Wer kommt denn bitte auf die Idee, Badezimmerwände aus Glas zu bauen.
Habe kurz überlegt, ob ich es sexy finde, dem Liebsten beim Duschen zuzusenden. Und meine Antwort lautet nein.
Aber vielleicht hat auch gefehlt, dass er mir eine "Duschshow" bietet. 😂
Question for the Mastodon hive mind:
Primer:
I have a need to convert, resize, reorient, and transcode video for various stages of our video edit and distribution pipeline. I've been doing all of this in ffMpeg, via command line arguments and custom-coded scripts. However, the needs of this thing just simply don't scale that way. And no one but me gets access to the CLI on these systems. So that's just not feseable.
Now finally, to the question.
I am looking for an open-source web frontend to ffMpeg that is, if not fully accessible, as that is a very tall order, but at least usable by an experienced screen reader user with the typical tools and hacks learned over twenty years of experience. Just something that doesn't make accessibility a barrier and most importantly, a time waster.
Please boost far and wide for reach, with thanks.
Ready! Set! Fire!
#A11Y #Accessibility #ffmpeg #web #Interface #WebUI #UI #UX
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Buenos días desde la Administración Pública.
Me quedan 3 días de trabajo este año. A ver si acaba bien.
RE: social.anoxinon.de/@codebergst…
Having received some of this spam it is interesting to see the type of language used:
"what's the point of using [...] if it can't be trusted"
"I expected better"
"This is very frustrating!"
"it's entirely unacceptable"
"Not addressing this is just pointless and leads to wasted time for users like me."
Makes you wonder: is abusive behaviour in project issues so common in LLM training data or did they explicitly ask to be so mean?
Food for thought, but no matter what this is quite sad stuff...
We investigated performance issues on our systems. The cause was identified to be huge inrush in AI-generated nonsense spam creation that slows the notification system.social.anoxinon.de - Mastodon
Tags:
Changes since the 2025121200 release:
All of the Android 16 security patches from the current January 2026, February 2026, March 2026, April 2026, May 2026 and June 2026 Android Security Bulletins are included in the 2025121701 security preview release. List of additional fixed CVEs:
2025121701 provides at least the full 2026-01-01 Android and Pixel security patch level but will remain marked as providing 2025-12-05.
For detailed information on security preview releases, see our post about it.
GrapheneOS discussion forumGrapheneOS Discussion Forum
Changes in version 143.0.7499.146.0:
A full list of changes from the previous release (version 143.0.7499.109.0) is available through the Git commit log between the releases.
This update is available to GrapheneOS users via our app repository and will also be bundled into the next OS release. Vanadium isn't yet officially available for users outside GrapheneOS, although we plan to do that eventually. It won't be able to provide the WebView outside GrapheneOS and will have missing hardening and other features.
Privacy and security enhanced releases of Chromium for GrapheneOS. Vanadium provides the WebView and standard user-facing browser on GrapheneOS. It depends on hardening in other GrapheneOS reposito...GitHub
I'm looking for recommendations for your favorite lesser known console games from the 90s.
I'm going to talk about some of mine. Modern fan games for 90s consoles are also fair game.
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Looked into if Firefox had support for GNU/Hurd. Someone submitted a patch and spent 10 years rebasing it and being ignored and then told to rebase it again because it was outdated, before it was closed as wontfix since there's no rust compiler.
bugzilla.mozilla.org/show_bug.…
RESOLVED (nobody) in Core - General. Last updated 2024-05-28.bugzilla.mozilla.org
it gets better--it turns out there actually is rust support.
Which of the following statements induce the most nerd rage for you?
#poll
@liroso it was an image search for "meme r2d2 dalek star trek" on Duck Duck Bing and the image come from a pinterest post.
An Etsy listing etsy.com/listing/1358533088/om…
in the same results
I feel it's a sign of my emotional growth that my reaction to all of these is simply: 🪷🧘🪷
beige.party/@mayintoronto/1157…
Which of the following statements induce the most nerd rage for you? #poll [ ] Avatar the last Airbender? That was a great movie! [ ] Megablocks are the same thing as Lego anyway. [ ] I love Star Trek! Dark Vader's so scary.beige.party
An audio game where you take on the role of an elf delivering presents on Christmas Eveitch.io
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TalkBack does not offer an option to use computer vision & LLMs (“AI” for the scope of this thread) to describe images lacking alt text.
If you do it in Chrome, it overwrites all the good alt text with, well, crap.
Try it on this page:
srt.csb-cde.ca.gov/jaws/jaws-l…
See how the authored alt text has been replaced by the file name?
Reloading the page does not reset it to the original alt text (nor loading in incognito nor appending query strings).
As we had to rollback the Rhythm update (it introduced proprietary components), our new addition got out earlier with a second small #AndroidAppRain today, after the first brought you 17 updated apps:
* Pure Link: an URL sanitizer that also expands short links 🛡️
Current RB Status: 766 apps (60.2%)
Enjoy your #free #Android #apps with the #IzzyOnDroid repository 
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Attached: 1 image Have you ever been frustrated with the lack of power outlets in hotel rooms? Especially when you're perusing your laptop in bed? Me too! https://www.conferencesthatwork.com/index.Adrian Segar (Mastodon)
1. Premier Inn recently, by the side of the bed was a USB-A port and a USB_C port, but no power.
Since Mac is a strange but wonderful beast, I plugged it's charger into the USB-C port and it pulled only 7 Watts.
So long as I didn't do anything strenuous (and why would I, it was night-time anyway) it didn't discharge, but neither did it charge further.
The power of ARM...
2. On a cruise with my wife and kids recently for a week, the kid's bedroom had 0 sockets in it, no that's not a typo, 0 sockets at all.
We had to request an extension from reception and disconnect the TV in the living room and run the cable under their door.
for us, same situation, but we had 1 socket on my wife's side of the bed but not mine.
In both cases I was sensible and had packed some four-way extension cables so we could at least plug all our gear in, but needed a longer cable from wall to plug...
No idea what fools designed a family cabin without proper sockets but if I ever meet them, I will give them seventeen pieces of my mind...
Andre Louis reshared this.
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Juste par curiosité, où vont les méchants pirates francophones pour télécharger illégalement des livres audio en Français, en l’occurence si quelqu’un de peu scrupuleux voulait écouter gratuitement le Silmarillon de Tolkien lu par Thierry Janssen ?
Pas pour moi, je m’apprête à l’acheter pour 21,99€ sans y penser à deux fois, haha. Et ensuite 21,99€ pour La Chute de Gondolin, 21,99€ pour Contes et Légendes inachevés, 18,99€ pour Les enfants de Húrin, et 18,99€ pour Beren et Lutien, car j’adore dépenser mon argent 🙂
Living Conscious Systems
In this brief note I’d like to share two things. Firstly, an event of considerable personal significance: I’ve created my own record label, “Living Conscious Systems”, for experimental organ ambient music, something I’d been thinking about these past few months.
Actually, this is quite a logical development, because I’ve been composing organ music all this time: this week, for instance, saw the release of my album “Wolfen”, a kind of musical portrait of the Wolfen-Nord district where I currently live.
In the foreseeable future I plan to release new works under this label solo, though naturally I hope that in time I’ll find people who share my passion for experimental organ music and will join the label. On that front, I’m fairly optimistic.
Secondly, I’d like to share how the album “Wolfen” came into being, namely to tell the small stories behind each of the compositions. All of them were created in the first half of December 2025 here, right in the epicentre of Wolfen-Nord.
A bit of context to understand what Wolfen-Nord is and what makes it remarkable: firstly, it’s the place where I currently live, and secondly, a satellite housing estate built for workers in the local chemical industry. At its peak, tens of thousands lived here across multiple residential complexes of panel construction; today the population stands at around 6,000, with most buildings demolished as more and more flats remained empty. The district is inextricably linked to the factory founded here by Agfa in the early twentieth century: it was there they created the world’s first modern colour film, Agfacolor Neu. After the war, when the Americans confiscated the patents and handed them to Kodak, the factory continued working under the brand ORWO (ORiginal WOlfen), one of the most known GDR’s symbols. By the time reunification came, thousands worked at the factory; a few years later, production was closed permanently and everyone went their separate ways.
The first composition I wrote was “Wir aus der Platte”: literally, this translates as “we from the panel block”. There’s a documentary of the same name about this district, and when I finished working on the composition, I realised that yes, to call it anything else would have been criminal. Considering Wolfen’s rich industrial past, right at the beginning it seems to give voice through low-frequency breaths to all the factories situated here, including the very one where they manufactured the “Original Wolfen” film stock.
This town was literally the source of material that captured the heritage of GDR times through thousands upon thousands of cameras in the hands of the republic’s citizens. The people who worked at that factory lived predominantly in these very panel blocks of Wolfen-Nord, in one of which I now live. It’s remarkable how the threads of fate interweave: once upon a time, in my current flat, there lived a factory worker who created this film stock, and now I live here, giving voice to this history. At the very end of this composition, there’s a moment when a recognisable rhythmic pattern emerges and the listener expects continuation, but instead everything slows down like a large, unwieldy mechanism, including that same low-frequency breathing: here I’ve described the fate of my district, which has emptied significantly over the past few decades, with most of the panel buildings demolished.
The second composition became “Stadtwerke”: in German, this translates as municipal utilities. And there’s also an enormous pipe from the local heating plant jutting out of the ground across the entire district, with precisely this inscription written on it. I often wander through the town late at night when I can’t sleep, and in these moments the town appears in quite a different light. It’s empty, mysterious, with this gigantic pipe that’s illuminated by red warning lights at this time of day. You can see it even from the centre of the small town of Jeßnitz, which lies nearby.
During one such walk, when I’d once again wandered deep into Jeßnitz, I saw this pipe and thought: I absolutely must try to give it sound. Upon returning home I immediately set to experimenting: for the tuning I experimented with Pythagorean temperament to achieve the sound I was looking for in a drone context, and just a single stop: Gross Untersatz 32’. A few days later, when the composition was ready, I set off on another walk to listen whether the pipe actually sounded like that. Yes, to my delight, as I wandered through the town listening to this drone produced by the Gross Untersatz 32’, I recognised in it that very Stadtwerke pipe. Well, I’m very pleased: now it has a voice.
Working on the third composition, “Wohnkomplex II”, I wanted to make the organ sound as grounded as possible. I spent a long time searching for the right sound, and eventually decided that one organ alone wouldn’t suffice: I took my old Sony dictaphone and went out to record what was happening outside my flat at that moment. You can hear someone sawing something with an angle grinder, some bird chirping, a dog barking, people chatting at the bus stop. In short, the town is alive. And immediately after the angle grinder, Fagott 16’ sounds on the pedals, sounding terrifyingly recognisable: like the neighbour on the floor below who’s decided to undertake renovations, as if to prove this place still has life in it. A bit later Krumhorn 8’ joins in, and then the background sound of the town disappears, leaving the listener alone with themselves and the sound of these two piercing stops.
Actually, the listener should listen to this composition directly in Wolfen-Nord during a walk, so that in the second part of the composition, when my background noise fades, the noise they encounter around themselves takes its place. Another detail worth mentioning: to name this composition, I had to consult the archive where one could see the original construction plan of Wolfen-Nord and its division into Wohnkomplexes — that’s how I learned that I currently live on the territory of Wohnkomplex II, and since it’s precisely its sounds that are used in this composition, that’s what I called it.
The composition “Willkommen in Wolfen-Nord!” I recorded last of all. The title really begged to be in this album: this inscription is placed on one of the panel blocks at the entrance to the district, and I see it almost every day. Right at the beginning, you can hear the ambience of one of the local shops that’s in close proximity to this inscription, where adverts play and a barely audible whistling sound emanates from the freezer units. It’s smoothly replaced by the now-familiar Gross Untersatz 32’. This is the only stop that sounds in this composition, as in the case of “Stadtwerke”.
At the very end we’re transported to another part of Wolfen, to the railway station in the old part of town. And it seems that in terms of sound and content, it would be logical to conclude the album with this composition, but no: I deliberately use it as the opening theme, and immediately after it comes “Wir aus der Platte”. I did this deliberately because “Willkommen in Wolfen-Nord!” immerses the listener in a sensation of derealisation, of the unreality of what’s happening, and immediately afterwards they wake up in a tower block to the next composition. Time to head off to the factory.
renecoignard.com/living-consci…
Living Conscious Systems is an experimental organ ambient label founded by René Coignard in 2025 in Wolfen-Nord, Germany.coignard.org
Marco Zehe
in reply to Murmel in Energiekrise • • •Funker Tom ⚡
in reply to Marco Zehe • • •@marcozehe
Richtige Antwort! 😎
@Purmelchen
Murmel in Energiekrise
in reply to Marco Zehe • • •@marcozehe
Ich hatte die Musik vergessen.
Marco Zehe
in reply to Murmel in Energiekrise • • •Funker Tom ⚡
in reply to Marco Zehe • • •Glaub' es oder lass' es:
Ich hatte exakt denselben Gedanken ... 😄
@Purmelchen