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Das neue Affinity: die Nutzungsbedingungen unter der Lupe
Affinity ist eine Familie von Grafik- und Layout-Software, die in der Indie-Kreativszene recht weit verbreitet ist. In der Vergangenheit hauptsächlich, weil die Software einen einmaligen Kauf erforderte anstatt eines Abos wie beim Konkurrenten Adobe. Vor einer Weile wurde der Hersteller von Affinity aufgekauft, und zwar durch das Unternehmen hinter dem Web-Tool Canva, das auch viele in der Indie-Kreativszene nutzen. Ende Oktober kam dann der große Paukenschlag: Affinity gibt’s ab sofort gratis, wenn man einen (grundsätzlich kostenlosen) Canva-Account hat. Viele Menschen in meinen Social Media-Kanälen sahen das skeptisch, vermuteten Datenverwertung für KI-Training im großen Stil.
Ich mache beruflich zufällig was mit Datenschutz und habe mich deshalb einmal durch die ganzen Terms und Policies von Canva bzw. Affinity gewühlt, damit ihr es nicht tun müsst. Hier gibt es die wichtigsten Inhalte für euch aufbereitet, mit Fokus auf die EU-Gesetzgebung (insbesondere die DSGVO). Liebe schweizer Kreative, ihr müsst also vielleicht nochmal selbst nachschauen. Ich berichte außerdem nur vom Ist-Zustand und mache keinen Vergleich zu „früher“, denn „früher“ ist jetzt eh Geschichte. Obligatorischer Disclaimer: ich bin kein Anwalt, dies ist keine Rechtsberatung.
TL;DR: Eure Verhaltensdaten im Umgang mit Affinity werden für KI-Training genutzt, eure kreativen Werke auch – ihr könnt diesen Teil in eurem Account aber manuell deaktivieren. Allerdings werden die Werke weiterhin mit KI analysiert, um zu prüfen, ob ihr „unerwünschte“ Dinge mit der Software erstellt. Dazu gehören auch erotische und sexuelle Werke.
Die Vertragsbedingungen
Zunächst habe ich mir die Vertragsbedingungen für einen Canva-Account angeschaut (Links gehen jeweils zu den englischen Texten, denn einzig diese sind rechtlich bindend). Hier die Highlights:
- Mindestalter für die Nutzung ist 7 Jahre (mit Einwilligung der Erziehungsberechtigten) in Deutschland, denn ab diesem Alter ist man beschränkt geschäftsfähig. Für education-Lizenzen gibt es Ausnahmen, aber diese Lizenzen werde ich hier nicht weiter betrachten – der Artikel ist auch so schon lang genug.
- Mit der Nutzung räumt man Canva das Recht ein (genauer, eine gebührenfreie und sublizenzierbare Lizenz), die erstellten Inhalte anzuzeigen, bereitzustellen, zu kopieren (z.B. im Rahmen von Backups) und für die Bereitstellung des Dienstes zu nutzen. Außerdem werden die Inhalte genutzt, um die Nutzungsbedingungen und die „Acceptable Use Policy“ durchzusetzen, sollte etwas gegen die Regeln verstoßen. Dazu später mehr.
- In den Privacy Settings des Accounts kann man ein bisschen dran drehen, in wieweit die Inhalte und auch die Nutzungsdaten (wie Klicks, wildes Scrollen, eingegebene Suchbegriffe) verwendet werden, um KI-Systeme zu trainieren. Auch dazu später noch mehr.
- Die Gebühren für den Dienst können sich ändern, also entweder die Preise für Pro-Abos, oder auch dass kostenlose Nutzung irgendwann Geschichte sein wird. Jede Änderung an den Gebühren wird von Canva mit einer mindesten Vorlaufzeit von 30 Tagen kommuniziert.
- Standardmäßig ist im Konto aktiviert, dass Camva Werbung per Mail und Telefon schicken darf, aber das lässt sich konfigurieren.
Bei der Nutzung von Affinity kommt auf diese Nutzungsbedingungen noch eine weitere dazu, die „Affinity Terms“. Hier steht klar und deutlich drin, dass die Nutzenden volle Kontrolle über die mit Affinity erstellten Inhalte haben („You and your Users may use and develop your own content when using the Affinity Software (User Content or Customer Material, as defined in the applicable Agreement), such as images, and files, which you have full control and responsibility over.“) – solange die Acceptable Use Policy eingehalten wird.
Die Datenschutzbestimmungen
Hier steht drin, was für (personenbezogene) Daten Canva zu welchen Zwecken verarbeitet. Darin hat man mit der Account-Erstellung eingewilligt und man kommt im Prinzip nur wieder raus, in dem man den Account komplett kündigt. Ich werde in diesem Abschnitt ziemlich oft das Wort „verarbeiten“ verwenden. Das fasst alles zusammen, was man mit Daten so machen kann (erstellen, kopieren, teilen, bearbeiten, löschen, etc.). Ist so Datenschutz-Sprech. Sorry.
Werfen wir einen Blick:- Es wird alles verarbeitet, was man selbst in die Produkte eingibt (Texte, Dateinamen, hochgeladene bzw. eingefügtes artwork), damit der Kram so funktioniert wie er soll. Logisch.
- Wenn man andere Accounts mit dem Canva-Account verknüpft, werden auch Daten mit den Anbietern dieser anderen Accounts getauscht und verarbeitet. Ergibt auch Sinn und das Verknüpfen ist soweit ich weiß komplett optional.
- Es passiert sogenannte Profilbildung über externe Data Broker und Cookies, um Werbung und Features zu personalisieren. Das ist zwar gruselig, dass Canva sich eine dicke Akte über die Nutzenden anlegt, aber das ist leider Branchenstandard bei online-Plattformen. Diese Geschichte lässt sich in den Privatsphäre-Einstellungen einschränken.
- Es werden Analytik- und Verhaltensdaten (was klicke ich an und in welcher Reihenfolge, welche Werkzeuge nutze ich auf welche Weise, etc.) gesammelt und in KI-Systeme gefüttert, um die Nutzbarkeit der Services zu verbessern. Es geht hier meiner Ansicht nach nicht um Text- oder Bildgenerierende KI, sondern um Datenauswertung um die Tools zugänglicher zu machen. Achtung: Solche Analytik-Daten werden auch über Dritte gesammelt und auch mit versteckten Elementen in Newsletter-Mails o.ä. Diese Datennutzung lässt sich über Canva-Einstellungen nicht einschränken. Der Anbieter empfiehlt in den Datenschutzbestimmungen, persönliche technische Maßnahmen zu treffen, wenn man das nicht möchte. Hierzu zählen beispielsweise „do not track“-Einstellungen im Browser (die leider viele Dienste mittlerweile auch ignorieren) oder Browser-Add-ons wie der Privacy Badger.
- Logdateien des Browsers werden zu technischen Zwecken auch verarbeitet. Das ist im Prinzip bei jeder Website so.
- Der Standort wird ermittelt und verarbeitet, entweder basierend auf der IP-Adresse oder anhand von Brokern bereitgestellten Daten.
- In den aufgelisteten Verarbeitungszwecken findet sich etwas Pikantes: Datennutzung „to train our algorithms, models and AI products and services using machine learning to develop, improve and provide our Service“. Im Folgenden werden Bilderkennung und -Segmentierung (Erkennung einzelner Bildbestandteile), Audiotranskription, Vorhersage von Suchbegriffen und gezielte Analyse für Abo-Empfehlungen, Vorschläge im System (z.B. Templates), Marktforschung und Werbung genannt. Und um die Acceptable Use Policy durchzusetzen. Ich kann mir hier gut vorstellen, dass in den Tools erstellte Dateien mit Hilfe von KI auf Konformität mit der Acceptable Use Policy geprüft werden. Und was Canva sonst noch für „improvements“ im Ärmel hat, weiß wohl nur das Unternehmen selbst. In den Account-Einstellungen kann man einen Teil davon deaktivieren.
- Und falls Canva verkauft werden sollte (oder einfach nur die Affinity-Produkte), gehören die gesammelten Daten auch zum Paket dazu.
Die DSGVO ist übrigens ein ganz cooles Gesetz, wie ich finde, weil sie uns als „Betroffenen“ von Datenverarbeitung einige starke Werkzeuge in die Hand legt. Nach Artikel 15 muss ein Datenverarbeiter offen legen, welche Daten er von der anfragenden Person hat und in welchem Kontext die verarbeitet werden. Für die Antwort gibt’s eine Frist von einem Monat beziehungsweise drei, wenn der Anbieter zugibt, dass er es nicht schneller schaffen kann. Wer sich also für die Geschichte mit dem KI-Training interessiert, könnte sowas wie
„in accordance with article 15 GDPR, I hereby request information on the use of my personal data through Affinity products, including the art and other files I created with Affinity products, for the purpose of machine learning and AI product training“
an [email protected] schicken und sich auf eine Antwort freuen – diese muss übrigens allgemeinverständlich formuliert und aufbereitet sein.
Wenn ihr beispielsweise euren Namen geändert habt und Canva das nicht anpassen will, könnt ihr nach Artikel 16 eine Berichtigung eurer Daten erzwingen.
Und wenn ihr beispielsweise durch die Artikel-15-Auskunft Daten entdeckt habt, die ihr gelöscht haben wollt, geht das über denselben Kanal und mit Hilfe von Artikel 17. Aber Achtung, meist argumentieren die Diensteanbieter, dass sie ohne diese Daten nicht vernünftig arbeiten können und stellen daher nur die Option der Komplettlöschung des Accounts.
Und wenn es Ärger mit einer dieser Artikel-Geschichten gibt, könnt ihr das bei der Landesdatenschutzbehörde eures Bundeslands melden und von dort dann Unterstützung erhalten. Danke, DSGVO!
In einem Addendum zu den Datenschutzbestimmungen findet sich auch eine aktuelle Liste der Unternehmen, die im Auftrag von Canva peterszonenbezogene Daten verarbeiten. In der Kategorie „AI Services“ finden sich hier
- Amazon, vermutlich als Infrastruktur-Bereitsteller
- Black Forest Labs, ein deutsches Start-Up, das eine bildgenerierende KI entwickelt. Laut dem Online-Magazin „Ars Technica“ könnten die Trainingsdaten für dieses Modell unrechtmäßig aus dem Internet gezogen worden sein.
- Google, vermutlich für Analytik
- OpenAI, das Unternehmen hinter ChatGPT
- DeepL, für Übersetzungen (übrigens auch ein deutsches Unternehmen)
- Canva Austria, für Video-KI
- Leonardo AI, ebenfalls KI-Bildgenerierung
Die Acceptable Use Policy
Hier ist er nun, der Elefant im Raum. Diese Policy regelt, was Canva nicht auf seiner Plattform und damit auch in Affinity haben möchte. Hier schwenkt der Fokus von Datenschutz Richtung Urheberrecht beziehungsweise Kunstfreiheit, und davon habe ich leider kaum Ahnung. Nehmt meine Kommentare deshalb bitte mit Vorsicht.
Neben offensichtlich illegalen Dingen und der Verbreitung von Malware hier meine Highlights:
- Keine Erstellung diskriminierender Inhalte. Ich vermute, dass eine (künstlerische) Aufarbeitung von Diskriminierung hiervon unberührt bleibt.
- Kein Anstiftung zur Gewalt („incite or promote violence“). Ich habe nicht genug Expertise im Bereich Kunstfreiheit um beurteilen zu können, ob „eat the rich“ schon dazugehört.
- Keine zur Gewalt anstiftenden Darstellungen („promote, encourage or create risk“) gegen Menschen oder Tiere. Könnte für manche Rollenspiel-Inhalte spannend werden.
- Keine sexuell expliziten oder pornografischen Inhalte. Hier liegt meiner Ansicht nach ein Dealbreaker für freischaffende Künstler*innen. Denn viele, die ich kenne, haben einen auskömmlichen Nebenverdienst mit erotischer Kunst (nicht nur die Furries, auch die Webcomic-Community scheint durchaus bereit sein, für solche Inhalte zu zahlen).
- Keine Desinformation. Das könnte eine knifflige Sache sein, wenn es um KI-gestützte Inhaltsfilter geht. Je nachdem, wie scharf Canva bei diesem Thema die automatische Filterung stellt, kann ich mir vorstellen, dass nervige Anfechtungen solcher Entscheidungen der eigenen Arbeit ein Bein stellen können.
Ich hoffe, dies bringt euch ein bisschen weiter, wenn es darum geht zu entscheiden, ob ihr das neue Affinity für eure Projekte nutzen wollt. Sollten noch Fragen offen geblieben sein, schreibt gern einen Kommentar oder eine Nachricht auf Mastodon an @Kiki
#affinity #allgemein #autoren #canva #datenschutz #design #diy #eu #fanzine #free #gratis #info #kunst #pnpde #ratgeber #schreiben #ttrpg
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Elephant Parade
“Swiss Edition 2024“ war der Untertitel bei der Spezialausstellung „Elephant Parade“ an der OLMA. Rund um die und im Vorraum der Kantonalbank-Halle standen künstlerisch bemalte Elefanten, jeder etwa 1.50 Meter hoch. Diese Elefantenparade wird – so stand zu lesen – auch an verschiedenen anderen Orten in der Schweiz noch ausgestellt werden. Die Parade zieht also nach der OLMA weiter.
Am besten gefallen hat mir unter all den vielen der Elefant mit dem Namen „The Journey“. Er ist im Scherenschnitt-Stil designt und zeigt laut der Website „elephantparade.com“ die Geschichte, als die Familie Knie 1920 die ersten Elefanten in die Schweiz brachte.
Eine gelungene Kombination der Erzählung mit dem typisch schweizerischen Scherenschnitt-Handwerk!
#ausstellen #bemalen #Design #Elefant #Elefanten #Elefantenparade #ElephantParade #Erzählung #Geschichte #Halle #Handwerk #Kantonalbank #Knie #Kombination #künstlerisch #OLMA #Parade #Scherenschnitt #Spezialausstellung #Stil #SwissEdition2024 #TheJourney #typisch #weiterziehen
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Elephant Parade
“Swiss Edition 2024“ war der Untertitel bei der Spezialausstellung „Elephant Parade“ an der OLMA. Rund um die und im Vorraum der Kantonalbank-Halle standen künstlerisch bemalte Elefanten, jeder etwa 1.50 Meter hoch. Diese Elefantenparade wird – so stand zu lesen – auch an verschiedenen anderen Orten in der Schweiz noch ausgestellt werden. Die Parade zieht also nach der OLMA weiter.
Am besten gefallen hat mir unter all den vielen der Elefant mit dem Namen „The Journey“. Er ist im Scherenschnitt-Stil designt und zeigt laut der Website „elephantparade.com“ die Geschichte, als die Familie Knie 1920 die ersten Elefanten in die Schweiz brachte.
Eine gelungene Kombination der Erzählung mit dem typisch schweizerischen Scherenschnitt-Handwerk!
#ausstellen #bemalen #Design #Elefant #Elefanten #Elefantenparade #ElephantParade #Erzählung #Geschichte #Halle #Handwerk #Kantonalbank #Knie #Kombination #künstlerisch #OLMA #Parade #Scherenschnitt #Spezialausstellung #Stil #SwissEdition2024 #TheJourney #typisch #weiterziehen
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Elephant Parade
“Swiss Edition 2024“ war der Untertitel bei der Spezialausstellung „Elephant Parade“ an der OLMA. Rund um die und im Vorraum der Kantonalbank-Halle standen künstlerisch bemalte Elefanten, jeder etwa 1.50 Meter hoch. Diese Elefantenparade wird – so stand zu lesen – auch an verschiedenen anderen Orten in der Schweiz noch ausgestellt werden. Die Parade zieht also nach der OLMA weiter.
Am besten gefallen hat mir unter all den vielen der Elefant mit dem Namen „The Journey“. Er ist im Scherenschnitt-Stil designt und zeigt laut der Website „elephantparade.com“ die Geschichte, als die Familie Knie 1920 die ersten Elefanten in die Schweiz brachte.
Eine gelungene Kombination der Erzählung mit dem typisch schweizerischen Scherenschnitt-Handwerk!
#ausstellen #bemalen #Design #Elefant #Elefanten #Elefantenparade #ElephantParade #Erzählung #Geschichte #Halle #Handwerk #Kantonalbank #Knie #Kombination #künstlerisch #OLMA #Parade #Scherenschnitt #Spezialausstellung #Stil #SwissEdition2024 #TheJourney #typisch #weiterziehen
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Die famosen Babyshambles feiern ihr Comeback mit „Dandy Hooligan“, ihrer ersten Single seit zwölf Jahren. Zeitgleich mit diesem neuen Track wird die Band am 12. Dezember ihr Debütalbum „Down In Albion“ neu veröffentlichen. Peter Doherty beschreibt den Track als „einen gut gelungenen, elegant komponierten Reggae-Ska-Pop-Song … mit einer süßen Melodie, zu der man mit seinem […]
#babyshambles #PeteDoherty
#indiemusic
https://www.nicorola.de/babyshambles-dandy-hooligan/ -
Adjacence is the new album from guitar virtuoso Dan Lippel, playing solo as well as in the company of individual players and chamber groups of various sizes. The selection here is very rich: fourteen compositions by thirteen recent and contemporary composers, including two composed or co-composed by Lippel.
The stylistic diversity of the album’s music clearly demonstrates Lippel’s versatility as a performer. For example, there is Ken Ueno’s Ghost Flowers, a mostly sound-based work of scraped strings and plucked notes in just intonation, for guitar, viola (Wendy Richman), and dulcimer (Nathan Davis); Moments, the elegant five-movement duet for acoustic guitar and piccolo (Roberta Michel) by composer Tonia Ko; Tyshawn Sorey’s darkly atmospheric Ode to Gust Burns for small ensemble, which combines composed and improvised passages; Carl Schimmel’s The Alphabet Turn’d Poster Master for electric guitar, tenor saxophone (Timothy Ruedeman), piano (Eric Huebner), and percussion (Haruka Fujii), a work of fragmentary motifs and intricate unison lines; the dissonant minimalism of Peter Adriaansz’s Serenades II-IV, with Lippel overdubbed on electric guitars and electric bass; and Tania León’s dramatic Ajiaco for piano played inside and out (Cory Smythe) and Lippel’s reverb-soaked electric guitar, spinning out deconstructed jazz-like lines.
Among the album’s many highlights is Charles Wuorinen’s Electric Quartet (2013) for four electric guitars. The piece was commissioned by the guitar quartet Bodies Electric, of which Lippel is a member; the performance here is theirs. The piece contains a complex skein of lines, as one would expect from Wuorinen; Bodies Electric’s realization is a model of polyphonic clarity. Another is Nico Muhly’s propulsive Wedge, which features Lippel on classical guitar and Jeffrey Irving on vibes and other percussion playing additive and subtractive variations on short motifs over shifting time signatures.
In a bit of structural symmetry Lippel’s Utopian Prelude, which features the composer on electric guitar and microtonal classical guitar and Ryan Streber on electronics opens the album; Dystopian Reprise for Lippel on solo guitar, co-composed by Lippel and Adriaansz, closes it.
Adjacence is a fine survey of what the guitar is capable of at this moment in musical time.
https://avantmusicnews.com/2024/11/09/amn-reviews-dan-lippel-adjacence-new-focus-recordings-fcr423/
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Hällas – Panorama Review By Creeping IvyHällas—Sweden’s self-styled administrators of ‘adventure rock’—has suffered a nearly decade-long absence from AMG. Back in 2017, El Cuervo (rightly) awarded Excerpts from a Future Past a 4.0, praising the debut for its transportive aesthetic and cohesive performances. Since this one-off review, Hällas has become a premier neo- proto-metal act, yet they haven’t reached the exceptionality of their entrance. Conundrum (2020) continued in the vein of Excerpts with a synth-heavy slow burn that (why not?) feels less adventurous than the debut.1 Redressing this safeness, Isle of Wisdom (2022) favors tighter, jauntier tunes that bleed into each other.2 On the heels of two very good albums is Panorama, the first to be released on Hällas’s own (aptly named) Äventry Records. This shift seems to signal the kind of confidence arising from a veteran band coming into their own. Accordingly, Panorama experiments more than any previous Hällas album, but experimentation alone does not guarantee Greatness.
Panorama deftly delivers Hällas’s now-familiar take on heavy, psychedelic prog rock. Indeed, these Swedes still sound like Uriah Heep counseling Iron Maiden. Pre-release single “The Emissary” and closer “At the Summit” best encapsulate classic Hällas. On these tracks, Rickard Swahn and Marcus Petersson bounce between wee-da-lee guitarmonies, Ren-faire acoustic plucks, and driving riffage. Nicklas Malmqvist supplies texture via sparkling synthesizers and percussive organ. It is the infectious guitar/key interplays, however, that define Hällas. Towards the end of “At the Summit,” Swahn, Petersson, and Malmqvist unite for delicious harmonized noodling, building drama before a serene denouement. Wrapped in warm, 70s-sounding production fans have come to expect, Panorama supplies some of the strongest Hällas tunes yet.
Panorama’s experimentations, however, make it Hällas’s most singular statement. Its boldest innovation is “Above the Continuum,” a 20-minute, 7-part suite akin to the eponymous openers of Rush’s 2112 and Yes’s Close to the Edge. On this cinematic saga, Hällas brings Gregorian chants, strings, and horns to their brand of synth-rock. Floydian voice-overs materialize Panorama’s somber narrative, in which a hermit laments encroaching dystopia atop his tower. An imperceptible escalation that finally burrowed under my skin after ten or so listens, “Above the Continuum” is an early Song o’ the Year candidate.3 How does one follow such a sprawling epic? With a trotting jam, of course. On “Face of an Angel,” another pre-release single, drummer Kasper Eriksson rides a sleazy Thin Lizzy groove with bassist/vocalist Tommy Alexandersson, who lays down a droningly hooky chorus. Hällas has dropped crowd pleasers before (“Star Rider,” “Carry On”), but “Face of an Angel” is their poppiest ditty yet and the perfect counterbalance to the opening beast. It is “Bestiaus,” though, that truly spotlights Alexandersson’s vocals. His smoky baritone and booming bellow sit center stage on this affecting piano ballad, standing alone in Hällas’s catalogue.
Five scenes spliced into one holistic picture, Panorama is a grand album, which might not register when glancing at the runtime. Like every Hällas record, Panorama clocks in at just under 45 minutes, yet its more limited track count (5, instead of 7–8) renders every song utterly distinct. There is zero filler here, only questionable moments. “Above the Continuum” has abrupt transitions in its opening minutes, but they don’t hinder the track as a whole. Additionally, the immediate fadeout on the punk ending of “The Emissary” always frustrates me. Frustration is surely the intended effect, but Hällas could have stretched the part a few measures and achieved the same. And “Bestiaus” itself feels a little like a moment, striving for songhood but not quite reaching it. Still, it’s an elegant setup for “At the Summit”—an epic but unprotracted finale.
With Panorama, Hällas has delivered (why not?) their most adventurous album, but it’s also their best work to date. Excerpts hinted at excellence—Panorama achieves it. Per its namesake, Panorama provides a virtually seamless showcase of all that Hällas has done while splendidly surveying new terrain. A fun yet serious record, Panorama puts an angelic synth-rock face on a devilish narrative circulatory system. It’s only January, but these Swedes may have already dropped the neo- proto-metal album of 2026 (and a list-topping contender for yours truly).
Rating: 4.5/5.0
#2026 #45 #ÄventyrRecords #BloodIncantation #Hällas #HardRock #IronMaiden #Jan26 #Panorama #PinkFloyd #ProgressiveRock #ProtoMetal #PsychedelicRock #Review #Reviews #Rush #SwedishRock #ThinLizzy #UriahHeep #Yes
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Äventyr Records
Websites: facebook.com/haellas | hallasband.com
Releases Worldwide: January 30th, 2026 -
Hällas – Panorama Review By Creeping IvyHällas—Sweden’s self-styled administrators of ‘adventure rock’—has suffered a nearly decade-long absence from AMG. Back in 2017, El Cuervo (rightly) awarded Excerpts from a Future Past a 4.0, praising the debut for its transportive aesthetic and cohesive performances. Since this one-off review, Hällas has become a premier neo- proto-metal act, yet they haven’t reached the exceptionality of their entrance. Conundrum (2020) continued in the vein of Excerpts with a synth-heavy slow burn that (why not?) feels less adventurous than the debut.1 Redressing this safeness, Isle of Wisdom (2022) favors tighter, jauntier tunes that bleed into each other.2 On the heels of two very good albums is Panorama, the first to be released on Hällas’s own (aptly named) Äventry Records. This shift seems to signal the kind of confidence arising from a veteran band coming into their own. Accordingly, Panorama experiments more than any previous Hällas album, but experimentation alone does not guarantee Greatness.
Panorama deftly delivers Hällas’s now-familiar take on heavy, psychedelic prog rock. Indeed, these Swedes still sound like Uriah Heep counseling Iron Maiden. Pre-release single “The Emissary” and closer “At the Summit” best encapsulate classic Hällas. On these tracks, Rickard Swahn and Marcus Petersson bounce between wee-da-lee guitarmonies, Ren-faire acoustic plucks, and driving riffage. Nicklas Malmqvist supplies texture via sparkling synthesizers and percussive organ. It is the infectious guitar/key interplays, however, that define Hällas. Towards the end of “At the Summit,” Swahn, Petersson, and Malmqvist unite for delicious harmonized noodling, building drama before a serene denouement. Wrapped in warm, 70s-sounding production fans have come to expect, Panorama supplies some of the strongest Hällas tunes yet.
Panorama’s experimentations, however, make it Hällas’s most singular statement. Its boldest innovation is “Above the Continuum,” a 20-minute, 7-part suite akin to the eponymous openers of Rush’s 2112 and Yes’s Close to the Edge. On this cinematic saga, Hällas brings Gregorian chants, strings, and horns to their brand of synth-rock. Floydian voice-overs materialize Panorama’s somber narrative, in which a hermit laments encroaching dystopia atop his tower. An imperceptible escalation that finally burrowed under my skin after ten or so listens, “Above the Continuum” is an early Song o’ the Year candidate.3 How does one follow such a sprawling epic? With a trotting jam, of course. On “Face of an Angel,” another pre-release single, drummer Kasper Eriksson rides a sleazy Thin Lizzy groove with bassist/vocalist Tommy Alexandersson, who lays down a droningly hooky chorus. Hällas has dropped crowd pleasers before (“Star Rider,” “Carry On”), but “Face of an Angel” is their poppiest ditty yet and the perfect counterbalance to the opening beast. It is “Bestiaus,” though, that truly spotlights Alexandersson’s vocals. His smoky baritone and booming bellow sit center stage on this affecting piano ballad, standing alone in Hällas’s catalogue.
Five scenes spliced into one holistic picture, Panorama is a grand album, which might not register when glancing at the runtime. Like every Hällas record, Panorama clocks in at just under 45 minutes, yet its more limited track count (5, instead of 7–8) renders every song utterly distinct. There is zero filler here, only questionable moments. “Above the Continuum” has abrupt transitions in its opening minutes, but they don’t hinder the track as a whole. Additionally, the immediate fadeout on the punk ending of “The Emissary” always frustrates me. Frustration is surely the intended effect, but Hällas could have stretched the part a few measures and achieved the same. And “Bestiaus” itself feels a little like a moment, striving for songhood but not quite reaching it. Still, it’s an elegant setup for “At the Summit”—an epic but unprotracted finale.
With Panorama, Hällas has delivered (why not?) their most adventurous album, but it’s also their best work to date. Excerpts hinted at excellence—Panorama achieves it. Per its namesake, Panorama provides a virtually seamless showcase of all that Hällas has done while splendidly surveying new terrain. A fun yet serious record, Panorama puts an angelic synth-rock face on a devilish narrative circulatory system. It’s only January, but these Swedes may have already dropped the neo- proto-metal album of 2026 (and a list-topping contender for yours truly).
Rating: 4.5/5.0
#2026 #45 #ÄventyrRecords #BloodIncantation #Hällas #HardRock #IronMaiden #Jan26 #Panorama #PinkFloyd #ProgressiveRock #ProtoMetal #PsychedelicRock #Review #Reviews #Rush #SwedishRock #ThinLizzy #UriahHeep #Yes
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Äventyr Records
Websites: facebook.com/haellas | hallasband.com
Releases Worldwide: January 30th, 2026 -
The thread about Brydone’s Circular Delivery; trying and failing to break the Royal Mail’s monopoly
Today’s Auction House Artefacts are some intriguing postage stamps (stamps are big money on the auction scene, it seems) that unravels a really interesting local history story of their own. But these aren’t Royal Mail Stamps, they are Circular Delivery Company stamps. The Circular Delivery Companies where short lived attempts to flout the Royal Main’s postal monopoly, between 1865 and 1869. They were the brainchild of one Robert Brydone, a 33 year old Edinburgh printer and publisher. Robert was the son of James Brydone, an established printer and engraver with a good reputation around town. The family premises were on Elder Street, just off St. Andrew Square.
The Brydone family house was at the respectable address of 27 Dundas Street. Robert seems to have been on the move a bit as he goes from 5 Hope Park Terrace in Newington to 25 Gayfield Square between 1865-1866 and then is no longer in town by 1867 (more on that later).
The Brydones published railway timetables amongst other things;
Brydone’s Railway Directory. Railway Map of Scotland. 1858-1862 © The Board of Trustees of the Science Museum1865 finds Robert Brydone as the manager of the Edinburgh & Leith Parcel Delivery Co., based at 4 North St. Andrew Street. Now the site of Edinburgh bus station and just around the corner from the family printing works on Elder Street. These parcel delivery companies were nothing new, they did exactly what the name suggested and moved priority parcels around town – and began charging by issuing stamps (which could be printed at the Brydone family works). The Edinburgh & Leith Parcel Delivery Co. had been founded in 1856 by Robert Ferguson, a merchant in the Kirkgate of Leith and ran “light parcel delivery vans” twice a day between the respective burghs to and from 9 different stops.
Two pence stamp for the Edinburgh and Leith Parcel Delivery Co.Robert’s brainwave was to exploit his delivery network to undercut the Royal Mail’s postage monopoly in the city. This was a curious 360° turn of events, as the very first postage network within the City had been set up by a private entrepreneur – “Indian Peter” Williamson – in the 1780s before being bought out by he Royal Mail. Brydone set up the Edinburgh & Leith Circular Delivery Co. to provide prepaid delivery for the booming market in “circulars”, magazines, newspapers etc. The Brydone presses already made the stamps for the parcel company so it was natural they should make the circular stamps too, from designs by George Oliver, engraver and die maker, of Edinburgh. None of these ideas were on their own novel, all Robert did was bring them together, and have the gumption to take on the might of the Royal Mail.
A wide selection of Edinburgh & Leith Circular Delivery Co, featuring stylised coats of arms of each respective burghBrydone was directly targeting the legally protected revenue of the General Post Office here; they weren’t so interested in the parcels business. He also had his stamps perforated and gummed so they could be issued prepaid, a direct infringement of the GPO’s patents. But for whatever reason, the GPO decided to do nothing while the practice was restricted to just Edinburgh and Leith. Brydone issued stamps to the value of 1/4d (farthing), ha’penny, 3/4d and 1d., with the rates being 1/4d for circulars, 1/2d for newspapers and 3/4-1d for books.
Sheet of One Farthing E. & L. Circular Delivery Co. stamps before perforation.The business seems to have boomed initially, with their stamps cancelled by an elegant R. B. & Co. monogram.
Robert Brydone & Co. monogram from the cancellation stampHad Brydone been content to leave it there he might have got away with it, indeed he had taken legal advice from the Lord Advocate who had shared this opinion with him, but he over-reached himself and decided to grow the concept by setting up similar Circular Delivery Companies across the whole country. Aberdeen, Dundee, Glasgow all got companies, as did Liverpool. Each got their own stamps, to a similar design inspired by the civic crest of each city.
Liverpool Circular Delivery Co. stamp, One Farthing, featuring a Liver Bird.Brydone also began to face competition himself – you can’t keep a good idea down and soon found himself up against his neighbour at Dundas Street, the stationer and printer Robert Clark, whose press was directly over the road from Byrdones’ at 15 Elder Street.
Clark & Co. Circular and Parcel Delivery stamps, notice these have no price or perforations.So now Brydone faced competition at home, form the lawyers of the Royal Mail who were not content at all for him to undercut their business across the country, and also from a third direction; Forgery. Philately was the new pass-time for the aspiring Victorian gentleman of leisure and the novel and relatively uncommon Circular stamps found themselves in huge demand (a similar thing happened with the short lived regional coinage of “Provincial Tokens”.)
Forgeries of Brydone’s stamps became common and before long Robert was declared bankrupt in 1866. His father James took on the business, moving it to the family’s Elder Street premises, and issuing new stamps to match; I assume that the removal of the price and perforations was to satisfy the Royal Mail’s lawyers.
Edinburgh and Leith Circular Delivery Co. advert from 1867, when James Brydone was the managerThe Philately website says it is “unlikely” that many (or any) of the offshoot stamps were ever used for delivery, instead they remained valuable collectables. Robert Brydone was not one to be kept down however, and moved to London in 1866. He founded the London Circular Delivery Company to carry on his ideas, merging with the Metropolitan Circular Delivery Company in 1867 to form the London & Metropolitan Circular Delivery Company.
One Halfpenny Stamp for the London Circular Delivery CompanyBrydone’s next move was the National Circular Delivery Company, which would act to connect the provincial Companies and form the basis of a national delivery network to undercut the GPO. While they did not feature the monarch’s likeness, these stamps had a very thinly altered version of the Royal Coat of Arms and were a direct challenge and affront to the Royal Mail.
National Delivery Company Stamp featuring a very official looking coat of armsEnough was enough, and the GPO took the London & Metropolitan CDC to court in August 1867, a case which they quickly and comprehensively won. Within a month, all the other CDCs were closed down too, some having never got further than having their stamps printed.
A selection of provincial stamps for the various local Circular Delivery Companies, one Farthing, 1867The parcel delivery companies carried on, but the GPO got its monopoly on the prepaid collection and delivery of letters and printed materials back. But Brydone’s basic idea was sound and in demand, and in 1870 the Royal Mail bowed to demand and introduced the “red bantam” stamp, a reduced rate stamp for the delivery of circulars and papers.
Red Bantam stamps for “circular delivery”Brydone still wouldn’t give up though, and his various companies were in court again in 1868 and again in 1869 for attempts to restart their practices by getting around the letter but not the spirit of the law (.e.g by not using prepaid stamps). Again they lost and again Brydone tried again. He registered the Circular Delivery Company Limited in 1869 and was taken to court yet again before they had even got off the ground. The GPO made it clear that they would not tolerate any form of competition, and this time it seemed to work. The railways, however saw their opportunity and very carefully got in on the act too. They restricted their practice to newspapers and parcel delivery and by not offering a door-to-door service; you picked up your items from the station. Thre’s a huge page of very beautiful railway delivery stamps on this website.
Caledonian Railway Company pre-paid parcel stamp for Central Station.Perhaps it was the death of James Brydone in 1869 that dried up Robert’s sources of funding. Robert himself died a few years later back in Edinburgh, at 10 Comely Bank, aged only 41, from phthisis (TB of the lungs) with his brother by his side. Obviously not financially ruined, but a widower.
41 Comely Bank, another fine address.He may have died relatively quietly and in obscurity but for a short time, Brydone genuinely shook the establishment. The original local delivery disruptor! His main legacy is one of interesting and collectible stamps which seem to have been heavily forged in their time.
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Secrets of Techhood
Secrets of Techhood
A collection of hard-won wisdom from the trenches of technology work
After decades building software, leading teams, and watching organisations succeed and fail, certain patterns emerge. The same mistakes get repeated. The same insights get rediscovered. The same hard-learned lessons get forgotten and relearnt by the next generation.
This collection captures those recurring truths—the kind of wisdom that comes from doing the work, making the mistakes, and living with the consequences. These aren’t theoretical principles from academic papers or management books. They’re the practical insights that emerge when life meets reality, when teams face real deadlines, and when software encounters actual users.
The insights come from diverse sources: legendary systems thinkers like W.E. Deming and Russell Ackoff, software pioneers, quality experts, organisational psychologists, and practising technologists who’ve shared their hard-earned wisdom. What unites them is practical relevance—each aphorism addresses real challenges that technology professionals face daily.
Use this collection as a reference, not a rulebook. Read through it occasionally. Return to specific aphorisms when facing related challenges. Share relevant insights with colleagues wrestling with similar problems. Most importantly, remember that wisdom without application is just interesting trivia.
The technology changes constantly, but the fundamental challenges of building systems, working with people, and delivering value remain remarkably consistent. These truths transcend programming languages, frameworks, and methodologies. They’re about the deeper patterns of how good technology work gets done.
Invitarion: I’d love for readers to suggest their own aphorisms for inclusion in this collection. Please use the comments, below.
The Aphorisms
It’s called software for a reason.
The ‘soft’ in software reflects its fundamental nature as something malleable, changeable, and adaptive. Unlike hardware, which is fixed once manufactured, software exists to be modified, updated, and evolved. This flexibility is both its greatest strength and its greatest challenge. The ability to change software easily leads to constant tweaking, feature creep, and the temptation to fix everything immediately. Yet this same flexibility allows software to grow with changing needs, adapt to new requirements, and evolve beyond its original purpose.
Learning hasn’t happened until behaviour has changed.
Consuming tutorials, reading documentation, and attending conferences is information absorption. True learning in tech occurs when concepts become internalised so deeply that they alter how problems are approached. Data analysis learning is complete when questioning data quality and looking for outliers becomes instinctive. Project management mastery emerges when breaking large problems into smaller, manageable pieces happens automatically.
Change hasn’t happened unless we feel uncomfortable.
Real change, whether learning a new technology, adopting different processes, or transforming how teams work, requires stepping outside comfort zones. If a supposed change feels easy and natural, you’re just doing familiar things with new labels. Genuine transformation creates tension between old habits and new ways of working.
The work you create today is a letter to your future self—create with compassion.
Six months later, returning to a project with fresh eyes and foggy memory is jarring. The folder structure that seems obvious today becomes a confusing maze tomorrow. The clever workflow that feels brilliant now frustrates that future self. Creating work as if explaining thought processes to a colleague makes sense—because that’s what’s happening across time.
Documentation is love made visible.
Good documentation serves as an act of kindness towards everyone who will interact with the work, including one’s future self. It bridges current understanding and future confusion. When processes are documented, decisions explained, or clear instructions written, there’s an implicit message: ‘I care about your experience with this work.’ Documentation transforms personal knowledge into shared resources.
Perfect is the enemy of shipped, and also the enemy of good enough.
The pursuit of perfection creates endless cycles of refinement that prevent delivery of value. Hours spent polishing presentations that already communicate effectively could address new problems or serve unmet needs. Yet shipping imperfection carries risks too—reputation damage, user frustration, or technical debt. Sometimes ‘done’ creates more value than ‘perfect’, especially when perfect never arrives.
Every problem is a feature request from reality.
Issues reveal themselves as more than annoying interruptions—they’re signals about unconsidered edge cases, incorrect assumptions, or untested scenarios. Each problem illuminates gaps between mental models of how things work and how they actually work in practice. When users struggle with an interface, they’ve submitted an unspoken feature request for better design.
The best problem-solving tool is a good night’s sleep.
The brain processes and consolidates information during sleep, revealing solutions that remained hidden during conscious effort. Challenges that consume hours of focused attention resolve themselves in minutes after proper rest. Sleep deprivation clouds judgement, reduces pattern recognition, and obscures obvious solutions.
Premature optimisation is the root of all evil, but so is premature pessimisation.
Whilst rushing to optimise before understanding the real bottlenecks is wasteful, it’s equally dangerous to create obviously inefficient processes under the banner of ‘we’ll fix it later.’ Don’t spend days perfecting workflows that run once, but also don’t use manual processes when simple automation would work just as well.
Your first solution is rarely your best solution, but it’s always better than no solution.
The pressure to find the perfect approach immediately creates analysis paralysis. First attempts prove naïve, inefficient, or overly complex, yet they provide crucial starting points for understanding problem spaces. Working solutions enable iteration, refinement, and improvement.
A complex system that works is invariably found to have evolved from a simple system that worked. A complex system designed from scratch never works and cannot be patched up to make it work.
John Gall’s Law captures a fundamental truth about how robust systems come into being. They aren’t architected in their final form—they grow organically from working foundations. The most successful large systems started as simple, functional prototypes that were gradually extended.
The hardest parts of tech work are naming things, managing dependencies, and timing coordination.
These three fundamental challenges plague every technology professional daily. Naming things well requires understanding not just what something does, but how it fits into the larger system and how others will think about it. Managing dependencies is difficult because it requires reasoning about relationships, priorities, and changes across multiple systems or teams.
Feedback is not personal criticism—it’s collaborative improvement.
When colleagues suggest changes to work, they’re investing their time and attention in making the outcome better. They’re sharing their knowledge, preventing future issues, and helping with professional growth. Good feedback is an act of collaboration, not criticism.
People will forgive not meeting their needs immediately, but not ignoring them.
Users, stakeholders, and colleagues understand that resources are limited and solutions take time. They accept that their need might not be the highest priority or that the perfect solution requires careful consideration. What damages relationships is complete neglect—not making any effort, not showing any care, not demonstrating that their concern matters. People can wait for solutions when they see genuine attention being paid to their situation. The difference between delayed action and wilful neglect determines whether trust grows or erodes. Attending to needs doesn’t require immediate solutions, but it does require genuine care and effort.
How you pay attention matters more than what you pay attention to.
The quality of attention transforms both the observer and the observed. Distracted attention whilst multitasking sends a clear message about priorities and respect. Focused, present attention—even for brief moments—creates connection and understanding. When reviewing code, listening with genuine curiosity rather than hunting for faults leads to better discussions and learning. When meeting with stakeholders, being fully present rather than mentally composing responses changes the entire dynamic. The manner of attention—rushed or patient, judgmental or curious, distracted or focused—shapes outcomes more than the subject receiving that attention.
Caring attention helps things grow.
Systems, teams, and individuals flourish under thoughtful observation and nurturing focus. When attention comes with genuine care—wanting to understand, support, and improve rather than judge or control—it creates conditions for development. Code improves faster when reviewed with constructive intent rather than fault-finding. Team members develop more rapidly when mistakes are examined with curiosity rather than blame. Projects evolve more successfully when monitored with supportive interest rather than suspicious oversight. The difference between surveillance and stewardship lies in the intent behind the attention.
The best work is work you don’t have to do.
Every process created needs to be maintained, updated, and explained. Before building something from scratch, considering whether an existing tool, service, or approach already solves the problem pays off. The work not done can’t break, doesn’t need updates, and never becomes technical debt.
Every expert was once a beginner who refused to give up.
Experience and expertise aren’t innate talents—they’re the result of persistence through challenges, failures, and frustrations. The senior professionals admired today weren’t born knowing best practices or troubleshooting techniques. They got there by continuing to learn, experiment, and problem-solve even when things felt impossibly difficult.
Your ego is not your work.
When others critique work, they engage with output rather than character. Suggestions for improvement, identified issues, or questioned decisions focus on the work itself, not personal worth. Work can be improved, revised, or completely replaced without diminishing professional value.
Testing is not about proving a solution works—it’s about showing where the work is at.
Good testing reveals current status rather than validating perfection. Tests illuminate what’s functioning, what’s broken, what’s missing, and what’s uncertain. Rather than serving as a stamp of approval, testing provides visibility into the actual state of systems, processes, or solutions.
The most expensive work to maintain is work that almost functions.
Work that fails obviously and consistently is easy to diagnose and fix. Work that functions most of the time but fails unpredictably is a maintenance nightmare. These intermittent issues are hard to reproduce, difficult to diagnose, and mask deeper systematic problems.
Changing things without understanding them is just rearranging the furniture.
When modifying systems, processes, or designs without adequate understanding of how they currently work, there’s no way to verify that essential functionality has been preserved. Understanding serves as a foundation for meaningful change, giving confidence that modifications improve things rather than just moving problems around.
Version control is time travel for the cautious.
Document management systems and change tracking tools let experimentation happen boldly because previous states can always be restored if things go wrong. They remove the fear of making changes because nothing is ever truly lost. Radical reorganisations, experimental approaches, or risky optimisations become possible knowing that reversion to the last known good state remains an option.
Any organisation that designs a system will produce a design whose structure is a copy of the organisation’s communication structure.
Conway’s Law reveals why so many software architectures mirror the org charts of the companies that built them. If you have separate teams for frontend, backend, and database work, you’ll end up with a system that reflects those boundaries—even when a different architecture would serve users better.
Question your assumptions before you question your code.
Most problems stem not from implementation errors but from incorrect assumptions about how systems work, what users will do, or how data will behave. Assumptions about network reliability, that users will provide valid input, that third-party services will always respond, or that files will always exist where expected become embedded in work as implicit requirements that aren’t tested or documented.
The problem is always in the last place you look because you stop looking after you find it.
This humorous observation about troubleshooting reflects a deeper truth about problem-solving methodology. Issues are searched for in order of assumptions about likelihood, starting with the most obvious causes. When problems are found, searching naturally stops, making it definitionally the ‘last’ place looked.
Your production environment is not your testing environment, no matter how much you pretend it is.
Despite best intentions, many teams end up using live systems as their primary testing ground through ‘quick updates,’ ‘minor changes,’ and ‘simple fixes.’ Production environments have different data, different usage patterns, different dependencies, and different failure modes than development or testing environments.
Every ‘temporary solution’ becomes a permanent fixture.
What starts as a quick workaround becomes enshrined as permanent process. The ‘temporary fix’ implemented under deadline pressure becomes the foundation that other work builds upon. Before long, quick hacks become load-bearing infrastructure that’s too risky to change.
The work that breaks at the worst moment is always the work you trusted most.
Murphy’s Law applies strongly to technology work. The elegant, well-tested system that generates pride will find a way to fail spectacularly at the worst possible moment. Meanwhile, the hacky workaround that needed fixing will run flawlessly for years. Confidence leads to complacency, which creates blind spots where unexpected failures hide.
Always double-check the obvious.
Paranoia is a virtue in technology work. Even when certain about how a system works, validating assumptions, checking inputs, and considering edge cases remains worthwhile. Systems change, dependencies update, and assumptions that were true yesterday are not true today.
Notes are not apologies for messy work—they’re explanations for necessary complexity.
Good documentation doesn’t explain what the work does but why it does it. It explains business logic, documents assumptions, clarifies non-obvious decisions, and provides context that can’t be expressed in the work itself. Notes that say ‘process these files’ are useless, but notes that say ‘Account for timezone differences in date processing’ add valuable context.
The fastest process is the process that never runs.
Performance optimisation focuses on making existing processes run faster, but the biggest efficiency gains come from avoiding work entirely. Can expensive calculations be cached? Can results be precomputed? Can unnecessary steps be eliminated? The most elegant solution is recognising that certain processes don’t need to execute at all under common conditions.
The systems that people work in account for 95 per cent of performance.
W.E. Deming’s insight: Most of what we attribute to individual talent or effort is determined by the environment, processes, and systems within which people operate. If the vast majority of performance comes from the system, then improving the system yields far greater returns than trying to improve individuals within a flawed system.
Individual talent is the 5 per cent that operates within the 95 per cent that is system.
Deming’s ratio explains why hiring ‘rock stars’ to fix broken systems fails, whilst putting competent people in well-designed systems consistently produces exceptional results. A brilliant programmer in a dysfunctional organisation will struggle, whilst an average programmer in a good system can accomplish remarkable things. The 5% individual contribution becomes meaningful only when the 95% system component enables and amplifies it.
Unless you change the way you think, your system will not change and therefore, its performance won’t change either.
John Seddon’s insight cuts to the heart of why so many improvement initiatives fail. Teams implement new processes, adopt new tools, or reorganise structures whilst maintaining the same underlying assumptions and beliefs that created the original problems. Real change requires examining and challenging the mental models, assumptions, and beliefs that shape how work gets designed and executed.
People are not our greatest asset—it’s the relationships between people that are our greatest asset.
Individual talent matters, but the connections, communication patterns, and collaborative dynamics between team members determine success more than any single person’s capabilities. The most effective teams aren’t composed of the most talented individuals, but of people who work well together and amplify each other’s strengths.
A bad system will beat a good person every time.
Individual competence and good intentions can’t overcome fundamentally flawed processes or organisational structures. When systems create conflicting incentives, unclear expectations, or impossible constraints, even capable people struggle to succeed. Good people in bad systems become frustrated, whilst average people in good systems accomplish remarkable things.
You can’t inspect quality in—it has to be built in.
Quality comes from improvement of the production process, not from inspection. Good systems prevent defects rather than just catching them. The most effective quality assurance focuses on improving how work gets done, not on finding problems after they occur.
The righter we do the wrong thing, the wronger we become. Therefore, it is better to do the right thing wrong than the wrong thing right.
Russell Ackoff’s insight highlights that effectiveness (doing the right things) must come before efficiency (doing things right). Becoming more efficient at the wrong activities compounds the problem. Focus first on whether you should be doing something before worrying about how well you do it.
Efficiency is doing things right; effectiveness is doing the right things.
Peter Drucker’s classic distinction reminds us that there’s little value in optimising processes that shouldn’t exist in the first place. The greatest risk for managers is the confusion between effectiveness and efficiency. There is nothing quite so useless as doing with great efficiency what should not be done at all.
The constraint determines the pace of the entire system.
In any process or organisation, one bottleneck limits overall performance regardless of how fast other parts operate. Optimising non-constraint areas looks productive but doesn’t improve system output. Finding and focusing improvement efforts on the true constraints provides the greatest leverage for overall performance gains.
Innovation always demands we change the rules.
When we adopt new approaches that diminish limitations, we must also change the rules that were created to work around those old limitations. Otherwise, we get no benefits from our innovations. As long as we obey the old rules—the rules we originally invented to bypass the limitations of the old system—we continue to behave as if the old limitations still exist.
In God we trust; all others bring data.
Decisions improve when based on evidence rather than assumptions, but data alone doesn’t guarantee good choices. Numbers mislead as easily as they illuminate, especially when they reflect measurement artefacts rather than underlying realities. Data provides a foundation for discussion and decision-making, but wisdom comes from interpreting that data within context.
Every bug you ship becomes ten support tickets.
John Seddon’s ‘failure demand’ reveals how poor quality creates exponential work. When you don’t get something right the first time, you generate cascading demand: customer complaints, support calls, bug reports, patches, and rework. It’s always more expensive to fix things after customers find them than to prevent problems in the first place.
Technical debt is like financial debt—a little helps you move fast, but compound interest will kill you.
Strategic shortcuts can accelerate delivery when managed carefully. Taking on some technical debt to meet a critical deadline or test market assumptions is valuable. But unmanaged technical debt accumulates interest through increased maintenance costs, slower feature development, and system brittleness.
The best code is no code at all.
Every line of code written creates obligations—debugging, maintenance, documentation, and ongoing support. Before building something new, the most valuable question is whether the problem needs solving at all, or whether existing solutions already address the need adequately. Code that doesn’t exist can’t have bugs, doesn’t require updates, and never becomes technical debt.
Start without IT. The first design has to be manual.
Before considering software-enabled automation, first come up with manual solutions using simple physical means, like pin-boards, T-cards and spreadsheets. This helps clarify what actually needs to be automated and ensures you understand the process before attempting to digitise it.
Simple can be harder than complex—you have to work hard to get your thinking clean.
Achieving simplicity requires understanding problems deeply enough to eliminate everything non-essential. Complexity masks incomplete understanding or unwillingness to make difficult choices about what matters most. Simple solutions demand rigorous thinking about core requirements, user needs, and essential functionality.
Design is how it works, not how it looks.
Visual aesthetics matter, but they serve the deeper purpose of supporting functionality and user experience. Good design makes complex systems feel intuitive, reduces cognitive load, and guides users towards successful outcomes. When appearance conflicts with usability, prioritising function over form creates better long-term value.
Saying no is more important than saying yes.
Focus emerges from deliberately choosing what not to do rather than just deciding what to pursue. Every opportunity accepted means other opportunities foregone, and attention is always limited. Organisations that try to do everything accomplish nothing well. Strategic success comes from identifying the few things that matter most and declining everything else.
Organisational effectiveness = f(collective mindset).
The effectiveness of any organisation is determined by the shared assumptions, beliefs, and mental models of the people within it. Technical solutions, processes, and structures matter, but they’re all constrained by the underlying collective mindset that shapes how people think about and approach their work.
Technologists who dismiss psychology as ‘soft science’ are ignoring the hardest variables in their systems.
Technical professionals gravitate toward problems with clear inputs, logical processes, and predictable outputs. Psychology feels messy and unquantifiable by comparison. But the human elements—motivation, communication patterns, cognitive biases, team dynamics—determine whether technical solutions succeed or fail in practice.
Code review isn’t about finding bugs—it’s about sharing knowledge.
Whilst catching defects has value, the real benefit of code reviews lies in knowledge transfer, spreading understanding of the codebase, sharing different approaches to solving problems, and maintaining consistency in coding standards. Good reviews help prevent knowledge silos and mentor junior developers.
All estimates are wrong. Some are useful.
Software estimates are educated guesses based on current understanding, not commitments or predictions. They’re useful for planning, prioritising, and making resource allocation decisions, but they shouldn’t be treated as contracts or promises. Use them as tools for discussion and planning, and remember that their primary value is in helping make better decisions.
Security is not a feature you add—it’s a discipline you practise.
Security can’t be bolted on after the fact through penetration testing or security audits alone. It must be considered throughout design, development, and deployment. Security is about creating systems that are resistant to attack by design, not just finding and fixing vulnerabilities after they’re built.
Your users will break your software in ways you never imagined—and they’re doing you a favour.
Real users in real environments expose edge cases, assumptions, and failure modes that controlled testing misses. They use your software in contexts you never considered, with data you never anticipated, and in combinations you never tested. Each break reveals gaps in your mental model of how the system should work.
Refactor before you need to, not when you have to.
Continuous small refactoring prevents code from becoming unmaintainable. When you’re forced to refactor, you’re already behind and under pressure, which leads to rushed decisions and compromised quality. Build refactoring into your regular development rhythm, not as crisis response.
If you can’t measure it breaking, you can’t fix it reliably.
Systems need observable failure modes through monitoring, logging, and alerting. Without visibility into system health and failure patterns, you’re debugging blindly and fixing symptoms rather than root causes. Good monitoring tells you not just that something broke, but why it broke and how to prevent it from happening again.
Knowledge sharing is not cheating—it’s collaborative intelligence.
Technology work has always been collaborative, and online communities represent the democratisation of knowledge sharing. Looking up solutions to common problems isn’t cheating—it’s efficient use of collective wisdom. The key is understanding the solutions found rather than blindly copying them.
Error messages are breadcrumbs, not accusations.
Error messages aren’t personal attacks on competence—they’re valuable clues about what went wrong and how to fix it. Good error messages tell a story about what the system expected versus what it encountered. Learning to read error messages carefully and use troubleshooting data effectively is a crucial skill.
Collaboration is not about sharing tasks—it’s about sharing knowledge.
The value of collaborative work isn’t in the mechanical division of labour—it’s in the knowledge transfer, real-time feedback, and shared problem-solving that occurs. When professionals collaborate effectively, they share different perspectives, catch each other’s mistakes, and learn from each other’s approaches.
The most important skill in technology is knowing when to start over.
Abandoning problematic systems or processes and starting fresh proves more efficient than continuing to patch existing work. When complexity accumulates beyond economical improvement, when foundational assumptions prove flawed, or when requirements shift dramatically, fresh starts offer better paths forward.
Remember: Every expert was once a disaster who kept learning.
Further Reading
Ackoff, R. L. (1999). Re-creating the corporation: A design of organizations for the 21st century. Oxford University Press.
Conway, M. E. (1968). How do committees invent? Datamation, 14(4), 28-31.
Deming, W. E. (2000). Out of the crisis. MIT Press. (Original work published 1986)
Drucker, P. F. (2006). The effective executive: The definitive guide to getting the right things done. HarperBusiness. (Original work published 1967)
Gall, J. (2002). The systems bible: The beginner’s guide to systems large and small (3rd ed.). General Systemantics Press. (Original work published 1975)
Marshall, R. W. (2021). Quintessence: An acme for software development organisations. Falling Blossoms.
Seddon, J. (2019). Beyond command and control. Vanguard Consulting.
#ACKOFFWRONG #ALMOSTBROKEN #ASSUMPTIONSFIRST #ATTENDNEEDS #ATTENTIATIONALFEEDBACK #BADSYSTEM #BEHAVIORCHANGE #BOTHEVILS #BREADCRUMBS #BUILDIN #CARINGGROWTH #CHANGERULES #CHANGETHINKING #CLEANTHINKING #COLLABORATIVEFEEDBACK #COLLABORATIVEINTEL #COLLECTIVEMINDSET #CONSTRAINT #CONWAYSLAW #DEMING5 #DEMING95 #DOUBLECHECK #DRUCKERDISTINCTION #EGOWORK #EXPLAINCOMPLEXITY #FAILUREDEMAND #FIRSTBEATSBEST #FUNCTIONFORM #FURNITUREMOVE #FUTURESELF #GALLSLAW #HARDVARIABLES #KNOWLEDGESHARE #LASTPLACE #MEASUREBREAK #NEVERRUN #NOCODE #NOWORK #PRODNOTTEST #REALITYREQUEST #REFACTOREARLY #REFUSEQUIT #Relationships #SAYNO #SECURITYDISCIPLINE #SHAREKNOWLEDGE #SHIPIT #SLEEPSOLVE #SOFT #STARTMANUAL #STARTOVER #STATUSREPORT #TECHDEBT #TEMPPERMANENT #THREEHARDS #TIMETRAVEL #TRUSTEDBREAKS #TRUSTDATA #UNCOMFORTABLE #USEFULWRONG #USERSFAVOUR #VISIBLELOVE
-
“The Guardian of Couture” Full-Length Chapter Preview: Chapter 12
Folks, I live by several usual maxims that my grandparents have taught me while they were alive. And in the chapters to come as I tell this story, I’ll be sharing them with you, starting with this one: “When you least expect it, expect it.” That has gotten me through my first four years in exile from Texas and also while in high school before.
And as Gio, Kumiko, River, and I took in the ballroom and how everything was decked out, I was living in that same maxim at the moment. Now, let me make a few things clear: I wasn’t surprised on how the way that the hotel’s large ballroom was decorated in the theme Heroic Figures in the similar styles of the Met Gala and the Academy Awards in all its grandeur finest with some of the designers showcasing various gowns and tuxedoes with subtle hints of superheroic glamour. And I wasn’t surprised on how all the celebrities, politicians, and social-media influencers who had been invited were dressed to the nines: Jimmy and Jey Uso in matching black Balmain tuxedoes while Jimmy’s wife Naomi was in an alluring old-Hollywood gown by Dior, George and Amal Clooney in matching Givenchy, the Trump family in various shades of monochromatics and reds by Michael Kors, Alicia Keys in a stunning red gown by Chanel, and more.
I wasn’t surprised by all of that.
No, folks. What took my breath away and put my soul on high alert was the general staffers- the same ones with athletic bodies whom were deemed very excitable and eager for newcomers like myself and my friends and how we were to stay away from them until tonight. And they weren’t in their monochromatic office-chic outfits.
And they weren’t wearing those retro-centric Coca-Cola glasses either.
No, sir. They were wearing superhero costumes, and not the ones you find in Halloween costume stores or the cheap knockoffs from Amazon. Real, authentic costumes that were straight out of comic books. And these people were showing off their superpowers and grinning at us four interns with a mixture of teasing, condescension, and eagerness.
“Surprise, guys,” Jorge Ramirez (the Hispanic general editor) said as he approached us, his gold-and-red costume in a blend of leather and spandex giving me the vibes of a fiery humanoid phoenix coming to life. “You just stepped into a world of comic books and haute couture.”
“Damn right,” Veronica Seeley (in a superhero costume similar to Wanda “Scarlet Witch” Maximoff, but in a tight bodysuit in purples and blacks complete with a headdress covered in elegant crystals) drawled as she stalked towards me, giving me a cat-eating grin. “This isn’t a game anymore, boys. This is real life, one that you’re now a part of.”
“I’ll bet,” Gio breathed, smiling with his eyes full of awe as a female photographer from Time sent him a saucy wink as she literally skated past him, her body now a walking ice sculpture. “And you think you can handle everything under the sun.”
“I am loving this,” River remarked as he saw both Ian and Vincent (in matching retro-centric blue-and-white superhero suits complete with blue brief-like trunks and matching boots) circled around him like jaguars stalking around their prey. “If my spiteful parents could see me now.”
“Mine too,” Kumiko added, nodding at a fire-manipulating general editor from Elle who was happily chatting away with Barack and Michelle Obama (both of them in Tom Ford reds, the designer himself nodding along and sharing a laugh).
I nodded twice before turning to Ellen. “Now I get everything,” I said. “And I take that this is part of my internship?”
“All that and so much more, Alcide Lancaster-Monroe,” she replied as Francis and everyone else from her circle surrounded me. “All the general staffers here are superheroes and antiheroes, all of which you and your cohorts will need to be familiar with for this summer. But as for myself, the other editors-in-chief and senior staffers, and administrative workers at our magazines are completely normal as well as the custodians and cafeteria workers. But of course, some of the IT workers and security staffers are superheroes themselves, so you’ll be getting to know them as well.”
“And the celebrities?” Gio asked. “Are they-“
“One-hundred percent normal, but we do work with them when the time comes,” Beyonce stated, she and Blue Ivy looking like ethereal beauties in white Reem Acra gowns while Jay-Z was dapper in a mob-boss Zegna tuxedo. “And that means you’ll be working with us as well.”
“Oh, wow,” River breathed. “And the other interns who don’t know about this? Do they know-“
“No, and they’ll only remember what transpired before tonight since they never made it,” Ja’Nisha commented with her husband standing next to her. “And in the years prior, those who don’t accept this are given other memories of the night.”
“Altered memories?”
“Just a precaution for them to keep what they saw to themselves,” Francis answered. “As for you boys, there’s still time for you to reconsider and walk out while you can.”
“That won’t be happening,” Gio interjected as his editor-in-chief came towards him with another copy of what looked like the NDA. He glared everyone down. “You guys saw a lot of potential in us when we approached the interview stage before getting the job. And you know our stories. My family wants me to work for what I have and tell me to never back down from a challenge. And you should be familiar with River, Kumiko, and Alcide’s stories by now- families rejecting them unless they assimilate to their conservative and hate-mongering ideals while Alcide’s hometown refuses to accept him and will likely shoot him dead if even returns for a day. We’re too invested to go back to what we know by now. So, you’re going to have to get used to seeing us until the internship is over and we face the unknown together.”
I then faced Ellen. “You saw a lot in me when we first met, ma’am. And you said that you wanted me to understand how my late maternal and paternal grandparents were involved,” I said. “And I intend to find out everything and see this summer internship through to the end. All I ask is for the tea, the whole tea, and nothing but the tea.”
“So help you me?”
I whirled around to see the one and only RuPaul looking like a true Glamazon in a custom-made gold-and-silver gown by Zaldy (the designer himself in shades of gold) that hugged her frame like a glove. My friends gasped as I took the drag queen’s hand and shook it. “Exactly, Mother RuPaul,” I said. “Thank you for getting me through my high-school years and showing what it means to be unapologetic through your reality show.”
“No, child. Thank you for not backing down and letting haters try to steal your glow,” the drag queen commented. “The same goes for your friends. All of you are going to be bringing a lot to the table, and everyone will try to knock you down. But remember to live without fear or regrets.”
We all nodded as Jim Nelson from GQ came to us. “All right, you four interns, this night will be all about you,” he said. “Remember that you’re to get familiar with all the supers and antiheroes here. And you’re still on the clock even though this night is about you. Don’t be surprised if you’re to run an errand or two by the celebrities.”
My friends and I glanced at each other briefly. “Looking forward to it all,” we said in unison.
You’ll never forget the first time! “The Guardian of Couture” returns with new chapters, available EXCLUSIVELY on Wattpad! Don’t miss it!
#TheGuardianOfCouture #AmPromoting #AmWriting #BlackAuthors #BlackBloggers #BlackCreators #BlackWriters #BloggingCommunity #Books #ContemporaryFiction #CreativeWriting #Creativity #Creators #DailyGrind #ExclusivelyOnWattpad #FullLengthChapterPreview #FullLengthChapterPreviews #HumpDayWednesday #InTheKnow #LGBTQFiction #MayDayMayhem #MidWeekCheckIn #PersonalBlog #PlansForTheFuture #PlansForTheMonth #PlansForTheSummer #PumpUpTheVolume #SneakPreviews #SpringSummerMadness #SummerMadness #SummerToRemember #SummerWattpadGames #Wattpad #WattpadWriter #WriterSLife #Writers #Writing #WritingCommunity #WritingPromotions -
“The Guardian of Couture” Full-Length Chapter Preview: Chapter 12
Folks, I live by several usual maxims that my grandparents have taught me while they were alive. And in the chapters to come as I tell this story, I’ll be sharing them with you, starting with this one: “When you least expect it, expect it.” That has gotten me through my first four years in exile from Texas and also while in high school before.
And as Gio, Kumiko, River, and I took in the ballroom and how everything was decked out, I was living in that same maxim at the moment. Now, let me make a few things clear: I wasn’t surprised on how the way that the hotel’s large ballroom was decorated in the theme Heroic Figures in the similar styles of the Met Gala and the Academy Awards in all its grandeur finest with some of the designers showcasing various gowns and tuxedoes with subtle hints of superheroic glamour. And I wasn’t surprised on how all the celebrities, politicians, and social-media influencers who had been invited were dressed to the nines: Jimmy and Jey Uso in matching black Balmain tuxedoes while Jimmy’s wife Naomi was in an alluring old-Hollywood gown by Dior, George and Amal Clooney in matching Givenchy, the Trump family in various shades of monochromatics and reds by Michael Kors, Alicia Keys in a stunning red gown by Chanel, and more.
I wasn’t surprised by all of that.
No, folks. What took my breath away and put my soul on high alert was the general staffers- the same ones with athletic bodies whom were deemed very excitable and eager for newcomers like myself and my friends and how we were to stay away from them until tonight. And they weren’t in their monochromatic office-chic outfits.
And they weren’t wearing those retro-centric Coca-Cola glasses either.
No, sir. They were wearing superhero costumes, and not the ones you find in Halloween costume stores or the cheap knockoffs from Amazon. Real, authentic costumes that were straight out of comic books. And these people were showing off their superpowers and grinning at us four interns with a mixture of teasing, condescension, and eagerness.
“Surprise, guys,” Jorge Ramirez (the Hispanic general editor) said as he approached us, his gold-and-red costume in a blend of leather and spandex giving me the vibes of a fiery humanoid phoenix coming to life. “You just stepped into a world of comic books and haute couture.”
“Damn right,” Veronica Seeley (in a superhero costume similar to Wanda “Scarlet Witch” Maximoff, but in a tight bodysuit in purples and blacks complete with a headdress covered in elegant crystals) drawled as she stalked towards me, giving me a cat-eating grin. “This isn’t a game anymore, boys. This is real life, one that you’re now a part of.”
“I’ll bet,” Gio breathed, smiling with his eyes full of awe as a female photographer from Time sent him a saucy wink as she literally skated past him, her body now a walking ice sculpture. “And you think you can handle everything under the sun.”
“I am loving this,” River remarked as he saw both Ian and Vincent (in matching retro-centric blue-and-white superhero suits complete with blue brief-like trunks and matching boots) circled around him like jaguars stalking around their prey. “If my spiteful parents could see me now.”
“Mine too,” Kumiko added, nodding at a fire-manipulating general editor from Elle who was happily chatting away with Barack and Michelle Obama (both of them in Tom Ford reds, the designer himself nodding along and sharing a laugh).
I nodded twice before turning to Ellen. “Now I get everything,” I said. “And I take that this is part of my internship?”
“All that and so much more, Alcide Lancaster-Monroe,” she replied as Francis and everyone else from her circle surrounded me. “All the general staffers here are superheroes and antiheroes, all of which you and your cohorts will need to be familiar with for this summer. But as for myself, the other editors-in-chief and senior staffers, and administrative workers at our magazines are completely normal as well as the custodians and cafeteria workers. But of course, some of the IT workers and security staffers are superheroes themselves, so you’ll be getting to know them as well.”
“And the celebrities?” Gio asked. “Are they-“
“One-hundred percent normal, but we do work with them when the time comes,” Beyonce stated, she and Blue Ivy looking like ethereal beauties in white Reem Acra gowns while Jay-Z was dapper in a mob-boss Zegna tuxedo. “And that means you’ll be working with us as well.”
“Oh, wow,” River breathed. “And the other interns who don’t know about this? Do they know-“
“No, and they’ll only remember what transpired before tonight since they never made it,” Ja’Nisha commented with her husband standing next to her. “And in the years prior, those who don’t accept this are given other memories of the night.”
“Altered memories?”
“Just a precaution for them to keep what they saw to themselves,” Francis answered. “As for you boys, there’s still time for you to reconsider and walk out while you can.”
“That won’t be happening,” Gio interjected as his editor-in-chief came towards him with another copy of what looked like the NDA. He glared everyone down. “You guys saw a lot of potential in us when we approached the interview stage before getting the job. And you know our stories. My family wants me to work for what I have and tell me to never back down from a challenge. And you should be familiar with River, Kumiko, and Alcide’s stories by now- families rejecting them unless they assimilate to their conservative and hate-mongering ideals while Alcide’s hometown refuses to accept him and will likely shoot him dead if even returns for a day. We’re too invested to go back to what we know by now. So, you’re going to have to get used to seeing us until the internship is over and we face the unknown together.”
I then faced Ellen. “You saw a lot in me when we first met, ma’am. And you said that you wanted me to understand how my late maternal and paternal grandparents were involved,” I said. “And I intend to find out everything and see this summer internship through to the end. All I ask is for the tea, the whole tea, and nothing but the tea.”
“So help you me?”
I whirled around to see the one and only RuPaul looking like a true Glamazon in a custom-made gold-and-silver gown by Zaldy (the designer himself in shades of gold) that hugged her frame like a glove. My friends gasped as I took the drag queen’s hand and shook it. “Exactly, Mother RuPaul,” I said. “Thank you for getting me through my high-school years and showing what it means to be unapologetic through your reality show.”
“No, child. Thank you for not backing down and letting haters try to steal your glow,” the drag queen commented. “The same goes for your friends. All of you are going to be bringing a lot to the table, and everyone will try to knock you down. But remember to live without fear or regrets.”
We all nodded as Jim Nelson from GQ came to us. “All right, you four interns, this night will be all about you,” he said. “Remember that you’re to get familiar with all the supers and antiheroes here. And you’re still on the clock even though this night is about you. Don’t be surprised if you’re to run an errand or two by the celebrities.”
My friends and I glanced at each other briefly. “Looking forward to it all,” we said in unison.
You’ll never forget the first time! “The Guardian of Couture” returns with new chapters, available EXCLUSIVELY on Wattpad! Don’t miss it!
#TheGuardianOfCouture #AmPromoting #AmWriting #BlackAuthors #BlackBloggers #BlackCreators #BlackWriters #BloggingCommunity #Books #ContemporaryFiction #CreativeWriting #Creativity #Creators #DailyGrind #ExclusivelyOnWattpad #FullLengthChapterPreview #FullLengthChapterPreviews #HumpDayWednesday #InTheKnow #LGBTQFiction #MayDayMayhem #MidWeekCheckIn #PersonalBlog #PlansForTheFuture #PlansForTheMonth #PlansForTheSummer #PumpUpTheVolume #SneakPreviews #SpringSummerMadness #SummerMadness #SummerToRemember #SummerWattpadGames #Wattpad #WattpadWriter #WriterSLife #Writers #Writing #WritingCommunity #WritingPromotions -
„Elefant“ ist Kamil Krawczyckis erster Spielfilm. Er erzählt eine heimliche Liebesgeschichte mit der Hohen Tatra im Hintergrund.
Polnisches Spielfilmdebüt „Elefant“: Romeo und Romeo auf dem Dorfe -
„Elefant“ ist Kamil Krawczyckis erster Spielfilm. Er erzählt eine heimliche Liebesgeschichte mit der Hohen Tatra im Hintergrund.
Polnisches Spielfilmdebüt „Elefant“: Romeo und Romeo auf dem Dorfe -
Der Elefant ist ein Symbol für das Artensterben. Zu kaum einer anderen Tierart haben wir eine so umfassende Statistik, die Jahrhunderte zurück reicht. Aber stimmt sie?#Elefanten #Savanne #Afrika #Kolonialismus #Elefantenjagd #Artensterben #Statistik #Elefantenpolulation #Artenvielfalt #Biodiversität #Biodiversitätskrise #ErdeUmwelt
Wie viele Elefanten gab es wirklich in Afrika? -
Der Elefant ist ein Symbol für das Artensterben. Zu kaum einer anderen Tierart haben wir eine so umfassende Statistik, die Jahrhunderte zurück reicht. Aber stimmt sie?#Elefanten #Savanne #Afrika #Kolonialismus #Elefantenjagd #Artensterben #Statistik #Elefantenpolulation #Artenvielfalt #Biodiversität #Biodiversitätskrise #ErdeUmwelt
Wie viele Elefanten gab es wirklich in Afrika? -
Der Elefant ist ein Symbol für das Artensterben. Zu kaum einer anderen Tierart haben wir eine so umfassende Statistik, die Jahrhunderte zurück reicht. Aber stimmt sie?#Elefanten #Savanne #Afrika #Kolonialismus #Elefantenjagd #Artensterben #Statistik #Elefantenpolulation #Artenvielfalt #Biodiversität #Biodiversitätskrise #ErdeUmwelt
Wie viele Elefanten gab es wirklich in Afrika? -
Der Elefant ist ein Symbol für das Artensterben. Zu kaum einer anderen Tierart haben wir eine so umfassende Statistik, die Jahrhunderte zurück reicht. Aber stimmt sie?#Elefanten #Savanne #Afrika #Kolonialismus #Elefantenjagd #Artensterben #Statistik #Elefantenpolulation #Artenvielfalt #Biodiversität #Biodiversitätskrise #ErdeUmwelt
Wie viele Elefanten gab es wirklich in Afrika? -
Der Elefant ist ein Symbol für das Artensterben. Zu kaum einer anderen Tierart haben wir eine so umfassende Statistik, die Jahrhunderte zurück reicht. Aber stimmt sie?#Elefanten #Savanne #Afrika #Kolonialismus #Elefantenjagd #Artensterben #Statistik #Elefantenpolulation #Artenvielfalt #Biodiversität #Biodiversitätskrise #ErdeUmwelt
Wie viele Elefanten gab es wirklich in Afrika? -
Ameisenbär Taio und Elefant Tarak orakeln die deutschen Spiele bei der Fußball-WM. Einer von ihnen liegt immer falsch. Und heute?#WDR #WM-Orakel #Tarek #Taio #WM #Weltmeisterschaft #Ameisenbär #squeet.me/search?tag= #NRW
WM Orakel: Der Elefant, der immer Recht hat und der Ameisenbär, der immer daneben liegt -
Ameisenbär Taio und Elefant Tarak orakeln die deutschen Spiele bei der Fußball-WM. Einer von ihnen liegt immer falsch. Und heute?#WDR #WM-Orakel #Tarek #Taio #WM #Weltmeisterschaft #Ameisenbär #squeet.me/search?tag= #NRW
WM Orakel: Der Elefant, der immer Recht hat und der Ameisenbär, der immer daneben liegt -
🖼️ Austin Lee: Elefant, 2023
#Kunst #Art #Schilderij #Painting #Malerei #ModerneKunst #ModernArt #Kunsthal #Rotterdam #Cute #AustinLee #Olifant #Elephant #elefantecglobal #Fotografie #Photography #Snapshot #PublicDomain
📷 CC0 by @reinoudk
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🖼️ Austin Lee: Elefant, 2023
#Kunst #Art #Schilderij #Painting #Malerei #ModerneKunst #ModernArt #Kunsthal #Rotterdam #Cute #AustinLee #Olifant #Elephant #elefantecglobal #Fotografie #Photography #Snapshot #PublicDomain
📷 CC0 by @reinoudk
-
@NadjaBoehlmann @zusammen_mehr_elefant @Castopod @Alisa @mariakuehn @librescrum
der server selbst steht in bayern, aeh frrranken und laeuft mit #oekostrom
und alles ohneA.I. ! ;)
-
@NadjaBoehlmann @zusammen_mehr_elefant @Castopod @Alisa @mariakuehn @librescrum
der server selbst steht in bayern, aeh frrranken und laeuft mit #oekostrom
und alles ohneA.I. ! ;)
-
@NadjaBoehlmann @zusammen_mehr_elefant @Castopod @Alisa @mariakuehn @librescrum
der server selbst steht in bayern, aeh frrranken und laeuft mit #oekostrom
und alles ohneA.I. ! ;)
-
@NadjaBoehlmann @zusammen_mehr_elefant @Castopod @Alisa @mariakuehn @librescrum
der server selbst steht in bayern, aeh frrranken und laeuft mit #oekostrom
und alles ohneA.I. ! ;)
-
#keon & #['tima] - der weisse elefant ( #dnb #rmx )
#DrumAndBass #Remix #drumnbass #DrumAndBassMusic #ElectronicMusic #Electronic #ElectronicDanceMusic #DanceMusic #EDM #Music #Tima #Timmesound
@electronicmusic @music @[email protected]
@[email protected] @dnb
