#the programme itself

[theminecraftbee]

…also for the record if you hear me say “yeah use [x thing] instead of curseforge’s launcher” or hear people complaining about curseforge as a company, that’s NOT the same thing as forge, the mod loader. or neoforge, which I think a lot of forge projects are slowly switching to? that’s a different thing. because this is the modded minecraft community that ALSO has a pretty large and famous community split, being the forge/fabric split, and there’s ALSO a load of different reasons and community drama behind it, although that’s more typical open-source project drama than curseforge/modrinth, which is less “two projects with different philosophies” type developer drama and more “the open source developers got tetchy about a for-profit company not responding to their needs” drama (BROADLY. I’M NOT IN THESE COMMUNITIES ENOUGH TO ACTUALLY SUMMARIZE THE MANY THINGS THAT ARE GOING ON BEHIND THE SCENES HERE. I AM JUST TAXONOMIZING BASED ON THE TYPICAL FLAVORS OF PROGRAMMER DRAMA.)

so like. yeah forge and curseforge are two different things, the modded minecraft community loves its “someone should make a standard to unify all the standards” “we now have three standards.” type dramas, please use a launcher that isn’t the curseforge launcher so you don’t have to have ads served to you every time you play minecraft.

bonus points though: one of the big elements of the curseforge/modrinth split is that sodium is only on modrinth (due to security concerns with curseforge allowing mods and packs of extremely similar names to sodium’s and refusing to take moderator action on that, if I remember right?). sodium is the recommendation you’ll normally get given if you want a performance mod for fabric instead of forge. there are multiple mods to put in addition to sodium to make it have optifine’s features and rampant debate as to which is better if you’re like, just playing vanilla (I’m on team sodium/rubidium for the record). there are also mods to port sodium to forge, bringing us full circle. this is because programmers never change,

#it’s so funny the amount of modded minecraft drama that is itself a microcosm of just. programmer drama in general #Yeah That’s Open Source Projects Alright o7

[khlur]

3 months after completing my master's degree requirements, i can confidently say it was a waste of time and money.

#i could have told you this 3 months into the programme #but it felt like so much was at stake so i had to complete it #i've become actively stupider #my thinking has been uncriticalled and i am fr struggling to regain how my brain worked when i was 18 <3 #the course itself has left me w no real skills i can name #or extra knowledge that i didn't know from undergrad #cue guilt!

[forgaeven1]

i've got a job interview today, and as you'd expect, i'm mighty nervous. if i'm more absent / present ooc ( really, my anxiety loves playing russian roulette with my attention ) , that's why !

#as context: i have like.... bad anxiety when it came to my career #i used to be in filmmaking? but my last project had this massive miscommunication #and it tore me into pieces. like.... i was just. in a bad shape #so i changed my career completely and found work in a kindergarten #and so far the work's lovely ( like yeah. it has its own stress ) but i've started to like? idk how to say it #but in filmmaking i had a very active position. i was among the chains of command #and in this new environment ( the pre-school ) im more of a follower ?? so ive been managing my stress #by taking this outside approach where im not THAT active #but lo and behold. the other day ive got an interview offer ( this one i'm going to ) in filmmaking #and im just. i suppose im scared the past will repeat itself #or perhaps its simply my anxiety bc i kept thinking i'm just gonna screw up #or i cant take the heat of the work. but?? i do like filmmaking #even if it busted my ass #idk. sorry for the rambling. as ive said - im nervous! #hopefully this channel will resume its programme after this break! #<333 have a good day yall. fr #gen: out of character.

[greatmuldini]

Any household equipped to receive the television service of the British Broadcasting Corporation in 1954 would almost certainly have done so on a “table-top” set not unlike the moderately priced and now iconic “TV-22,” which featured a circular 9-inch Mullard “television picture tube” capable of displaying the 405 lines its electron beam had to travel to draw the “high definition” images coming from London’s Alexandra Palace or the Birmingham transmitter in Sutton Coldfield. First manufactured in 1950 by Bush Radio, then under the umbrella of the Rank Corporation, the Bakelite-clad receiver came with connections for a dipole aerial and AC mains power, and no option at all to change the channel. What today would be considered a serious limitation was in fact a pragmatic decision as long as the country's airwaves remained limited to a single channel. (The set would have been ready for three additional channels which were proposed but never implemented.)

Growing audiences and an expanding schedule forced the new medium to create new content if it intended to fulfil its mission as a public broadcaster to “inform, educate, and entertain.” While the BBC's radio service had famously been on the air since 1922 and earned its merits during the war, television remained for a long time an experimental technology of questionable utility. Early programming therefore relied heavily on the spoken word and the conventions of live theatre, including the singular, and ephemeral, nature of each performance: very little was pre-recorded (on film), and once a programme was broadcast it ceased to exist. Much of the BBC's live programming and even material recorded on tape is now lost; what we do have from the era before and just after the introduction of magnetic tape in 1956 was routinely filmed off the television screen in a process known as kinescoping. Preservation of its output did not rank among the BBC's priorities; recording everything on film would have required vast resources dwarfing the convenience of "canned" content: repeat showings on the BBC often meant repeat performances – bringing the original cast and crew back to the studio was, after all, a well-rehearsed operation and more efficient than any existing technology. Similar traditional arrangements continued well beyond the arrival of effective technical solutions.

The lack of definition, in every sense, at first prevented the new medium from being recognized as such not only by those who worked in it but also the sceptical consumers into whose living rooms the images would be beamed. The privacy of the viewing experience would prove decisive: like its theatrical rival, television was visual, and it was live. With radio it shared the spontaneity of the live broadcast and a large audience that would not need to come together in a single room. Film could offer none of the above, certainly not in combination, but where television (and radio) opted for intimacy on the small screen, film went big and promoted the communal experience – a very basic, fundamental division which remained in place for more than half a century and is only now being challenged by the most recent innovations in streaming and subscription services.

In 1954 the BBC, as the sole operator of the new technology in the United Kingdom, looked to other pioneers abroad for suitable formats with which to fill their expanding schedules. In the United States, commercial television was in full swing by the early 1950s, with major broadcasters such as NBC and CBS competing for viewers and, more importantly, advertising partners – sponsors in the terminology of the scheme developed for radio that had businesses pay for the right to name an entire programme (today's wealth of "archival" recordings from the era is a direct result of the legal requirement to provide proof to the customers that their money was well-spent). Here, too, tried and tested radio content was being adapted for television and, in the process, began to take on hybrid features. One promising concept on the CBS network that appealed to the BBC decision makers was a former radio show turned televisual experiment: You Are There fused (fictitious) contemporary radio reportage with historical re-enactments – easily done on radio but more challenging – and more rewarding – as a live spectacle for audiences to see. Not quite ready, in technical terms, to rival the offerings of the film industry but arguably an alternative to a night out at the theatre, the "night in" promised to become an event in its own right.

You Are There set out to transport the viewer back in time and to bring them face to face with historical figures, who are moreover prepared to pause and be interviewed by modern-day (all-male, often real-life) TV news correspondents. The deliberate anachronism of the programme, examining a fictionalized version of history with the most modern tools available and presenting it to the viewer in the privacy of his own living room was the message and the medium rolled into one: the historical subject under scrutiny was by no means chosen at random or pre-determined by the American creators; licensees around the world dramatized historical events from their own national perspectives. Only seven episodes were produced for the BBC in 1954, none of which exist today. Press reviews and summaries confirm the use of exterior location sequences pre-recorded on film to supplement the live performances in the Alexandra Palace studio, but we can only speculate on the precise treatment of each subject.

The series opened, appropriately, with the Charge of the Light Brigade in the year of its centenary, followed by the trials (and tribulations) of Mary Queen of Scots, Charles I, Captain Dreyfus, and Julius Caesar. Joining this eminent circle were, somewhat less obviously, the instigators of a minor mutiny, as well as a major figure, arguably, of the Anglo-Irish political struggle whose historical – and literary - significance has only grown since 1954. The Fall of Charles Stuart Parnell has inspired generations of writers engaged in the fabrication of alternate histories. The enigma of his personality, and the complex set of circumstances surrounding the events of 1890 continue to be explored in imaginary what if variations. You Are There, by contrast, portrays a moment in time that must contain a myriad of possibilities. [Part 1 of 2]

#Patrick McGoohan #Helen Shingler #mother of Murray Head and Anthony Head amazingly #You Are There #The Fall of Parnell #would have been closer to audiences in 1954 #than the TV programme is to us today #incredible to think that some 60 years later #participants would still have been alive #even though key protagonists had dided by 1937 #when the first Hollywood romance was crafted #starring Clark Gable and Myrna Loy #Ireland of course continued to struggle right through #the first half of the 20th century and beyond #with the unfinished business of Parnell's now #heroic failure #though the BBCäs perspective may have been more detached and compressed #into a 30-minute lesson about a charismatic leader who did NOT change British history #when the country was experiencing victory and rationing and had not yet reinvented itself #where conformity was indeed the norm and individuality abnormal unless it came off as eccentricity #and modernity as technological advance #which it did in the case of television before morality caught up #within one year commerical television was on the air and the tv set obsolete #if one wanted ITV #and people did #with consequences for all of us #what a waffle so sorry

[seknots-izumimir]

i've been graduated for 1 day and i already miss hs

#idk i've just been thinking abt everyone #all the in-jokes in class and the chaos we'd cause and everything #in programming esp :) one of my friends would make things in blender and i'd encourage him to make them soft body and other weird things #and so we made a wiggly gun that exploded itself. that was fun #and my friend who i sit next to who i went out for food with and stuff... god maybe i should tell her i have a crush on her? idk #and my team for the game dev project. god. i'll miss them all :( #like i always felt so detached. and yet last night when we were at the lock-in i was explicitly called their friend and asked to sit #with them and do stuff with them... it was so pleasant yanno? #i dunno. it's just interesting. i always saw myself as distant and lonely but i had friends all along. maybe i just am dense #ah well. i'll miss them. but at least i always have fond memories #watching one of them play pokemon on their switch. fucking around in blender. being a menace to my seatmate. #the guy who's making an AI and robots and shit. the girl who did the art for our game. our programmer. the silly commercial #my seatmate made for the game. and that's just programming. the antics in spanish with the freshies and sophomores. #watching movies in psych and working hard while listening to the teacher chatter with students. even yoga had its moments #i dunno. it all feels surreal.

[honeybeeboppin]

A question for all artists that have Thoughts™️ about art AI, from a CompSci nerd

I’ve seen a lot of people really upset about AI that makes art, specifically that it’s being trained off of uncredited artists.

Would your thoughts on the AI change if A) you were credited and B) it was opt in instead of out? (At least for alive artists, because I feel that art like Starry Night and Mona Lisa and The Persistence of Memory are simply too important to leave out. They’ll still be credited just like all other works of course)

Every piece generated would have a watermark from the AI to point back to the host website, and on the site there would be like a big “Meet the Artists” page featuring all artists and what they submitted. I’m sure there would be organization in there so it’s not just a giant list but I haven’t thought that far ahead yet.

I know there would still be issues of people submitting stolen art, and tbh I’m not sure how to deal with that yet, but if artists gave consent and were credited would you still be against the AI?

Any thoughts, rambles, etc are appreciated because I’ve only ever really seen things from the CompSci perspective (plus I’m looking at taking an AI class next semester and I think making something like this would be really cool so long as it’s not immoral to do so)

#bee.txt #art #art ai #artists of tumblr #artists on tumblr #painting #digital art #illustration #apologies I know this post is not in itself art but this is the easiest way I can think of to reach out to yall #these art AI have so much incredibly cool potential but we as programmers have a moral responsibility to do it right ya know? #if I’m making one I want it to be as ethical as possible

[spikybanana]

so um I wrote a snippet for chinese older wolfstar but am feeling ambivalent about posting again because in the space of the last 30 minutes I went from feeling vague affection for the culture back to "god what the fuck why do I try". again.

#it's a wholly self indulgent hc why is it so HARD #it's the Fear Loophole #and the amount of heteronormative propaganda they shove into an evening of state-run programme #and I want to get back to the aroace r/s series but jalksdjflasjdf #god why can't my country be *normal* about itself #okay I know I'm the problem it's me BUT

[just-a-simple-dyke]

How would y'all react if i said a bl actor participated in the first season of mr trot🤔🤔

#he was pretty good i LOVED his team mission!! #he even did a duet with lee chan won!! though idk if that was for mr trot or a different programme tbh they all seem to merge lol #it had the contestants from mr trot but i dont think it was like....part of the contest itself idk

[tangerinequeen19]

28 Official Programme podcast when

#call it louis' 28 official programme #writes itself #format can start as him doing a lottery spin of random topics #to get his thoughts on #such as #'breakfast for dinner' #'time travel' #'pet peeves' #etc

[leothil]

Sometimes I forget I work with the absolute coolest people possible

#the 3d artists and programmers showed their work on our upcoming new software #and the DETAIL they put into it is just!!! #yeah the real-time ray tracing is super cool just in itself but what they DO with it! #just frida thoughts

[adarrhiannon]

On the Ofcom Complaints

I just wanted to clear something up as I believe most people who have commented on this matter over here haven’t actually read the article in question and have just gone by the headline.

The complaints in question were not in relation to the recent DW episode itself. If you read the Metro article floating about, it becomes clear that the complaints were in relation to a radio discussion of the LGBT content in the recent episodes by TalkRadio.

Some quotes from the radio show in question:

Lesbianism, bisexuality, homosexuality, hetrosex, at what age is it appropriate. So, if you’ve got eight-year-old kids watching Doctor Who, is this appropriate?

and:

It is the tedium of TV shows, Kevin, of having to have a political point, having to hammer home a message, having to have some good message come across, rather than just entertaining us.

People then complained about the radio discussion and the views expressed by the journalist and broadcaster on TalkRadio, finding their views to be “vile”.

Please read the article itself rather than producing outrage based upon a headline. Any discussion of homophobia etc should be surrounding the people on the radio show expressing these views, not the 54 people who complained and thereby drew attention to comments that may otherwise have been able to slide under the radar.

Metro article: https://metro.co.uk/2022/04/20/doctor-who-talkradio-debate-on-same-sex-storyline-sparks-ofcom-complaints-16502210/

Ofcom complaints for week commencing 12/04/22: https://www.ofcom.org.uk/__data/assets/pdf_file/0020/235505/audience-report-120422.pdf

Note: Legend of the Sea Devils aired on the 17th April 2022 and so would have been included within the week commencing 12th April 2022 if there had been over 50 complaints. As it doesn’t appear on the Ofcom website tally, then if there were any complaints there would be fewer than 50 (and thereby fewer than TalkRadio received for its take).

#doctor who #ofcom #thasmin #(adjacent) #I did try to find any other articles reporting on this btw but could only find the metro one at a glance #and that was also the only one I saw sliding around in the dw tag so I suspect it's the one that everyone is reacting to #however the ofcom website itself lists programmes which hit more than 50 complaints each week so it was easy enough to verify the number #I'm not going to get into how people getting the facts wrongs undermines their potentially very valid points here #but please please fact check at least before making big posts about this stuff at least

[my-thoughts-and-junk]

just finished season 3 and i have. thoughts.

#random thoughts #guess what motherfuckers it's blue man time #okay so the first three seasons are definitely the best #season one is decent with some great episodes and only one which is merely tolerable #it definitely didn't know what it wanted to do with itself yet hence the. devil. #season two is GREAT. every episode and side plot is entertaining. wish they didn't rehash interdimensional cable. #the wedding squanchers was made a bit weak by rick immediately being out of prison by the next season #and it was a bit heavy-handed on the whole 'rick's worst fears proved to be true and he will never open himself up emotionall again' thing #season three is also great! also a bit heavy-handed in the 'character monologue is deep' front #and then there's. hm. the rickchurian mortydate. #listen. love the divorce. love the new character dynamics. WHY did you pull us back??? #the ONLY episode which explored beth as a PRIMARY CHARACTER was ALSO the episode which directly led to her getting back with JERRY??? #listen. i love jerry. he sucks so hard. they are not compatible AT ALL. #STOP HAVING THEM GET BACK TOGETHER DURING MOMENTS OF HIGH EMOTIONAL STAKES!!! #jerry has learned NOTHING about beth during the divorce. they talked maybe ONCE. #beth does NOT need a male figure in her life STOP DOING IT TO HER #also??? why did summer consider grandpa her hero in the season 3 opener??? #they have NOT hung out like. at ALL. at MOST she's seen him be sexist to some aliens #HAVE! THEM! SPEND! TIME! TOGETHER!!! #he trusts her with the memory protocols! it is implied he PAYS her for her work! she was AWARE of the body mogrification ray! #LET SUMMER HAVE HOT GIRL SUMMER ADVENTURES!!! #give beth more episodes! explore her relationship to her deceased mother! does she know the rick in her house is not her rick? #what about morty? does she know her son is buried in the backyard? #fucking. explore how she feels when her father drags her son out of the house at god knows what hour AFTER she divorced jerry!!! #would she complain? would she become a doormat? she mentioned fearing being like her mother and driving rick away and you did NOTHING. #does she have hobbies? what does she do outside of work besides drink and watch her programmes? does she have any friends? #what happened to her coworker who was always flirting with her? how would their relationship change after her DIVORCE? #WHAT HAPPENED TO HER JOB IN SEASON 3? I WANT TO SEE HER LOSE HER WORK-LIFE BALANCE AND THROW HERSELF IN POST-DIVORCE #BETH KILLED A GUY! BETH KILLED SEVERAL LITTLE FUCKED-UP HUMAN FROOPY HYBRIDS! #how did she feel about jerry dating again? did anyone tell her? why didn't she even MENTION whether or not she wanted to start dating again?

[duckbowl]

Things I respect less the more I know about them:

The French language

Programming

Things that provide me with a sense of deep-seated rage:

The French language

Programming

#i think its bc they're both unintuitive #and to the point if absurdity as well #french will tie itself in loops to (in) consistently (not) adhere to its own grammatical structure #and programmers would sooner create an artificial universe without problems than actively solve problems #both of which drive me to a madness #that is neither divine nor revelatory

[marlinsart]

#guitar #gradient #rotoscoping #so fun fact my computer's graphic card is old #and it was old in 2017 when I made this animation #but unfortunately I couldn't get a new one because of all the fucking BTC farms #so my graphics card is now very unhappy when you try to run full colour animations on it on the krita programme itself lmao #animation practise

[sorin-sunchild]

I hate when people will talk about AI art like "But I love art and this gives me a way to be an artist which I didn't have before!"

You 'love' art but are ok with others work being stolen to programme that AI, which you then say is your own (with vague credit to the AI)?

You 'love' art but think saving an image from a site is the same as the work put in by all those artists you admire and assumedly respect?

Get outta here

#look i draw sometimes and it's awful #but it's also fun even though it never looks like what i want it to #because just actually making marks with your own movements is what makes art art #or heck movement itself can be a form of art #breaking things can be art #art is you doing Something that expresses Something you thought of and is aided #only by whatever raw materials or friendly help you can get and use #and i include digital art Programmes as raw materials here #I'll never be an artist and I'll always be frustrated that i can't get what's in my head out into the world #but I'll never patronise myself and artists by claiming an image generated by the stealing of others work #is both actual art and the best I can possibly do #I WISH there were more tools for people like me but ai art is not a tool it's just art theft #can you just image somebody getting famous from it and then being asked how they make their art #and honestly answering they just go to nightcafe or somewhere then type something and hit enter #like wow that sounds like you did absolutely nothing actually #negative

[vyorei]

Copied from the OG Tweet as it's too long to screenshot. Source is @Jonathan_K_Cook on Twitter:

The missing context for what's happening in Gaza is that Israel has been working night and day to ethnically cleanse the Palestinian people from their homeland since even before Israel become a state – when it was known as the Zionist movement.

Israel didn't just cleanse Palestinians in 1948, when it was founded as a Western colonial project, and again under cover of a regional war in 1967.

It also worked to ethnically cleanse Palestinians every day between those dates and afterwards. The aim was to move them off their historic lands, and either expel them beyond Israel’s new, expanded borders or concentrate them into small ghettoes inside those borders – as a holding measure until they could be expelled outside the borders.

The 'settler' project, as we call it, is a misnomer. It's really Israel's ethnic cleansing programme. Israel even has a special word for it in Hebrew: 'Judaisation', or making the land Jewish. It is official government policy.

Gaza was the largest of the Palestinian reservations created by Israel's ethnic cleansing programme, and the most overcrowded. To stop the inhabitants spilling out, Israel built a fence-barrier in the early 1990s to pen them in. Then when policing became too hard from within the prison, Israel pulled back in 2005 to the outer perimeter barrier.

New technology allowed Israel to besiege Gaza remotely by land, sea and air in 2007, limiting the entry of food and vital items like medicine and cement for construction. Automated gun towers shot anyone who came near the fence. The navy patrolled the sea, stopping boats straying more than a kilometre or two off shore. And drones watched 24 hours a day from the sky.

The people of Gaza were sealed in and largely forgotten, except when they lobbed a few rockets over the fence – to international indignation. If they fired too many rockets, Israel bombed them mercilessly and occasionally launched a ground invasion. The rocket threat was increasingly neutralised by a rocket interception system, paid for by the US, called Iron Dome.

Palestinians tried to be more inventive in finding ways to break out of their prison. They built tunnels. But Israel found ways to identify those that ran close to the fence and destroyed them.

Palestinians tried to get attention by protesting en masse at the fence. Israeli snipers were ordered to shoot them in the legs, leading to thousands of amputees. The 'deterrence' seemed to work.

Israel could once again sit back and let the Palestinians rot in Gaza. 'Quiet' had been restored.

Until, that is, last weekend when Hamas broke out briefly and ran amok, killing civilians and soldiers alike.

So Israel now needs a new policy.

It looks like the ethnic cleansing programme is being applied to Gaza anew. The half of the population in the enclave's north is being herded south, where there are not the resources to cope with them. And even if there were, Israel has cut off food, water and power to everyone in Gaza.

The enclave is quickly becoming a pressure cooker. The pressure is meant to build on Egypt to allow the Palestinians entry into Sinai on 'humanitarian' grounds.

Whatever the media are telling you, the 'conflict' – that is, Israel's cleansing programme – started long before Hamas appeared on the scene. In fact, Hamas emerged very late, as the predictable response to Israel's violent colonisation project.

Israel could once again sit back and let the Palestinians rot in Gaza. 'Quiet' had been restored.

Ignore the fake news. Israel isn't defending itself. It's enforcing its right to continue ethnically cleansing Palestinians.

#gaza #free gaza #gaza strip #palestine #free palestine #news on gaza #irish solidarity with palestine #al jazeera