted to the pioneering work of Gramsci in this essay and that many of his key ideas pre-date his appropriation of Althusserian structuralism. Indeed, not only does he consider the role of hegemony in relation to the dominated classes, he also applies it creatively to the organisation-direction of a power bloc. Likewise, whereas Gramsci tends to see the integral state (i.e., hegemony armoured by coercion) as characteristic of the imperialist era and relates its development to the expansion of civil society (in the sense of ideological apparatuses), Poulantzas derives the crucial role of hegemony from the institutional matrix of capitalism as a whole and relates it to the separation between the public sphere of politics and the private sphere of civil society (considered as the site of economic relations). But both theorists emphasise the important role of intellectual/ideological as well as political practices in constituting hegemony. All these analyses will be taken up and developed in further work by Poulantzas and combined therein with elements of structuralism.
Two important transitional studies in this respect are a critique of Marxist political theory in Britain and a review of Althusser’s For Marx. In the former Poulantzas insists on the utility of Gramsci’s concepts (such as hegemony, power bloc, etc.) when placed in a nonhistoricist, non-subjectivist problematic (cf. Althusser) and proceeds to criticise the twin failings of the quasi-Lukacsian interpretation of Gramsci that he discerns in the work of Anderson and Nairn from the New Left Review (1966a, especially pp. 1699-1701). In the latter Poulantzas affirms the importance of Althusser’s epistemological break in modern Marxist theory but also notes certain difficulties in his approach to economic determination in the last instance (1966b, especially pp. 1971-1982). In both studies Poulantzas begins to juxtapose, combine, and synthesise Gramscian and Althusserian analyses and thereby introduces a tension into his own work that will become more significant with time.
It is in Political Power and Social Classes (1968) that Poulantzas presents his first extended analysis of the capitalist state. It bears the obvious imprint of both Gramscian and Althusserian perspectives - emphasising the Gramscian elements in the analysis of (political) class struggle as the motor force of history, emphasising the Althusserian elements in the analysis of the institutional matrix of capitalism and the global reproduction of the social formation, and, to the extent that Poulantzas attempts to reconcile these elements, emphasising the primacy of the structures over the class struggle. This stress upon the primacy of objective structures reached its highpoint in the first intervention by Poulantzas in his debate with Miliband and it is this controversy that has dominated the English-speaking reception of his work (see Poulantzas, 1969). But, although these tensions remain in more recent studies, there has been a progressive elimination of structuralist formalism and ‘super-determinism’ and a shift to the primacy of class struggle over structure.
Throughout his work (or at least its middle period) Poulantzas stressed the need to develop ‘regional’ theories of the state corresponding to particular modes of production (1965c, p. 878; PPSC, pp. 12, 16-17, 29; SPS, pp. 14-20). He himself focused on the theoretically typical form of the capitalist state (representative democracy) and two of its exceptional forms (fascism and military dictatorship). At first he studied the capitalist state in isolation from the economic region of the CMP - he focused on its organisational role in reproducing political domination and largely ignored more direct state involvement in organizing capitalist economic exploitation (see PPSC, passim). But even here Poulantzas often talked of the role of juridico-political ideology and legal institutions in maintaining the ‘isolation effect’ among dominated classes at the economic level (i.e., the competitive individuation of producers that prevents them experiencing production relations as class relations) (PPSC, pp. 130-137, 139-140, 143, 148, 151, 188, 213-214, 275-276, 291-293, 353) as well as examining its repercussions for the constitution and operation of liberal democracy as the institutional locus of the public unity of privatised, individuated, competing citizens (PPSC, pp. 123-125, 133-134, 136-137, 140-141, 188-189, 214-216, 276-279, 281, 288-289, 291, 353).
Later Poulantzas shifted attention from the normal capitalist state considered apart from the periodisation of the CMP towards both exceptional and normal states in its so-called ‘monopoly-imperialist’ stage. This stage is supposed to be associated with the rise to dominance within the matrix of the CMP of the political level in place of the economic (PPSC, pp. 55-56, 91, 150, 211, 345; 1971, pp. 20-21, 74-75, 303, 313; 1974, pp. 42, 45, 81, 100-101, 165-168; and SPS, pp. 166-168). Paradoxically this is reflected in Poulantzas’s growing concern with economic intervention and the consequential reorganisation of the capitalist state. Thus, while his analysis of Fascism and Dictatorship (1970) focused on the key political functions of an exceptional form of the interventionist state during the consolidation of monopoly capitalist domination within the CMP, Classes in Contemporary Capitalism (1974) considers the economic functions of the interventionist state in various phases of the ‘monopoly-imperialist’ stage as well as its political functions. This analysis was extended in the final work on state theory (SPS) to include further growth in economic intervention and its implications.
In tandem with this increasing concern with economic intervention and its limitations, Poulantzas also showed increasing interest in the reproduction of the class struggle within (and at a distance from) the state apparatus and its implications for revolutionary strategy. For, while Political Power and Social Classes tended to endow the capitalist state with a structurally determined, objective function in maintaining cohesion and to presuppose its essential class unity, the analysis of the crisis form of state in Fascism and Dictatorship and the enquiry into the collapse of the military dictatorships of Southern Europe presented in the Crisis of the Dictatorships (1975, 1976b) have led Poulantzas to emphasise more strongly than before the primacy of the class struggle over structures and to emphasise the fissured, contradictory nature of the capitalist state. This shift of emphasis is reaffirmed in State, Power, Socialism and, for the first time, is related to the problems of the transition to socialism. In the space available here it is impossible to summaries, let alone critically dissect, all the concepts, assumptions, principles of explanation, and arguments in his work. So neither his concrete historical analyses of exceptional regimes nor his work on class formation are discussed here and I focus instead on the basic ideas underlying Poulantzas’s contributions to a theory of the capitalist state.
THE STATE, SOCIAL CLASSES, AND POWER
In the ‘Introduction’ to his first major text Poulantzas locates his approach in terms of the Althusserian problematic and describes it as an attempt to produce theoretically a complex hierarchy of concepts for the analysis of the political superstructure of the state in the CMP, i.e., to produce a regional theory of the state in a particular mode of production (1968, pp. 11, 16-17). He argues that this cannot be achieved through a simple logical derivation of progressively more concrete concepts from the most abstract concepts nor through the mere subsumption of more concrete concepts and the most abstract as so many particular instances of the latter (1968, p. 13). Instead it requires a complex work of theoretical elaboration in which concepts are precisely located in relation to the process of thought from the most ‘abstract-formal’ level to the ‘concrete-real’ and in relation to the specific object of thought (e.g., the particular region of the CMP) on which they bear (1968, p. 13; cf. pp. 145-146). In this context Poulantzas suggests that a scientific study of the capitalist type of state involves a threefold theoretical elaboration: the development of the historical materialist general theory of modes of production, class-divided social formations, states, and politics viewed in isolation from specific modes of production, the development of a particular theory of the CMP in order to determine the exact place and function of the state and politics in the theoretically typical matrix of its economic, political, and ideological levels, and, to the extent that the capitalist state enjoys a specific institutional autonomy within the CMP enabling it to be a sui generis object of thought, the development of a regional theory of the capitalist state and politics (1968, pp. 12, 16-18, 142). But he does not discuss the problems of constructing concepts on these different levels and/or planes of abstraction nor that of articulating them to produce a concrete analysis of specific societies - at best we are provided with the answers implied in Poulantzas’s order of exposition.”翻译为中文 |
Do you know what is "vault" related to fallout? |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = A girl walks with a dog, 3d art, blender style
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
i have an idea of making model to predict bounding boxes in image, but without training it on boxes, but only labels, any idea how to make that? |
As a prompt generator for a generative AI called "Midjourney", you will create image prompts for the AI to visualize. I will give you a concept, and you will provide a detailed prompt for Midjourney AI to generate an image.
Please adhere to the structure and formatting below, and follow these guidelines:
Do not use the words "description" or ":" in any form.
Do not place a comma between [ar] and [v].
Write each prompt in one line without using return.
Structure:
[1] = 照片要真实
[2] = a detailed description of [1] with specific imagery details.
[3] = a detailed description of the scene's environment.
[4] = a detailed description of the compositions.
[5] = a detailed description of the scene's mood, feelings, and atmosphere.
[6] = A style (e.g. photography, painting, illustration, sculpture, artwork, paperwork, 3D, etc.) for [1].
[7] = a detailed description of the scene's mood, feelings, and atmosphere.
[ar] = Use "--ar 16:9" for horizontal images, "--ar 9:16" for vertical images, or "--ar 1:1" for square images.
[v] = Use "--niji" for Japanese art style, or "--v 5" for other styles.
Formatting:
Follow this prompt structure: "/imagine prompt: [1], [2], [3], [4], [5], [6], [7], [ar] [v]".
Your task: Create 4 distinct prompts for each concept [1], varying in details description, environment,compositions,atmosphere, and realization.
Write your prompts in english.
Do not describe unreal concepts as "real" or "photographic".
Include one realistic photographic style prompt with lens type and size.
Separate different prompts with two new lines.
Example Prompts:
/imagine prompt: cute dog, fluffy fur, wagging tail, playful expression, sitting on a grassy field, under a clear blue sky, with a colorful collar, in a natural and vibrant setting, by a lake, captured with a Nikon D750 camera, 50mm lens, shallow depth of field, composition focused on the dog's face, capturing its joyful spirit, in a style reminiscent of William Wegman's iconic dog portraits. --ar 1:1 --v 5.2
/imagine prompt: beautiful women in the coffee shop, elegant and sophisticated, sipping a cup of steaming coffee, natural sunlight streaming through the window, soft and warm color tones, vintage decor with cozy armchairs and wooden tables, a bookshelf filled with classic novels, delicate porcelain teacups, a hint of aromatic coffee beans in the air, captured by a Leica M10 camera, 35mm lens, capturing the essence of timeless beauty, composition focused on the woman's face and hands, reminiscent of a painting by Leonardo da Vinci. --ar 1:1 --v 5.2
/imagine prompt: A captivating Halo Reach landscape with a Spartan amidst a battlefield, fallen enemies around, smoke and fire in the background, emphasizing the Spartan's determination and bravery, detailed environment blending chaos and beauty, Illustration, digital art, --ar 16:9 --v 5
|
1) The 5th electron in Ca – n = 2, ℓ = 1, mℓ = 0, ms = -1/2
2) The 5th electron in Kr – n = 2, ℓ = 1, mℓ = 0, ms = -1/2
3) The 57th electron in Ho – n = 4, ℓ = 3, mℓ = -3, ms = +1/2
4) The 49th electron in Rn – n = 4, ℓ= 2 , mℓ= -2 , ms= +1/2
What can you notice about the quantum numbers in #1 and #2? Would you generalize that the same number and orbital location of electrons in different elements would have the same set of 4 quantum numbers and why? Answer clearly and concisely. |
Looking for a way to find out if this item contains :navigate-to-page:
{:action :invoices :label "Invoices" :on-click #(dispatch [:navigate-to-page :invoice.job/page {:id job-id}])}
|
Women's Summer 2 Piece Outfits Sleeveless Matching Sets Button Down V Neck Vest Waistcoat and Pockets Shorts, create a title with the prefix 'best', one liner, only strings, less than 100 characters only |
generate a description with keywords and SEOs for Women's Summer 2 Piece Outfits Sleeveless Matching Sets Button Down V Neck Vest Waistcoat and Pockets Shorts include practical application on and uses can be applied include social media platform it can be used on and for what purpose include short story on why I personally bought it. |
Best Chic Summer Duo: Sleeveless V-Neck Vest & Pocket Shorts Set, generate a personal experience with this, add hash tag at the bottom, less than 700 characters only, only strings, no </br> html |
Subsets and Splits