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I just finished the slides for our talk on UnifiedPush (@unifiedpush) at FOSDEM 2026! Come see Simon (@S1m) and me in the FOSS on Mobile devroom this Saturday at 16:00.

fosdem.org/2026/schedule/event…

#UnifiedPush #FOSDEM #FOSDEM26

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I just wanted to say thank you to all the #blind folk who responded last night to give me so many fantastic responses.

It's given me a clear direction of travel, and been quite affirming in terms of my future plans.

I don't have as much money as I'd like, but I can certainly do some things.

I think I'm going to go back to the table and ask the charity to put some of our own money in so that I can do something for Deafblind people.

They may say no.

#accessibility #disability #disabled

A long one, but that's pretty common for Hindustani Classical. This is a recording from 1974 of Surbahar (essentially bass sitar) playing rāg yaman. This serene evening rāg is similar to lydian, though with rules. Alāp Jor Jhala refers to distinct sections. The alāp is a slow free-rhythm exploration of the rāg, jor/jod () introduces a steady rhythm, and jhala introduces a more lively rhythm (a constant pattering of melodic raindrops).
#Music #Ethnomusicology #WorldMusic
youtube.com/watch?v=AdnGWrpQTk…
in reply to AndrΓ© Polykanine

@menelion Hindustani and Carnatic music theory are interesting different worlds to explore. I’ve mainly done rhythm theory though, but I understand the basics of rāg. Perhaps useful to know. The melody is mainly happening on one string. For reference, the surbahar usually has a scale length of 95-100cm. The instrument’s overall length can be more like 130cm. It’s a beast!

K tomu, co se teď dΔ›je, jen jedno

🎸HNF🎸
🎢To svΔ›t se posral🎢
music.youtube.com/watch?v=ASB-…

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