WHITE ART

Do you ever feel like you just don’t get art? You’re not alone. A lot of people see it as something complicated, full of interpretations that seem to come out of nowhere.

The truth is, art doesn’t have a single way of being understood. There’s no right answer, and many so-called experts are just repeating what they’ve heard or trying to sound sophisticated—but deep down, they’re just as lost as you.

Art is subjective. Sometimes it hits you, sometimes it leaves you cold, and that’s okay. You don’t have to understand it the way others explain it. If something catches your eye, makes you feel something, or just intrigues you, that’s your connection to art, and it’s just as valid as anyone else’s.

That being said, here we have a guy covering himself in white paint—or some kind of plaster, I don’t even know—and leaving marks on the floor. Is it art? Well, if they say so, sure. But I’m sharing it with you for another reason: watch how a woman from the audience seizes the moment to cop a feel—gloves and all. Honestly, the second video got to me more than the first. The first one is just for context.

Now, if I stick to what I said earlier… does that make the second video art? Well, by that logic, yes—it is.

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I saw fear in his eyes.

➡️ Let's do real, be real with Tantaly, the sex doll torso leader

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NARCISSISM AND SOCIALMEDIA VOL30

It's funny how when we see someone recording themselves in public, talking to their phone and exaggerating gestures, we feel a strong sense of secondhand embarrassment, yet that same video seems much more normal when we see it on social media. It might still make us cringe, but we process it differently. The key difference is that in real life, we don’t just feel discomfort—we perceive the person as ridiculous, out of place. On social media, even if they still seem absurd, the format smooths out that awkwardness and makes it easier to digest.

Editing, music, and dynamic cuts help frame the content in a way that fits the kind of media we consume daily, but if someone seems ridiculous, they’ll remain so, with or without filters.

Another factor is the break in reality. Watching someone film themselves strips away the illusion, like seeing a magician set up a trick before performing it. Then there’s the difference between witnessing something and being an audience—on the street, we feel like unwilling participants in something we didn’t choose to watch, whereas on social media, we’re already in consumer mode, so even if something makes us uncomfortable, it doesn’t trigger the same rejection.

Social dynamics also play a role. When we see someone recording in public, we share the secondhand embarrassment through glances or comments with whoever is next to us. But online, there's no external reinforcement, and we process it in a completely different way.



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Today's slow-motion moment.

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PACQUIAO VS. THE INVISIBLE MAN

A while back, we talked about artist Paul Pfeiffer and his project Caryatid, where he digitally removed one of the boxers from the fight. Now, we have a video of Pacquiao where his opponent has completely vanished, creating the same eerie effect.

The technique behind this type of editing is complex and meticulous. It relies on three key processes: the use of previous and subsequent frames, analyzing footage before and after the key moment to reconstruct the background that the boxer was blocking; interpolation and digital cloning, filling the empty areas with fragments of the original image while adjusting light and shadows to make the manipulation seamless; and frame-by-frame digital painting, where, in more complex cases, each frame is manually retouched to ensure a perfect match.

The result is a surreal scene where Pacquiao throws punches at an opponent who no longer exists, while the audience continues reacting as if the fight were still happening.



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It’s never too late to take an interest in fashion.

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THE FUTURE OF ROBOTS AND THE EMPLOYMENT DILEMMA

It’s becoming increasingly clear that androids will soon be part of our daily lives, taking on household chores, grocery shopping, and even jobs in factories, logistics, and construction. Automation is advancing with the goal of reducing costs and increasing profits, but this raises a major issue: if robots take over our jobs, where will we get the money to live? If too many people are unemployed, who will buy the products these companies produce?

There are two possible scenarios. One is the creation of a new economic model, where automation forces the implementation of a universal basic income to ensure financial stability for those who can no longer find traditional jobs. This way, consumer spending remains active, and the economy avoids collapse.

The other scenario is a transformation of the job market. Just like the Industrial Revolution eliminated some jobs but created many others, automation could generate new professions we can’t yet imagine. Humans might shift towards creative fields, tech-driven roles, or industries where empathy and human interaction remain irreplaceable.

What’s clear is that if we want a future where robots make life easier without triggering social collapse, we must rethink the economic model. Technology is progressing, but without a strategy for adaptation, the risk of a consumption crisis is real.



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ExtraBall
The slow-motion moment of the day.

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(Clicking on these links daily you support ALRNCN's work. They're collaborators or sponsors and, by visiting their sites, they like us even more)

WHITE ART

Do you ever feel like you just don’t get art? You’re not alone. A lot of people see it as something complicated, full of interpretations that seem to come out of nowhere.

The truth is, art doesn’t have a single way of being understood. There’s no right answer, and many so-called experts are just repeating what they’ve heard or trying to sound sophisticated—but deep down, they’re just as lost as you.

Art is subjective. Sometimes it hits you, sometimes it leaves you cold, and that’s okay. You don’t have to understand it the way others explain it. If something catches your eye, makes you feel something, or just intrigues you, that’s your connection to art, and it’s just as valid as anyone else’s.

That being said, here we have a guy covering himself in white paint—or some kind of plaster, I don’t even know—and leaving marks on the floor. Is it art? Well, if they say so, sure. But I’m sharing it with you for another reason: watch how a woman from the audience seizes the moment to cop a feel—gloves and all. Honestly, the second video got to me more than the first. The first one is just for context.

Now, if I stick to what I said earlier… does that make the second video art? Well, by that logic, yes—it is.



# Watch videos




ExtraBall
I saw fear in his eyes.

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(Clicking on these links daily you support ALRNCN's work. They're collaborators or sponsors and, by visiting their sites, they like us even more)

WHAT WON’T A GRANDMA DO FOR HER GRANDDAUGHTER

The cultural clash between generations is undeniable, but in the end, you either adapt or at least tolerate it. There are things a grandmother would have never imagined in her youth, yet here she is, decades later, appearing in a video where her granddaughter is doing dances that would have scandalized half the neighborhood back in the day.

She doesn’t get it, and it’s not like she finds it amusing, but she’s also not about to start preaching about what’s right or wrong. Times change, younger generations do whatever they want, and older folks—though with that classic "this didn’t happen in my day" look—just shrug it off. You don’t always have to understand, sometimes you just accept that the world isn’t what it used to be and move on. After all, at this point, what’s the point?



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Putting on a Condom: PRO Level

She’s Riley Reid, and in this link, you can watch several of her scenes.




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PLAYING WITH PHOTOSHOP AI

david
Sharing with you another batch of videos we received a while ago, where they play around with Photoshop’s AI to auto-complete photos of celebrities, album covers, and other iconic images.



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Embarrassing moments.

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(Clicking on these links daily you support ALRNCN's work. They're collaborators or sponsors and, by visiting their sites, they like us even more)