Police are searching for armed robbers who entered a luxury store in Manhattan over the weekend and stole thousands of dollars in merchandise — a shocking crime in broad daylight that was caught on surveillance video. The three robbers got away with around $50,000 in luxury goods from the ...

Meatpacking District robbery: Armed robbers hit Manhattan Gucci store – NBC New York

A trio of suspects were caught on video holding up a Gucci store in New York City&#x27;s Meatpacking District, brandishing a gun and making off with merchandise.

Armed trio rob NYC Gucci store for $51,000 worth of merchandise | Fox Business

New surveillance footage shows the three suspects who robbed a Gucci store in the Meatpacking District on Monday.

NYC Gucci store robbed: Video shows 3 suspects robbing luxury shop in Meatpacking District - ABC7 New York

The robbers fled to New Jersey through the Lincoln Tunnel in a black Honda CR-V and are still being sought.

VIDEO: NYC Gucci store raided by armed crooks, $51K in bags, sunglasses stolen

Three people stormed into a Gucci in Lower Manhattan on Monday, flashed a gun and made off with the upscale merchandise. They remain on the loose, according to police.

NYC Gucci store robbed in broad daylight by brazen gun-toting crew

Police said three suspects entered the store on West 14th and Ninth Avenue, ordered everyone to get down on the floor and then robbed the shop.

Suspects make off with $50,000 worth of items in daring midday robbery of Gucci store in Meatpacking District - CBS New York

The suspects told everyone in the store to get down before stealing an unknown amount of luggage.

NYC Gucci store robbed: Search on for 3 suspects who robbed boutique in Meatpacking District - ABC7 New York

The NYPD is searching for the three suspects who robbed a Gucci store on Monday in the Meatpacking District.

Trio forces customers to the ground in gunpoint robbery at Meatpacking Gucci store

Armed robbers gave new meaning to the term “Gucci gang” on Monday when they held up the popular luxury brand&#x27;s Meatpacking District store, authorities and

Gucci gunners: Robbers stick up luxury retail store in Meatpacking District | amNewYork

Both labels are trying to reignite sales and push upmarket, but convincing consumers won’t be easy. Runway shows this week will be another chance to make their case. That, plus what else to watch for in the coming days.

Burberry and Gucci: Two Brands With Something to Prove This Week | BoF

guch

Studies and Sketches for Pictures and Decorations

Arguably GraphQL is one the most popular convention to Fetch or render Data for Front-End or even Store and Update data for Backend. Well, Rest-API is also there as an alternative to GraphQL but there are many Drawbacks Using Rest-API convention. I won't go deeper into what are the differences between GraphQL and Rest-API since this topic is all about building up a GraphQL server. We will be making a GraphQL server and will be using Express to Host our server and rest will be manipulated using GraphQL. First and make sure you have Nodejs Installed on your Machine. you can cross check that using this command node -v or npm - v, this will show you the working version of Node. Open up your terminal Make a Directory Named using the command and then cd into the gserver folder. gserver mkdir Next hit the command npm init - -yes this will make a json package for our project. Building up the Package.json Next stuff is to add to our Project so run , Express npm install express --save Make a on the code editor. This is the main file from where our server will be executed so visit the and change the new file called server.js package.json “main”: “index.js” to “main”: “server.js”. renaming index.js to server.js Open up the server.js Folder and Type up this following code: starter code First, we need to install 2 dependencies express-graphql and graphql, so on your terminal run: npm i express-graphql graphql Express is needed to run our express server and express-graphql will make a bridge connection with GraphQL and Express. we make an instance of the app using const app = express(); app.use( ) acts as a middleware like whatever we pass into the app.use function will serve as a connection of GraphQL and Express. app.use takes in two parameters one is a route and another is the file which will be used inside the route, for now, we have graphql which is set to true. This is a basic code that you will have to write for nearly starting projects. app.listen() is used to indicate on which port our app will run. To run our server run: node server.js Now our basic server is ready to run but you will see an error on your but I want you to run and check out the error as understanding errors make you a better learner. localhost: 4000/graphql GraphQL middleware doesn't have a schema. You see the error which states that the GraphQL middleware doesn't contain a schema file, so now we have to make a schema file. So what is this ? well in simple words, a schema file is the structure that our graphQL will contain, to be precise it's just like an content of a book or index of a project. Schema file so we make a folder on your project folder and make a schema.js file inside it ( Schema folder -> schema.js Inside the schema file, we will import our requirements Express as of now and the GraphQL dependencies. Type the code to your schema.js file: Schema.js Don't worry too much that why we did destructure the all the contents to graphql, for now just know that we will be requiring all these stuff later. Now let's move to do something else building our JSON data server, is the dependency we will be requiring to make a fake API database to work with. Json-server so stop the current running program in the terminal by pressing ctrl+C on windows and command+C on mac. add -> npm install json-server --save Now make a db.json file inside the gserver folder. Type out this following Code inside db.json:- db.json We will be having 2 types of fields Users and companies. Carefully read the JSON file with the data once to understand the fields of users and companies. You see both users and companies have an ID field which is most important as an id of a user or a company can tell your whole details. I have added a field inside user so that we can also evaluate which user works in which company from the user field itself. “companyId” We will be further working on building up the relationship with the user and the company. for now, let's add a second server to host the JSON database, Open up a 2nd terminal and run the command json-server - -watch db.json. On your web browser visit: or companies to view their fields. http://localhost:3000/users Now let's build up our schema.js, open up schema.js and make up the User field. user.js We are making a new constructor function passing a name and a field as an object. Inside the fields, we will input the field and their type as an object. you must be wondering why we passed an anonymous function inside the fields object, we did so because of javascript closure. As we are linking a user to a company and also the company to a user so we need to use as a function to avoid errors. Next job is to make a RootQuery, a root query is where an query field will be executed first then the RootQuery will decide where to pass the query. - suppose you pass a query to find a user with id:”23" so the query will pass to the RootQuery and there we have something called resolvers, resolvers will check where to pass the query then it passes the query to the relevant field and then the field gets executed. Example: Next to fetch the data from the JSON server we can use fetch() or axios.get(), here I will using my favorite axios.get(). So on terminal install axios by typing npm install axios -- save. next import by typing this one line on schema.js: const axios = require(‘axios’); Now type out this code in schema .js under UserType: User’s resolver We are doing the same for RootQuery, making a constructor passing 2 objects as name and fields. Inside the fields we have user as we will be making resolver for user, inside we have a type: UserType same as the name of the constructor. args is basically arguments that we want a query to execute, here we want the graphQl to query the id. We have the main resolver after that, we pass 2 arguments root and args, in most of the time inside RootQuery we won't be using root by still we have to have that as an arguments. After that, we are simply fetching the id with axios as we passed the id as an argument. now at the last, you will have to export the RootQuery as thats our main query. Add this to the last of file: schema.js module.exports To run, we have to do another thing inside the server.js, remember we were getting an error when we tried to run the graphQL server first time and we got an error such as schema missing from middleware its time to import the schema that we just made to server.js import the schema file inside the server.js and add schema to the middleware, NOTE: schema is case -sensitive inside the middleware, it is always lowercase schema. importing schema to server.js Now let's run our GraphQl server, on our browser open the link again: You will see the GraphQL playground coming up. http://localhost:4000/graphql . GraphQL server This is our GraphQL playground where we can write our Queries. To the right, you can see the Documentation Explorer: it is very helpful when we write complex queries, it shows the total structure of our fields. Click on RootQueryType and you will see this: user(id: String): User We are ready to run our first Query: Query To the left-hand side is our query and the right-hand side is the data that we fetch from the query. The data we get is simply a JSON object. If you are getting something like please recheck the code or the written query again. user: null Wow, that was a lot of a task just to run our first Query and I accept that when you are typing out the query for the first time its like so big but once you type your query out you will find everything repetitive. Next is your JOB, I want you to code the Company field yourself looking at the Users field. It's mostly the same way that we will do. Here is the next part: _In the previous article, we successfully coded the User field and also ran our Query in the GraphiQL also I gave u a…_medium.com Easiest Way to Build a GraphQL Server from Scratch using Express- (Part 2)

Build a GraphQL Server from Scratch using Express- (Part 1)

Ensuring Reproducibility in AI Research: Code and Pre-trained Weights Open-Sourced

HONG KONG, Hong Kong, November 4th, 2024/Chainwire/--Legend of Arcadia(LoA) , a new card-based RPG set in an expansive universe inspired by Kingdom Hearts, is bringing a community-driven operational model to Web3 gaming. With a focus on sustainable growth, LoA aims to establish itself as a leading platform by integrating blockchain technology, unique NFT mechanics, and community-centric features that foster long-term player engagement. As the Web3 gaming industry is forecasted to grow to $305 billion by 2030, LoA stands out by addressing key sustainability issues that have previously limited the success of Web3 gaming ventures. Many blockchain-based games have struggled with player retention and engagement, often due to unsustainable reward systems. LoA’s approach, built on years of gaming experience from its team’s work with industry leaders like Tencent, Hero Entertainment, and Seasun Studios, centers on creating an inclusive, feedback-driven community. Community-Driven Growth And Operations Legend of Arcadia (LoA), a card-based RPG game built on a vast story universe inspired by Kingdom Hearts, has a strong vision for reimagining live operations in Web3, called community-driven operations. The formula combines building a sticky and vocal community driven by a strong feedback loop and nimble implementation of the ideas. This has helped LoA stand out from others. The team has spent the past two years perfecting the formula based on their decade-long experience in driving high DAU and retention at leading game companies such as Tencent, Hero Entertainment, and Seasun Studios. At the same time, building a 60k+ strong community with users that actively interact with the team and provide them with feedback. The right feedback loop between the community and the developer has led to innovative tactics for driving community engagement. For example, rather than hosting traditional alpha tests, the team mixed the idea of esports and competition and invited people to form their own teams to compete during the test. This led to a brand new Guild called Alter Ego Guild being formed in the community, and they remain some of the game’s biggest supporters, helping new players onboard and get deep into LoA. During its three-month campaign, LoA had 100,000+ registered users with minimal marketing spend. It also has very high next-day and 7-day retention of 75% and 56%, respectively, higher than many traditional games' 50% and 20%. As it moves towards its TGE and official game launch, the community continues to provide feedback and support the team. With backing from 10+ investors, including Animoca Brands and OKX Ventures, LoA can further develop the game's vastness, ensuring the community is constantly engaged with new content and utilities of its native token, $ARCA. This ranges from the endless possibilities of different NFT heroes to the countless actions and ways to earn $ARCA tokens. Innovative NFT Mechanics and Extensive Gameplay In LoA, each NFT hero is unique, with randomized genetic traits such as appearance and abilities drawn from a large gene pool of over five trillion combinations, including over 48 types of basic attributes, 40,000+ skill combinations, and more than 28 million gene combinations. This ensures that no two NFT heroes are the same. The game team, supported by AI, has also created countless words and storylines, shaping different toy characters and enriching the stories of LoA. It also enhances player retention by implementing seasonal demands created by the in-game mechanics, which will eventually boost the trading volume. $ARCA Token Distribution and Roadmap In LoA, players can earn tokens through a variety of activities and strategies involving their NFT heroes. Inspired by a system commonly used in web2 games, by combining White Ores from mining with Black Ores earned in battles, they can produce $ARCA tokens. Heroes can also be customized through special events and features, which not only alter their appearance but can also provide gameplay advantages, such as enhanced mining power when using event-specific skins. Players can also participate in PvE content by clearing dungeons and defeating bosses for valuable loot or diving into PvP battles to compete against others for rewards and climb seasonal leaderboards for even greater gains. To further boost their earnings, players can stake $ARCA tokens, unlocking additional rewards like free NFTs or a share of profits from NFT sales, adding another layer of value to their in-game investments. In addition to earning tokens through in-game monetization, LoA further enhances sustainability by distinguishing between in-game and external economic factors. This structure allows players to monetize external elements, such as staking $ARCA tokens for special privileges and rewards or sharing in proceeds from NFT assets. This approach aims to foster long-term value creation over short-term speculative gains. LoA will have a total supply of 40,000,000 $ARCA tokens that are distributed among seven pools where each pool will be further subdivided into different rank tiers based on the amount of Gacha Points earned. With countless opportunities and activities in the world of LoA, the game constantly rejuvenates the excitement of its community and players, which will ensure its sustainability in the long run. The game also has plans for extensive single-player content (PVE mode) and multiplayer modes where players can form teams and challenge others in real-time battles. Legend of Arcadia is currently set to launch in November 2024. About Legend of Arcadia Legend of Arcadia (LOA) is a card-based RPG game built on a vast story universe inspired by Kingdom Hearts. LOA is built with the latest technology for the modern gamer, powered by blockchain. Players can enjoy the game for free, on the go, on a mobile device, and socialize in real-time with gamers from across the globe through immersive PvP game modes and by trading highly composable NFTs. Website | X | Discord Contact PR Manager Kelvin Yeo Everest Ventures Group kelvin.yeo@evg.co This story was distributed as a release by Chainwire under HackerNoon’s Business Blogging Program. Learn more about the program here HONG KONG, Hong Kong, November 4th, 2024/Chainwire/--Legend of Arcadia(LoA) , a new card-based RPG set in an expansive universe inspired by Kingdom Hearts, is bringing a community-driven operational model to Web3 gaming. With a focus on sustainable growth, LoA aims to establish itself as a leading platform by integrating blockchain technology, unique NFT mechanics, and community-centric features that foster long-term player engagement. As the Web3 gaming industry is forecasted to grow to $305 billion by 2030, LoA stands out by addressing key sustainability issues that have previously limited the success of Web3 gaming ventures. Many blockchain-based games have struggled with player retention and engagement, often due to unsustainable reward systems. $305 billion $305 billion LoA’s approach, built on years of gaming experience from its team’s work with industry leaders like Tencent, Hero Entertainment, and Seasun Studios, centers on creating an inclusive, feedback-driven community. Community-Driven Growth And Operations Legend of Arcadia (LoA), a card-based RPG game built on a vast story universe inspired by Kingdom Hearts, has a strong vision for reimagining live operations in Web3, called community-driven operations. Legend of Arcadia Legend of Arcadia The formula combines building a sticky and vocal community driven by a strong feedback loop and nimble implementation of the ideas. This has helped LoA stand out from others. The team has spent the past two years perfecting the formula based on their decade-long experience in driving high DAU and retention at leading game companies such as Tencent, Hero Entertainment, and Seasun Studios. At the same time, building a 60k+ strong community with users that actively interact with the team and provide them with feedback. The right feedback loop between the community and the developer has led to innovative tactics for driving community engagement. For example, rather than hosting traditional alpha tests, the team mixed the idea of esports and competition and invited people to form their own teams to compete during the test. This led to a brand new Guild called Alter Ego Guild being formed in the community, and they remain some of the game’s biggest supporters, helping new players onboard and get deep into LoA. During its three-month campaign, LoA had 100,000+ registered users with minimal marketing spend. It also has very high next-day and 7-day retention of 75% and 56%, respectively, higher than many traditional games' 50% and 20%. As it moves towards its TGE and official game launch, the community continues to provide feedback and support the team. With backing from 10+ investors, including Animoca Brands and OKX Ventures, LoA can further develop the game's vastness, ensuring the community is constantly engaged with new content and utilities of its native token, $ARCA. This ranges from the endless possibilities of different NFT heroes to the countless actions and ways to earn $ARCA tokens. Innovative NFT Mechanics and Extensive Gameplay In LoA, each NFT hero is unique, with randomized genetic traits such as appearance and abilities drawn from a large gene pool of over five trillion combinations, including over 48 types of basic attributes, 40,000+ skill combinations, and more than 28 million gene combinations. This ensures that no two NFT heroes are the same. The game team, supported by AI, has also created countless words and storylines, shaping different toy characters and enriching the stories of LoA. It also enhances player retention by implementing seasonal demands created by the in-game mechanics, which will eventually boost the trading volume. $ARCA Token Distribution and Roadmap In LoA, players can earn tokens through a variety of activities and strategies involving their NFT heroes. Inspired by a system commonly used in web2 games, by combining White Ores from mining with Black Ores earned in battles, they can produce $ARCA tokens. Heroes can also be customized through special events and features, which not only alter their appearance but can also provide gameplay advantages, such as enhanced mining power when using event-specific skins. Players can also participate in PvE content by clearing dungeons and defeating bosses for valuable loot or diving into PvP battles to compete against others for rewards and climb seasonal leaderboards for even greater gains. To further boost their earnings, players can stake $ARCA tokens, unlocking additional rewards like free NFTs or a share of profits from NFT sales, adding another layer of value to their in-game investments. In addition to earning tokens through in-game monetization, LoA further enhances sustainability by distinguishing between in-game and external economic factors. This structure allows players to monetize external elements, such as staking $ARCA tokens for special privileges and rewards or sharing in proceeds from NFT assets. This approach aims to foster long-term value creation over short-term speculative gains. LoA will have a total supply of 40,000,000 $ARCA tokens that are distributed among seven pools where each pool will be further subdivided into different rank tiers based on the amount of Gacha Points earned. With countless opportunities and activities in the world of LoA, the game constantly rejuvenates the excitement of its community and players, which will ensure its sustainability in the long run. The game also has plans for extensive single-player content (PVE mode) and multiplayer modes where players can form teams and challenge others in real-time battles. Legend of Arcadia is currently set to launch in November 2024. About Legend of Arcadia Legend of Arcadia (LOA) is a card-based RPG game built on a vast story universe inspired by Kingdom Hearts. LOA is built with the latest technology for the modern gamer, powered by blockchain. Players can enjoy the game for free, on the go, on a mobile device, and socialize in real-time with gamers from across the globe through immersive PvP game modes and by trading highly composable NFTs. Legend of Arcadia Legend of Arcadia Website | X | Discord Website Website X X Discord Discord Contact PR Manager Kelvin Yeo Everest Ventures Group kelvin.yeo@evg.co This story was distributed as a release by Chainwire under HackerNoon’s Business Blogging Program. Learn more about the program here This story was distributed as a release by Chainwire under HackerNoon’s Business Blogging Program. Learn more about the program here here here

Legend Of Arcadia: Redefining Community-Driven Operations

የአርካዲያ አፈ ታሪክ፡ በማህበረሰብ የሚመሩ ስራዎችን እንደገና መወሰን

Legend Of Arcadia: новае азначэнне аперацый, якія кіруюцца супольнасцю

Legenda o Arkadiji: Redefiniranje operacija vođenih zajednicom

Legend Of Arcadia: Omdefinering af fællesskabsdrevne operationer

Leyenda de Arcadia: redefiniendo las operaciones impulsadas por la comunidad

Legend Of Arcadia: ridefinire le operazioni guidate dalla comunità

レジェンド・オブ・アルカディア：コミュニティ主導の運営の再定義

រឿងព្រេងរបស់ Arcadia៖ កំណត់ឡើងវិញនូវប្រតិបត្តិការដែលជំរុញដោយសហគមន៍

ຄວາມຫມາຍຂອງ Arcadia: Redefining ການດໍາເນີນງານທີ່ຂັບເຄື່ອນໂດຍຊຸມຊົນ

Легенда за Аркадија: Редефинирање на операции водени од заедницата

Legjenda e Arcadia: Ripërcaktimi i operacioneve të drejtuara nga komuniteti

Legend Of Arcadia: Переосмислення діяльності, керованої спільнотою

In July 2023, I had the opportunity to start working remotely for a couple of blockchain companies. Not wanting to waste a single moment of this opportunity, I dove into a digital nomad lifestyle, traveling across three continents, 13 countries, and 20 cities over the course of a year. Even before I graduated college, I started working in an office at an IT startup, so after three and a half years of office work, there was nothing more liberating and enchanting than opening my MacBook in cafés with an uniquely exotic backdrops. The freedom to go anywhere I wanted was ecstasy. During the first three months of remote work, I probably visited almost every café in Seoul. Then, I went on a trip to Europe with my parents and also visited my sister in Philadelphia, working remotely while traveling freely. Then, at the beginning of 2024, I decided to set off to Southeast Asia, starting with a month-long stay in Bangkok, the mecca for digital nomads in Asia after Bali. Experienced digital nomads would usually pack as lightly as possible, but as an overjoyed beginner, I left home with a fully packed 25kg suitcase and a 7kg carry-on. Of course, I regretted it several times along the way. My luggage included multiple dresses that would have been a bit too flashy to wear in Korea, along six pairs of shoes in anticipation of any special occasion that might just come up. I was so thrilled that I even published a post on my Medium blog titled How I Became a Digital Nomad in 6 Months With No Coding Skills. At the time of the post, I only had 22 subscribers, but it gained quite a bit of traction, attracting 20 new fans and receiving over 100 reactions. Seeing the enthusiastic response to my blog, which remains my most popular piece to this day, I was able to reaffirm that this lifestyle is something many people aspire to. This reaffirmation became very valuable to me because, in reality, the digital nomad life I experienced was lonely, unstable, and extremely stressful. The idea of breaking free from the constraints of traditional work and daily life felt like such an adventure for me. I thought that my days would be filled with delightful peaks if I just stepped outside of my regular routine—so much so that I packed six pairs of shoes! But reality turned out to be quite different. Settling into new places is undoubtedly fun and exciting, but even the excitement of newness becomes routine after about two weeks - but this is all on just the surface-level of our perception. Within our subconscious systems, circuits and gears are working tirelessly to adapt to the new environments we’ve placed ourselves in. When we’re in unfamiliar surroundings, our brain’s orientation system activates. This system helps us navigate our surroundings, recognize patterns, and adjusts our behavior accordingly. The hippocampus and amygdala play key roles in this process, helping us to perceive and remember spatial information and evaluate safety within those spaces. This cognitive load that comes from processing a vast amount of new stimuli and situations consumes significant brain energy, unlike the familiar routine tasks that used to take minimal effort. Imagine your brain only used to walk familiar paths, but now everywhere needs is new and needs to be calculated. As this cognitive load builds up until the environment feels sufficiently familiar, we start to consciously experience it as pressure or stress. I never stayed in a single city for over a month. I had believed the best way to get the most of remote work was to explore as many places as possible. The second reason was that until I felt certain that this was the right place to settle down, I didn’t want to deal with the uninspiring hassle of administrative procedures like visa issuance. At that time, my job involved frequent business trips, so I often planned my travels by extending my stay for a few weeks at the locations I visited for work. However, my ambition in wanting to see the world, and failure to take the leap and commit resulted in a cumulative unconscious workload of constantly having to adapt to multiple places in a short period—which scientifically resulted into stress. Moreover, I had full-time work on my plate, which psychologically felt like a heavier burden than it should have been. I was working more hours and on the weekends trying to make up for the time that I spent unfocused. I often found myself getting irritated with people around me, fearing I wouldn’t complete tasks on time, or becoming almost obsessive about getting things done in a certain way. I think I had this underlying sense of being unable to control my life in constantly changing environments, and it was quite overwhelming. Excerpt from my journal entry on the 12th of February, 2024 which is 19 days after I arrive in Bangkok. Oh God, this morning I felt this dense ball of air stuck in the back of my head, like an air bubble. Although air physically carries no weight, the one back there felt heavy that my head was tilting back as I was walking out from the bed. It’s like my brain was trying to stop me. Back home, I maintained a regular routine with five workouts a week with home-cooked meals. However, when my fatigue level reached its peak, it became difficult to stick to my regular exercise routine at local gyms, and even cooking meals at home became a luxury once I started traveling. I knew that home-cooked meals are the best, so I bought the necessary soy sauce, Gochujang, Mulyeot etc. that were needed to cook Korean meals when I arrived at my first destination in Southeast Asia. However, I didn’t even get to use a quarter of them before leaving them behind as I moved on to Phuket, making eating out was much less wasteful. Korean food abroad is more expensive than it is in Korea, and healthy meals are just as pricey. So, I mostly relied on local cuisine, and found it increasingly difficult to keep up with the oily fried dishes and unfamiliar flavors. While it's quite obvious that traveling would make it hard to maintain the diet I wanted, I intend to highlight the irony of how gaining freedom in place means but losing freedom in meals. Now, I often joke that people living this lifestyle should be called "digital homeless" rather than digital nomads. In fact, historically, nomadic living was primarily based on collective or communal life. However, digital nomads don't travel with their community. They travel alone, or sometimes as a couple. So in my joke, the word "home" in "digital homeless" doesn’t refer to a house or an apartment, but rather to a community where one belongs— family, friends, colleagues, and neighbors. Yes, there are digital nomad communities that can be accessed anywhere in the world, but those digital nomad communities can be more simply put as ‘a group of strangers that hosts co-working and after hour bar sessions’. A community isn’t a community until it starts feeling like yours over a period of time. A segment of people from history that actually resembles a digital nomad would be the Mountain Hermits and Monastic Wanderers. For example, Christian hermits in medieval Europe or wandering Buddhist monks in East Asia often chose to live away from home, moving from place to place to find spiritual enlightenment, or solitude. So, why do people choose the digital nomad lifestyle? Like the wandering Buddhist monks and Christian hermits - the instability and stress from exploring so many different places does in fact provide spiritual enlightenment and growth. That’s the for story next week. Thanks for reading. In July 2023, I had the opportunity to start working remotely for a couple of blockchain companies. Not wanting to waste a single moment of this opportunity, I dove into a digital nomad lifestyle, traveling across three continents, 13 countries, and 20 cities over the course of a year. Even before I graduated college, I started working in an office at an IT startup, so after three and a half years of office work, there was nothing more liberating and enchanting than opening my MacBook in cafés with an uniquely exotic backdrops. The freedom to go anywhere I wanted was ecstasy . During the first three months of remote work, I probably visited almost every café in Seoul. Then, I went on a trip to Europe with my parents and also visited my sister in Philadelphia, working remotely while traveling freely. liberating enchanting ecstasy Then, at the beginning of 2024, I decided to set off to Southeast Asia, starting with a month-long stay in Bangkok, the mecca for digital nomads in Asia after Bali. Experienced digital nomads would usually pack as lightly as possible, but as an overjoyed beginner, I left home with a fully packed 25kg suitcase and a 7kg carry-on. Of course, I regretted it several times along the way. My luggage included multiple dresses that would have been a bit too flashy to wear in Korea, along six pairs of shoes in anticipation of any special occasion that might just come up. I was so thrilled that I even published a post on my Medium blog titled How I Became a Digital Nomad in 6 Months With No Coding Skills . At the time of the post, I only had 22 subscribers, but it gained quite a bit of traction, attracting 20 new fans and receiving over 100 reactions. Seeing the enthusiastic response to my blog, which remains my most popular piece to this day, I was able to reaffirm that this lifestyle is something many people aspire to. This reaffirmation became very valuable to me because, in reality, the digital nomad life I experienced was lonely , unstable , and extremely stressful . How I Became a Digital Nomad in 6 Months With No Coding Skills lonely unstable extremely stressful The idea of breaking free from the constraints of traditional work and daily life felt like such an adventure for me. I thought that my days would be filled with delightful peaks if I just stepped outside of my regular routine—so much so that I packed six pairs of shoes! But reality turned out to be quite different. Settling into new places is undoubtedly fun and exciting, but even the excitement of newness becomes routine after about two weeks - but this is all on just the surface-level of our perception. Within our subconscious systems, circuits and gears are working tirelessly to adapt to the new environments we’ve placed ourselves in. When we’re in unfamiliar surroundings, our brain’s orientation system activates. This system helps us navigate our surroundings, recognize patterns, and adjusts our behavior accordingly. The hippocampus and amygdala play key roles in this process, helping us to perceive and remember spatial information and evaluate safety within those spaces. This cognitive load that comes from processing a vast amount of new stimuli and situations consumes significant brain energy, unlike the familiar routine tasks that used to take minimal effort. Imagine your brain only used to walk familiar paths, but now everywhere needs is new and needs to be calculated. As this cognitive load builds up until the environment feels sufficiently familiar, we start to consciously experience it as pressure or stress. orientation system As this cognitive load builds up until the environment feels sufficiently familiar, we start to consciously experience it as pressure or stress. I never stayed in a single city for over a month. I had believed the best way to get the most of remote work was to explore as many places as possible. The second reason was that until I felt certain that this was the right place to settle down, I didn’t want to deal with the uninspiring hassle of administrative procedures like visa issuance. At that time, my job involved frequent business trips, so I often planned my travels by extending my stay for a few weeks at the locations I visited for work. However, my ambition in wanting to see the world , and failure to take the leap and comm it resulted in a cumulative unconscious workload of constantly having to adapt to multiple places in a short period—which scientifically resulted into stress. ambition in wanting to see the world failure to take the leap and comm Moreover, I had full-time work on my plate, which psychologically felt like a heavier burden than it should have been. I was working more hours and on the weekends trying to make up for the time that I spent unfocused. I often found myself getting irritated with people around me, fearing I wouldn’t complete tasks on time, or becoming almost obsessive about getting things done in a certain way. I think I had this underlying sense of being unable to control my life in constantly changing environments , and it was quite overwhelming . underlying sense of being unable to control my life in constantly changing environments overwhelming Excerpt from my journal entry on the 12th of February, 2024 which is 19 days after I arrive in Bangkok. Oh God, this morning I felt this dense ball of air stuck in the back of my head, like an air bubble. Although air physically carries no weight, the one back there felt heavy that my head was tilting back as I was walking out from the bed. It’s like my brain was trying to stop me. Oh God, this morning I felt this dense ball of air stuck in the back of my head, like an air bubble. Although air physically carries no weight, the one back there felt heavy that my head was tilting back as I was walking out from the bed. It’s like my brain was trying to stop me. Oh God, this morning I felt this dense ball of air stuck in the back of my head, like an air bubble. Although air physically carries no weight, the one back there felt heavy that my head was tilting back as I was walking out from the bed. It’s like my brain was trying to stop me. Back home, I maintained a regular routine with five workouts a week with home-cooked meals. However, when my fatigue level reached its peak, it became difficult to stick to my regular exercise routine at local gyms, and even cooking meals at home became a luxury once I started traveling. I knew that home-cooked meals are the best, so I bought the necessary soy sauce, Gochujang, Mulyeot etc. that were needed to cook Korean meals when I arrived at my first destination in Southeast Asia. However, I didn’t even get to use a quarter of them before leaving them behind as I moved on to Phuket, making eating out was much less wasteful. Korean food abroad is more expensive than it is in Korea, and healthy meals are just as pricey. So, I mostly relied on local cuisine, and found it increasingly difficult to keep up with the oily fried dishes and unfamiliar flavors. While it's quite obvious that traveling would make it hard to maintain the diet I wanted, I intend to highlight the irony of how gaining freedom in place means but losing freedom in meals. the irony of how gaining freedom in place means but losing freedom in meals. Now, I often joke that people living this lifestyle should be called "digital homeless" rather than digital nomads. In fact, historically, nomadic living was primarily based on collective or communal life. However, digital nomads don't travel with their community. They travel alone, or sometimes as a couple. So in my joke, the word "home" in "digital homeless" doesn’t refer to a house or an apartment, but rather to a community where one belongs— family, friends, colleagues, and neighbors. Yes, there are digital nomad communities that can be accessed anywhere in the world, but those digital nomad communities can be more simply put as ‘a group of strangers that hosts co-working and after hour bar sessions’. A community isn’t a community until it starts feeling like yours over a period of time. Now, I often joke that people living this lifestyle should be called "digital homeless" rather than digital nomads. digital nomad communities A community isn’t a community until it starts feeling like yours over a period of time. A segment of people from history that actually resembles a digital nomad would be the Mountain Hermits and Monastic Wanderers . For example, Christian hermits in medieval Europe or wandering Buddhist monks in East Asia often chose to live away from home, moving from place to place to find spiritual enlightenment, or solitude. Mountain Hermits Monastic Wanderers So, why do people choose the digital nomad lifestyle? So, why do people choose the digital nomad lifestyle? Like the wandering Buddhist monks and Christian hermits - the instability and stress from exploring so many different places does in fact provide spiritual enlightenment and growth. That’s the for story next week. Thanks for reading.

The Reality of Digital Nomads: Chasing Adventure, Finding What?

حقيقة البدو الرقميين: ملاحقة المغامرة، العثور على ماذا؟

Рэальнасць лічбавых качэўнікаў: у пагоні за прыгодамі, у пошуку чаго?

La realidad de los nómadas digitales: ¿en busca de aventuras y qué encuentran?

Digitaalisten nomadien todellisuus: jahtaavat seikkailua, mitä löytää?

A realidade dos nómadas dixitais: perseguindo aventuras, buscando que?

Stvarnost digitalnih nomada: jureći avanturu, pronaći što?

デジタル遊牧民の現実: 冒険を追い求めて、何を見つけるのか?

ຄວາມເປັນຈິງຂອງ Digital Nomads: ແລ່ນການຜະຈົນໄພ, ຊອກຫາຫຍັງ?

De realiteit van digitale nomaden: op zoek naar avontuur, wat vinden?

Rzeczywistość cyfrowych nomadów: w pogoni za przygodami i w znalezieniu czego?

ڈیجیٹل خانہ بدوشوں کی حقیقت: مہم جوئی کا پیچھا کرنا، کیا تلاش کرنا؟

Inyani yeeNomads zeDijithali: Ukusukela i-Adventure, ukufumana ntoni?

Sounds (“Music”) and Images (“Art”) have been somewhat conquered by GenAI; it’s never been easier to create slop that’s “close enough” to the real thing. Creatives have taken notice, with 73% of them now believing that AI will significantly impact their industry. Fashion has up until now been somewhat disconnected from these conversations. Sure, it’s a creative sector, but it also has glamor… and a certain exclusivity that makes AI’s infinite abundance seem gauche in comparison. But times are changing, and even the Milanese are now asking if machines could craft the kind of cultural cachet luxury designers have spent lifetimes building.’ Three researchers — Page Moreau from the University of Wisconsin-Madison, Emanuela Prandelli from Bocconi University, and Martin Schreier from WU Vienna — recently added complexity to this debate with a research paper titled, “Generative Artificial Intelligence and Design Co-Creation in Luxury New Product Development: The Power of Discarded Ideas.” Their research explores whether generative AI can compete with human designers when it comes to luxury fashion… and how consumers may react to machine-made chic. Can AI Design Fashion Luxury? The researchers teamed up with AwayToMars, Missoni, and IBM Watson to create and sell t-shirts designed either by human designers or by AI. The AI, IBM Watson, was trained on designs previously discarded by AWTM, using machine learning to generate new design ideas based on recurring features and patterns. They conducted a controlled experiment with over 1,000 participants and analyzed real sales data of the t-shirts over 20 weeks. The results? Consumers preferred AI-designed t-shirts — but only if they didn’t know they were designed by AI. When the source was revealed, consumer enthusiasm waned. Sales data showed a whopping 127% increase for AI-designed shirts compared to human-designed ones. Turns out, when fashion is sold without disclaimers, AI might just have a better eye for the cutting edge. What Does This Mean for the Fashion Industry? AI-designed products can outsell human creations. In fact, AI-generated t-shirts outsold their human-designed counterparts by more than twofold in the study. This means that any sense of superiority capitalistically-inclined designers may have needed to be adjusted to a new reality. Consumer perception of AI is still a barrier. When consumers were informed that designs were AI-generated, their willingness to pay for the garments decreased (“Knowing that a luxury fashion item was designed by AI reduced consumers’ responses towards it.”) This reflects an ongoing distrust of AI’s creative capability. Some may be tempted to hide the use of AI in the face of these results, but consumers also value transparency, and laws are being proposed to improve that transparency. This no doubt will be the toughest nut to crack in the near future. AI can enhance brand identity. The AI-designed shirts more effectively embodied Missoni’s signature zigzag patterns and brand codes compared to the human designs. This can be well-received by customers and can reinforce a brand identity if used properly. “Trash” is more useful than we think. The AI drew inspiration from designs that had been previously discarded — transforming “waste” into wearable art. This highlights how AI’s capacity to learn from mass data can unlock the value of overlooked ideas. This is without a doubt my favorite part of the study. How Do We Move Forward? This is a lot to take in; enough to give fashion executives some vertigo. While they get their bearings, there are a few things the fashion community can push for. We need to implement mandatory AI disclosure in product descriptions. Transparency is crucial. Consumers should know if an item was designed by AI, even if it impacts their perception negatively. If 44% of participants disliked AI-designed fashion when informed, brands need to confront this distrust head-on to avoid backlash. “AI aversion” (as another study called it) suggests that transparency is necessary but should be handled with care. Brands might want to frame AI’s role in a positive light by focusing on efficiency, sustainability, or co-creation to mitigate negative perceptions. Fashion Houses need to expertly blend AI with humans. The AI designs from the study could have been reviewed and improved by designers, I’m sure. Allowing designers to steer AI’s outputs could preserve the “luxury touch” that customers associate with human creativity while benefiting from AI’s efficiency. This may even lead to better margins and perhaps (?) better pay for artisans who surely deserve it. Fashion houses need to establish strict, all-encompassing guidelines to future-proof their expertise. This includes establishing standards for what training data is used… and what data cannot/should not be used. AI in creative industries often relies on massive datasets, some of which are sourced unethically. Ensuring AI is trained ethically on licensed or voluntarily contributed data is key to gaining consumer trust. Nothing says luxury like ethics… right? Right? Above all, consumers need to be educated. Brands should invest in educating consumers on the strengths of AI for design — including sustainability and efficiency, where algorithms are likely well-placed to have an impact. Highlighting how AI uses discarded materials creatively, as seen with Missoni, could positively shift consumer sentiment. Where the Research Paper Falls Short While Moreau, Prandelli, and Schreier’s study brings some interesting insights to light, it is not without flaws. For one, all participants were business school students — hardly representative of the global, diverse consumer base of luxury fashion. It also didn’t explore whether consumers would prefer designs if AI had been marketed as an “assistant” rather than a “creator”. Furthermore, the research only touched upon visual identity, ignoring other sensory elements such as fabric texture and craftsmanship, which are crucial in luxury fashion. For future research, I’d love to see how AI fares when tasked with creating high-fashion couture pieces rather than simple t-shirts. How does it navigate avant-garde aesthetics or evolving cultural nuances? Probably not very well. Are Designers Doomed? Generative AI in luxury fashion is like a bold new fabric. One that can dazzle but also fray under scrutiny. If handled with care, AI could provide a much-needed spark of innovation while pushing the boundaries of design. The key lies in its careful integration, transparency, and cooperation with human experts. A future where AI complements, rather than replaces, human creativity isn’t just desirable… it might be our only shot at saving the soul of luxury. Good luck out there. Sounds (“Music”) and Images (“Art”) have been somewhat conquered by GenAI; it’s never been easier to create slop that’s “ close enough ” to the real thing. Creatives have taken notice, with 73% of them now believing that AI will significantly impact their industry . Sounds Images close enough 73% of them now believing that AI will significantly impact their industry Fashion has up until now been somewhat disconnected from these conversations. Sure, it’s a creative sector, but it also has glamor… and a certain exclusivity that makes AI’s infinite abundance seem gauche in comparison. But times are changing, and even the Milanese are now asking if machines could craft the kind of cultural cachet luxury designers have spent lifetimes building.’ Three researchers — Page Moreau from the University of Wisconsin-Madison, Emanuela Prandelli from Bocconi University, and Martin Schreier from WU Vienna — recently added complexity to this debate with a research paper titled, “ Generative Artificial Intelligence and Design Co-Creation in Luxury New Product Development: The Power of Discarded Ideas . ” Page Moreau Emanuela Prandelli Martin Schreier Generative Artificial Intelligence and Design Co-Creation in Luxury New Product Development: The Power of Discarded Ideas Generative Artificial Intelligence and Design Co-Creation in Luxury New Product Development: The Power of Discarded Ideas . Their research explores whether generative AI can compete with human designers when it comes to luxury fashion… and how consumers may react to machine-made chic. Can AI Design Fashion Luxury? The researchers teamed up with AwayToMars , Missoni , and IBM Watson to create and sell t-shirts designed either by human designers or by AI. The AI, IBM Watson, was trained on designs previously discarded by AWTM, using machine learning to generate new design ideas based on recurring features and patterns. They conducted a controlled experiment with over 1,000 participants and analyzed real sales data of the t-shirts over 20 weeks. AwayToMars Missoni The results? Consumers preferred AI-designed t-shirts — but only if they didn’t know they were designed by AI . When the source was revealed, consumer enthusiasm waned. Sales data showed a whopping 127% increase for AI-designed shirts compared to human-designed ones. but only if they didn’t know they were designed by AI Turns out, when fashion is sold without disclaimers, AI might just have a better eye for the cutting edge. What Does This Mean for the Fashion Industry? AI-designed products can outsell human creations. In fact, AI-generated t-shirts outsold their human-designed counterparts by more than twofold in the study. This means that any sense of superiority capitalistically-inclined designers may have needed to be adjusted to a new reality. AI-designed products can outsell human creations. In fact, AI-generated t-shirts outsold their human-designed counterparts by more than twofold in the study. This means that any sense of superiority capitalistically-inclined designers may have needed to be adjusted to a new reality. AI-designed products can outsell human creations. Consumer perception of AI is still a barrier. When consumers were informed that designs were AI-generated, their willingness to pay for the garments decreased (“Knowing that a luxury fashion item was designed by AI reduced consumers’ responses towards it.”) This reflects an ongoing distrust of AI’s creative capability. Some may be tempted to hide the use of AI in the face of these results, but consumers also value transparency, and laws are being proposed to improve that transparency. This no doubt will be the toughest nut to crack in the near future. Consumer perception of AI is still a barrier. When consumers were informed that designs were AI-generated, their willingness to pay for the garments decreased ( “Knowing that a luxury fashion item was designed by AI reduced consumers’ responses towards it.”) This reflects an ongoing distrust of AI’s creative capability. Some may be tempted to hide the use of AI in the face of these results, but consumers also value transparency, and laws are being proposed to improve that transparency. This no doubt will be the toughest nut to crack in the near future. Consumer perception of AI is still a barrier. “Knowing that a luxury fashion item was designed by AI reduced consumers’ responses towards it.”) AI can enhance brand identity. The AI-designed shirts more effectively embodied Missoni’s signature zigzag patterns and brand codes compared to the human designs. This can be well-received by customers and can reinforce a brand identity if used properly. AI can enhance brand identity. The AI-designed shirts more effectively embodied Missoni’s signature zigzag patterns and brand codes compared to the human designs. This can be well-received by customers and can reinforce a brand identity if used properly. AI can enhance brand identity. “Trash” is more useful than we think. The AI drew inspiration from designs that had been previously discarded — transforming “waste” into wearable art. This highlights how AI’s capacity to learn from mass data can unlock the value of overlooked ideas. This is without a doubt my favorite part of the study. “Trash” is more useful than we think. The AI drew inspiration from designs that had been previously discarded — transforming “waste” into wearable art. This highlights how AI’s capacity to learn from mass data can unlock the value of overlooked ideas. This is without a doubt my favorite part of the study. “Trash” is more useful than we think. How Do We Move Forward? This is a lot to take in; enough to give fashion executives some vertigo. While they get their bearings, there are a few things the fashion community can push for. We need to implement mandatory AI disclosure in product descriptions. We need to implement mandatory AI disclosure in product descriptions. Transparency is crucial. Consumers should know if an item was designed by AI, even if it impacts their perception negatively. If 44% of participants disliked AI-designed fashion when informed, brands need to confront this distrust head-on to avoid backlash. “AI aversion” ( as another study called it ) suggests that transparency is necessary but should be handled with care. as another study called it Brands might want to frame AI’s role in a positive light by focusing on efficiency, sustainability, or co-creation to mitigate negative perceptions. Fashion Houses need to expertly blend AI with humans. Fashion Houses need to expertly blend AI with humans. The AI designs from the study could have been reviewed and improved by designers, I’m sure. Allowing designers to steer AI’s outputs could preserve the “luxury touch” that customers associate with human creativity while benefiting from AI’s efficiency. This may even lead to better margins and perhaps (?) better pay for artisans who surely deserve it. Fashion houses need to establish strict, all-encompassing guidelines to future-proof their expertise. Fashion houses need to establish strict, all-encompassing guidelines to future-proof their expertise. This includes establishing standards for what training data is used… and what data cannot/should not be used. AI in creative industries often relies on massive datasets, some of which are sourced unethically. Ensuring AI is trained ethically on licensed or voluntarily contributed data is key to gaining consumer trust. Nothing says luxury like ethics… right? Right? Above all, consumers need to be educated. Above all, consumers need to be educated. Brands should invest in educating consumers on the strengths of AI for design — including sustainability and efficiency, where algorithms are likely well-placed to have an impact. Highlighting how AI uses discarded materials creatively, as seen with Missoni, could positively shift consumer sentiment. Where the Research Paper Falls Short While Moreau , Prandelli , and Schreier ’s study brings some interesting insights to light, it is not without flaws. For one, all participants were business school students — hardly representative of the global, diverse consumer base of luxury fashion. Moreau Prandelli Schreier It also didn’t explore whether consumers would prefer designs if AI had been marketed as an “assistant” rather than a “creator”. Furthermore, the research only touched upon visual identity, ignoring other sensory elements such as fabric texture and craftsmanship, which are crucial in luxury fashion. For future research, I’d love to see how AI fares when tasked with creating high-fashion couture pieces rather than simple t-shirts. How does it navigate avant-garde aesthetics or evolving cultural nuances? Probably not very well. Are Designers Doomed? Generative AI in luxury fashion is like a bold new fabric. One that can dazzle but also fray under scrutiny. If handled with care, AI could provide a much-needed spark of innovation while pushing the boundaries of design. The key lies in its careful integration, transparency, and cooperation with human experts. A future where AI complements, rather than replaces, human creativity isn’t just desirable… it might be our only shot at saving the soul of luxury. Good luck out there.

Would You Still Love a $500 T-Shirt If You Knew AI Designed It?

Sal jy steeds van 'n $500 T-hemp hou as jy geweet het dat KI dit ontwerp het?

AI ዲዛይኑን ካወቁ አሁንም የ500 ዶላር ቲሸርት ይወዳሉ?

¿Aún te gustaría una camiseta de 500 dólares si supieras que fue diseñada por una IA?

اگر می دانستید که هوش مصنوعی آن را طراحی کرده است، آیا هنوز عاشق یک تی شرت 500 دلاری هستید؟

यदि आपको पता हो कि 500 डॉलर की टी-शर्ट को AI ने डिज़ाइन किया है, तो क्या आप उसे अब भी पसंद करेंगे?

Ti piacerebbe ancora una maglietta da 500 dollari se sapessi che è stata progettata dall'intelligenza artificiale?

AI がデザインした 500 ドルの T シャツをまだ気に入っていますか?

კიდევ გიყვართ 500 დოლარიანი მაისური, თუ იცოდით, რომ ხელოვნური ინტელექტის დიზაინია?

AI가 디자인했다고 해도 500달러짜리 티셔츠를 여전히 좋아할까요?

ایا تاسو به بیا هم د 500 ډالرو ټي شرټ خوښ کړئ که تاسو پوهیږئ چې AI یې ډیزاین کړی؟

Xana Wa Ha Swi Rhandza Xikipa Xa R1 000 Loko U Swi Tiva Leswaku AI Yi Xi Endlile?

Bạn có còn thích áo phông giá 500 đô la không nếu biết nó được thiết kế bởi AI?

AIR-Bench: A New Benchmark for Large Audio-Language Models

VEATIC: Familiarity and Enjoyment Ratings & References

VEATIC: পরিচিতি এবং উপভোগ রেটিং এবং রেফারেন্স

VEATIC: Vertrautheits- und Genussbewertungen und Referenzen

VEATIC: Calificaciones y referencias de familiaridad y disfrute

VEATIC : Notes et références de familiarité et de plaisir

VEATIC: परिचितता और आनंद रेटिंग और संदर्भ

VEATIC: 親しみやすさと楽しさの評価と参考文献

VEATIC: 친숙함과 즐거움 평가 및 참고자료

VEATIC: classificações e referências de familiaridade e prazer

VEATIC: рейтинги знакомства и удовольствия, а также ссылки

VEATIC: Aşinalık ve Eğlence Derecelendirmeler ve Referanslar

VEATIC: Đánh giá và tham khảo về sự quen thuộc và thích thú

VEATIC：熟悉度和享受度评级及参考

A Summarize-then-Search Method for Long Video Question Answering: Limitations & References

দীর্ঘ ভিডিও প্রশ্নের উত্তরের জন্য একটি সংক্ষিপ্ত-পরে অনুসন্ধান পদ্ধতি: সীমাবদ্ধতা এবং উল্লেখ

Eine „Zusammenfassen-und-suchen“-Methode zum Beantworten langer Videofragen: Einschränkungen und Referenzen

Un método de resumen y luego búsqueda para responder preguntas largas en video: limitaciones y referencias

Une méthode de synthèse puis de recherche pour répondre à des questions vidéo longues : limites et références

लंबे वीडियो प्रश्न उत्तर के लिए सारांश-फिर-खोज विधि: सीमाएँ और संदर्भ

長いビデオ質問応答のための要約してから検索する方法: 制限と参考文献

긴 비디오 질문 답변을 위한 요약 후 검색 방법: 제한 사항 및 참고 자료

Um método de resumir e pesquisar para responder a perguntas longas em vídeo: limitações e referências

Метод суммирования и поиска для ответов на длинные вопросы по видео: ограничения и ссылки

Uzun Video Soru Cevaplama için Özetle-Sonra-Arama Yöntemi: Sınırlamalar ve Referanslar

Phương pháp tóm tắt rồi tìm kiếm để trả lời câu hỏi bằng video dài: Hạn chế và tài liệu tham khảo

长视频问答的总结搜索方法：局限性与参考文献

This paper is available on arxiv under CC 4.0 license.
Authors:
(1) Rikpratik Sengupta, Department of Physics, Aliah University, Kolkata 700 160, West Bengal, India (E-mail addresses: rikpratik.sengupta@gmail.com(RS)) Table of Links Abstract and Intro
The cosmological model
Discussion
Acknowledgments
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Loeb and M. Moresco, Astrophys. J. 908 (2021) 84. [16] S. Dhawan, J. Alsing and S. Vagnozzi, Mon. Not. Roy. Astron. Soc. 506 (2021) L1. [17] R. Sengupta et al., Class. Quant. Grav. 39 105004. [18] G F. R. Ellis, J. Murugan and C. G. Tsagas, Class. Quant. Grav. 21 (2004) 223. [19] S. J. Perlmutter et al., Nature 391 51 (1998). [20] Riess, A.G. et al., Astron. J. 116 1009 (1998). [21] Zlatev, I., Wang, L. and Steinhardt, P.J., Phys. Rev. Lett. 82 896 (1999). [22] Ure˜na-L´opez, L.A. and Liddle, A., Phys. Rev. D 66 083005 (2002). [23] Kamenshchik, A., Moschella, U. and Pasquier, V., Phys. Lett. B 511 265 (2001) [24] U. Debnath, A. Banerjee, and S. Chakraborty, Class. Quant. Grav. 21 (2004) 5609. [25] Caldwell, R.R., Phys. Lett. B 545, 23 (2002) [26] Frampton, P. and Takahashi, T., Phys. Lett. B 557 135 (2003). [27] G. Dvali, G. Gabadadze and M. Porrati, Phys. Lett. B 485 208 (2000) [28] C. Deffayet, G. Dvali, and G. Gabadadze, Phys. Rev. D 65 (2002) 044023. [29] S. Nojiri and S. D. Odintsov, Int. J. Geom. Methods Mod. Phys., 4 (2007) 115. [30] J. M. Cline, S. Jeon and G. D. Moore, Phys. Rev. D70, 043543 (2004) [31] L. Parker and A. Raval, Phys. Rev. Lett. 86, 749 (2001). [32] R. Caldwell, M. Kamionkowski and N. Weinberg, Phys. Rev. Lett. 91 071301 (2003). [33] P. Davies, Annales Poincare Phys. Theor. 49 297 (1988). [34] R. Sengupta et al., Phys. Rev. D 102 (2020) 024037. [35] L. Visinelli, N. Bolis, and S. Vagnozzi, Phys. Rev. D 97, 064039 (2018). [36] S. Vagnozzi and L. Visinelli, Phys. Rev. D 100, 024020 (2019). [37] I. Banerjee, T. Paul and S. Sengupta, JCAP 02, 041 (2021). This paper is available on arxiv under CC 4.0 license. Authors: (1) Rikpratik Sengupta, Department of Physics, Aliah University, Kolkata 700 160, West Bengal, India (E-mail addresses: rikpratik.sengupta@gmail.com(RS)) This paper is available on arxiv under CC 4.0 license. Authors: Authors: (1) Rikpratik Sengupta, Department of Physics, Aliah University, Kolkata 700 160, West Bengal, India (E-mail addresses: rikpratik.sengupta@gmail.com(RS)) Table of Links Abstract and Intro The cosmological model Discussion Acknowledgments References Abstract and Intro Abstract and Intro The cosmological model The cosmological model Discussion Discussion Acknowledgments Acknowledgments References References References [1] Knop, R.A., et al. Astrophys.J. 598 102 (2003) [2] Spergel, D.N., et al, Astrophys.J.Suppl. 148 175 (2003) [3] Tegmark, M. et al, Phys. Rev. D 69 103501 (2004) [4] S. W. Hawking, Phys. Rev. Lett. 17 443 (1966). [5] S. W. Hawking and R. Penrose, Proc. Roy. Soc. London A314 529 (1970). [6] A. Borde, A. H Guth and A. Vilenkin, Phys. Rev. Lett. 90 151301 (2003). [7] J. Polchinski, String Theory, Vol. 2, Superstring Theory and Beyond (Cambridge University Press, 1998). [8] R. Gambini and J. Pullin, A First Course in Loop Quantum Gravity (Oxford University Press, 2011) [9] L. Randall and R. Sundrum, Phys. Rev. Lett. 83, 4690 (1999). 10] Y. Shtanov and V. Sahni, Phys. Lett. B 557, 1 (2003) [11] A. Ashtekar, T. Pawlowski and P. Singh, Phys. Rev. D 74, 084003 (2006). [12] P. Singh, Class. Quantum Grav. 26 125005 (2009). [13] G. Efstathiou and S. Gratton, MNRAS Lett. 496 (2020) L91. [14] S. Vagnozzi et al., Phys. Dark Univ. 33 (2021) 100851. [15] S. Vagnozzi, A. Loeb and M. Moresco, Astrophys. J. 908 (2021) 84. [16] S. Dhawan, J. Alsing and S. Vagnozzi, Mon. Not. Roy. Astron. Soc. 506 (2021) L1. [17] R. Sengupta et al., Class. Quant. Grav. 39 105004. [18] G F. R. Ellis, J. Murugan and C. G. Tsagas, Class. Quant. Grav. 21 (2004) 223. [19] S. J. Perlmutter et al., Nature 391 51 (1998). [20] Riess, A.G. et al., Astron. J. 116 1009 (1998). [21] Zlatev, I., Wang, L. and Steinhardt, P.J., Phys. Rev. Lett. 82 896 (1999). [22] Ure˜na-L´opez, L.A. and Liddle, A., Phys. Rev. D 66 083005 (2002). [23] Kamenshchik, A., Moschella, U. and Pasquier, V., Phys. Lett. B 511 265 (2001) [24] U. Debnath, A. Banerjee, and S. Chakraborty, Class. Quant. Grav. 21 (2004) 5609. [25] Caldwell, R.R., Phys. Lett. B 545, 23 (2002) [26] Frampton, P. and Takahashi, T., Phys. Lett. B 557 135 (2003). [27] G. Dvali, G. Gabadadze and M. Porrati, Phys. Lett. B 485 208 (2000) [28] C. Deffayet, G. Dvali, and G. Gabadadze, Phys. Rev. D 65 (2002) 044023. [29] S. Nojiri and S. D. Odintsov, Int. J. Geom. Methods Mod. Phys., 4 (2007) 115. [30] J. M. Cline, S. Jeon and G. D. Moore, Phys. Rev. D70, 043543 (2004) [31] L. Parker and A. Raval, Phys. Rev. Lett. 86, 749 (2001). [32] R. Caldwell, M. Kamionkowski and N. Weinberg, Phys. Rev. Lett. 91 071301 (2003). [33] P. Davies, Annales Poincare Phys. Theor. 49 297 (1988). [34] R. Sengupta et al., Phys. Rev. D 102 (2020) 024037. [35] L. Visinelli, N. Bolis, and S. Vagnozzi, Phys. Rev. D 97, 064039 (2018). [36] S. Vagnozzi and L. Visinelli, Phys. Rev. D 100, 024020 (2019). [37] I. Banerjee, T. Paul and S. Sengupta, JCAP 02, 041 (2021).

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