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1000 results for “quite_adept”
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(3/3)
...#Darwin and #Gorbatchev said the same thing:
adapt or perish.We all know how it went down for the #Roman Republic, but they even had the #TarpeianRock for cases of high treason.
It is quite likely essential to pay more heed to history.
Time is up.2)No, don't lock him up. He can and just might still be president. #TarpeianRock, if guilty.
This is not a drill.
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(3/3)
...#Darwin and #Gorbatchev said the same thing:
adapt or perish.We all know how it went down for the #Roman Republic, but they even had the #TarpeianRock for cases of high treason.
It is quite likely essential to pay more heed to history.
Time is up.2)No, don't lock him up. He can and just might still be president. #TarpeianRock, if guilty.
This is not a drill.
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(3/3)
...#Darwin and #Gorbatchev said the same thing:
adapt or perish.We all know how it went down for the #Roman Republic, but they even had the #TarpeianRock for cases of high treason.
It is quite likely essential to pay more heed to history.
Time is up.2)No, don't lock him up. He can and just might still be president. #TarpeianRock, if guilty.
This is not a drill.
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Another fave is https://youtube.com/@BilliSpeaks. I don't think Billi is quite as smart as the brilliant Elsie, but she's clever enough, and there are more videos, giving you a deeper insight into her development over time (not to criticize @maryrobinette 's more curated, edited, and scientific approach). Billi and her owner are currently moving cross country, so it's been interesting to watch her travel and adapt to new locations. #talkingcats #talkingcatsofmastodon
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#speciation #taxonomy #habitat
"How Ecotypes Harbor the Genetic Memory of a Species’ Past
Evolutionary biologists are uncovering genomic mechanisms that allow populations to adapt quickly to different, hyperlocal habitats without splitting into new species.
(. . .)
Around 50 years earlier, the botanist Göte Turesson had had a similar revelation in a similar setting. As he walked Sweden’s shores, he noticed that saltbush plants from different stretches of coastline had distinct traits — earlier or later flowering times, or shorter or longer stalks — and between habitats, those traits fell somewhere in the middle. He bred the plants in his home garden and found that these distinct traits had a genetic basis even though they arose from the same species. In 1922, he published his results (opens a new tab) and coined the term 'ecotype' to describe a subpopulation of a species adapted to a hyperlocal habitat.
At that time, the definition of a species was even less clear than it is today. Genes were still theoretical, and the structure of DNA wouldn’t be discovered for another 30 years. Turesson 'struggled to be accepted,' said Johannesson, now the director of Tjärnö Marine Laboratory at the University of Gothenberg. How can a species contain multiple distinct phenotypes — or sets of traits — without separating into two species? 'He had quite a job to try to convince his colleagues that there were inherited differences and local adaptation within species,' she said."
https://www.quantamagazine.org/how-ecotypes-harbor-the-genetic-memory-of-a-species-past-20260521/
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But you'd have to share the credit (and the outfit) with a partner.
To keep all the attention (and probably the cover of Locus) for yourself, maybe adapt something similar from my favorite recent artwork, a 1957 painting by the great Catalan surrealist Remedios Varo that's now in the Boston Museum of Fine Arts. Notice the tiny unicycle: quite handy (well, footy) for those fatiguingly interminable Worldcon hallways.
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Being nonbinary doesn't necessarily mean leaving your other communities.
Nonbinary identities vary widely and can be quite flexible. More importantly, the communities that you're currently part of can adjust to a nonbinary person (despite what some bigots may say).
Just as you adapt to the world, the world can adapt to you, too.
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Recently we released Super 2D Noah's Ark, a mod for #CDogsSDL, to little fanfare and much confusion (to be expected, it’s an obscure and quirky game). The development process was quite frustrating though, so I wrote a retrospective:
https://cxong.github.io/cdogs-sdl/other/2026/03/04/s2dna-retro.html
Mostly to vent but perhaps it’s a cautionary tale: when porting or modding a game, parts that are difficult to adapt can lead to cost blowouts
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@stfn @cofiem @bkim If versioning via `pyproject.toml`is a concern then you might want to take a look at `setuptools_scm` which takes care of that via Git tags.
Workflow then becomes quite simple...
1. tag a commit
2. tag triggers CI to build and publish package (conditional on format of tag matching a pattern e.g. `v*`)https://setuptools-scm.readthedocs.io/en/latest/
GitHub example (should be adaptable to Woodpecker)
https://github.com/AFM-SPM/TopoStats/blob/main/.github/workflows/pypi.yaml
(check `pyproject.toml` in that repo too).
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King Crimson Play “Three of a Perfect Pair”
Listen to this track by highly adaptable and roster rotating progressive rock architects King Crimson. It’s “Three of a Perfect Pair”, the title track from the band’s 1984 record of the same name. That release was, very appropriately, the third and final entry in a trilogy of albums starting with 1981’s Discipline and followed up by Beat in 1982. These three releases represented a new phase for the band after a seven year hiatus that preceded it; the Discipline era. This was an unexpected eventuality considering that founder, guitarist, and chief creative instigator Robert Fripp hadn’t originally intended to regroup under the King Crimson name.
At the dawn of the 1980s, Fripp sought out musicians he’d worked with before and admired as he put a new band together to explore fresh musical ideas in a new era. This included vocalist, guitarist, and lyricist Adrian Belew who, like Fripp, had played with David Bowie and Talking Heads. Bassist and Chapman stick master Tony Levin won his spot after proving himself with Fripp after both played on Peter Gabriel’s first two solo records. Triple-A drummer Bill Bruford rounded out the lineup, having played with the big three in progressive rock by the early 1980s. Bruford had been a member of Yes and he’d played live with Genesis. He also participated in the last iterations of King Crimson from 1972-1974 before the hiatus.
The experience and playing styles of all four musicians brought freshness to the music, and a new incarnation and era for King Crimson commenced. Going under that name seemed to work for Fripp from a musical standpoint. It certainly made commercial sense. That said, the music they made was a progression from earlier incarnations of the band. Their new sound included as much post punk, new wave, gamelan, and funk influences as it did prog rock. Belew’s approach to lyric writing and his background in more pop-centric music became a defining force. The music they made during this period is just as complex and intriguingly hypnotic as ever. But the songs are more compact and focused even as the band retains its experimental edge.
The chemistry of this incarnation of King Crimson indicated that they were musically sturdy and sympatico as a group. In fact, the new ensemble represented the first time since the band’s inception that a King Crimson lineup remained stable from one album to the next. This is not to say it was all smooth sailing. With new musicians come new dynamics, perspectives, strengths and weaknesses, and essential roles that have to mesh for the music to work well. They had to negotiate all that between them. For the most part, the split was between Belew—who served as the songs guy—and Fripp, who was more interested in overall texture, improvisation, and rhythmic pulse.
With the levels of talent and well-known strong personalities involved, it stands to reason that maintaining the tension between these poles took considerable effort. Even the album that shares the song’s title is marked by the friction between two different approaches to making the record. One side is the more accessible. The other, as described by Fripp himself, is “excessive”. This single appeared on the former side, although it still reflects the band’s penchant for complex shifting time signatures and looped sonic patterns. Paired together, they created something entirely new.
As for this specific tune, “Three of a Perfect Pair” is as close to a conventional pop song as King Crimson gets. A big part of that is down to its very pop song theme of relationships between a man and a woman, although this being King Crimson, it subverts convention from there. Lyrically, this song tells the story of a relationship defined by conflict, driven by character flaws, differing priorities, and communication breakdowns.
“Three of a Perfect Pair” could be interpreted as a love song exploring the nuts and bolts of being in a committed relationship while painstakingly working through repeating patterns of disconnection. This aspect of love goes beyond the romance celebrated more often in pop music. Instead, it goes into far darker and more mature territories. This is true even if the split between he and she seem a bit dated today, with the man falling down due to his flawed intellectual perspectives, and the woman doing the same because of her moods.
He has his contradicting views
She has her cyclothymic moods
They make a study in despair
Three of a perfect pair …~ “Three of a Perfect Pair” by King Crimson
Either way, the title and phrase “three of a perfect pair” seems like an expression of dysfunction itself. What is the third party that stands with the two people that makes their relationship such a study in despair? One interpretation is that it’s the dysfunction itself that becomes a presence in a relationship burdened by a lack of communication. When conflict and disconnection become defining features of the way people interact, it can feel as if there is a third presence standing between them like an unholy ghost.
Another take on this is the opposite; that the third presence is the hope that the two parties can come to some kind of compromise and sense of clarity. The third member of the “pair” represents the possibilities, perspectives, and truths that have the power to smash the deadlock if the two people could only see it. It’s the road they could take together if they could only get out of their own ways to discover it. Between the two interpretations, it’s hard to choose which one is the less tragic.
Either way, it’s a perfect mess—like being in a band sometimes is.
King Crimson would go on hiatus again at Fripp’s prompting after the release of this third record in their Discipline period. All four musicians in that configuration would reunite by the mid-Nineties as parts of a “double trio” with two other musicians who doubled the band’s bass and drum parts. Talk about excessive! But this had been the nature of King Crimson from the beginning; a context for musicians in various combinations of personalities and instrumentation to come up with something unique between them, differing playing styles, approaches, tensions, and all.
For more about King Crimson’s long history as a unique musical entity, check out the trailer for the 2022 documentary film In the Court of the Crimson King: King Crimson at 50. Director Toby Amies shot the film during the anniversary tour between 2018 and 2020. Instead of a straightforward chronicle of the band through the years, the movie reveals some (well, quite a lot) of the fractiousness involved in being a member of King Crimson in present day circumstances, some of those caused by a decades-long history of unresolved tension between members. Because of that, the film makes for some fascinating, uncomfortable, hilarious, and poignant viewing.
As he once did in 1974 and again by 1984, Robert Fripp intended to lay King Crimson to rest by 2022—really this time. But at the time of this writing, there have been whisperings of a new King Crimson album to follow up 2003’s The Power to Believe. Learn about it right here.
Enjoy!
#80sMusic #adrianBelew #kingCrimson #postPunk #progRock #robertFripp
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Recently moved to a new 7-string as my primary guitar. It has a marginally wider nut than my old 7.
Weirdly, the thing that's hardest to adapt is my muting technique - the fleshy bits of my fingers and my right hand palm are _just_ not quite touching the adjacent strings, and I get sympathetic notes sounding.
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Recently moved to a new 7-string as my primary guitar. It has a marginally wider nut than my old 7.
Weirdly, the thing that's hardest to adapt is my muting technique - the fleshy bits of my fingers and my right hand palm are _just_ not quite touching the adjacent strings, and I get sympathetic notes sounding.
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Recently moved to a new 7-string as my primary guitar. It has a marginally wider nut than my old 7.
Weirdly, the thing that's hardest to adapt is my muting technique - the fleshy bits of my fingers and my right hand palm are _just_ not quite touching the adjacent strings, and I get sympathetic notes sounding.
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Recently moved to a new 7-string as my primary guitar. It has a marginally wider nut than my old 7.
Weirdly, the thing that's hardest to adapt is my muting technique - the fleshy bits of my fingers and my right hand palm are _just_ not quite touching the adjacent strings, and I get sympathetic notes sounding.
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As per usual I've never heard of this week's #EpicGames freebie, but it actually seems interesting and like the sort of thing I *might* play. The last time that happened was...quite some time ago lol.
This also looks like the sort of thing I'll try and play on #SteamDeck only to fail at figuring out how to adapt the controls. But you never know, might surprise myself! 😅
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@KI5SMN @k2za @OpenResearchIns
Dr. Marks writes:
I've looked plenty at the uSDX source code and it is quite possible to add something like #SCAMP to the #uSDX. The SCAMP demodulator would have filters for both in phase and quadrature phase and then select the sideband by adding or subtracting the two filters. It might be easier to port the #RFBitBanger source code to the uSDX hardware than adapt the uSDX source code to SCAMP...
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"Anyone can find an excuse to stand still. Make it your life's work to find the reasons to move." - Futurist Jim Carroll
As a species, it seems we are engineered to stand still (or move back) rather than forward.
I was thinking about that yesterday — how easy it is to make excuses to avoid taking action.
I certainly do this, even though I often feature this issue when I’m speaking to my clients about innovation.
Right now, I’ve spent a few weeks — literally — getting ready to launch another blog series. This one is called: “36 LESSONS: THE ART OF THE INFINITE CAREER PIVOT.” It’s based on a list I wrote last November on the 35th anniversary of leaving the corporate workforce, starting my own company, and working from home.
I didn't write it beyond the original list. Other projects got in the way; client projects surfaced; I kept looking for the right design for the daily posts as well as the website that would go with it; my spinal injury intervened; and most importantly, family time, including with my new grandson, took over.
And over the last few months, I’ve managed to find every excuse in the book not to get going. Heck, I was going to start it today, but, well, I didn’t.
So here we are! I’m writing a post about making excuses because I needed an excuse as to why I have yet to get it going!
So I’ll start it tomorrow. It’s good!
The same thing happens in the corporate space, particularly during geopolitical tensions. Right now, companies are postponing projects, abandoning initiatives, and hunkering down into inaction. There is a crazy amount of uncertainty with the economy, war, global tensions, politics — and so leaders are doing the easiest thing of all: nothing.
And that’s exactly why I wrote Dancing in the Rain — the subtitle, How Bold Leaders Grow Stronger in Stormy Times, provides the exact antidote to indecision. (Grab it via dancing.jimcarroll.com!)
It’s really quite simple.
Stop stopping.
Start moving.
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Futurist Jim Carroll tries to practice the innovation lessons he shares with his clients. He often fails at this.
**#Momentum** **#Action** **#Movement** **#Progress** **#Resilience** **#Courage** **#Adaptability** **#Initiative** **#Forward** **#Purpose**
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More Than a Game: On Joining the British Games Institute
Last week, I was formally onboarded as a new trustee of the British Games Institute (BGI), the incredible organisation that runs the National Videogames Museum. After taking part in my first board meeting, I’ve been reflecting on why this work is so important – and why it cuts to the very heart of the challenges and opportunities facing our entire industry.
For years, we’ve all heard the same statistics. We know the games industry is commercially massive, dwarfing film and music combined. We are, by any financial metric, a spectacular success story.
But for all our commercial confidence, we have been shamefully quiet when it comes to our cultural confidence. As an industry, we are incredibly adept at talking about what we make and how much it sells for, but we are often silent, or even dismissive, on the subject of why it matters.
We lack cultural leadership. We have very few public-facing institutions that look beyond that huge financial bottom line and champion the deeper, transformative potential of play.
The Role of The British Games Institute
This is precisely why the BGI and the National Videogames Museum are so vital. They are one of the very few organisations in the UK dedicated to preserving, cataloguing, and interrogating games as a cultural form. They are the epitome of the ‘More Than Games’ philosophy – a permanent, physical declaration that games are more than just ‘digital toys’ suitable only for children, or financially lucrative products; they are artistic expressions, social platforms, and powerful tools for learning and connection.
In an industry defined by rapid technological change and relentless forward momentum, we need an institution that has the mandate to look back, to hold onto our history, and to ask critical questions about our impact.
But for me, this new role isn’t just about preservation. That work is essential, but it is the foundation, not the final structure. The true opportunity is to help build upon that foundation. It’s about looking beyond just cataloguing the past and helping to position Britain as a global leader in thinking about games differently.
This is a platform to champion the role of games in our wider cultural and social life. It’s about moving from simply preserving our history to actively using our medium’s power to shape the future – in education, in healthcare, in public policy, and in our national discourse.
I am incredibly proud and excited to join the BGI board and to contribute to this mission. It is work that aligns perfectly with everything we are trying to build here in Scotland – a mature, confident, and culturally-aware games ecosystem that understands its own value far beyond the balance sheet.
#bgi #britishGamesInstitute #games #nationalVideogameMuseum #nvm #sheffield #uk
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More Than a Game: On Joining the British Games Institute
Last week, I was formally onboarded as a new trustee of the British Games Institute (BGI), the incredible organisation that runs the National Videogames Museum. After taking part in my first board meeting, I’ve been reflecting on why this work is so important – and why it cuts to the very heart of the challenges and opportunities facing our entire industry.
For years, we’ve all heard the same statistics. We know the games industry is commercially massive, dwarfing film and music combined. We are, by any financial metric, a spectacular success story.
But for all our commercial confidence, we have been shamefully quiet when it comes to our cultural confidence. As an industry, we are incredibly adept at talking about what we make and how much it sells for, but we are often silent, or even dismissive, on the subject of why it matters.
We lack cultural leadership. We have very few public-facing institutions that look beyond that huge financial bottom line and champion the deeper, transformative potential of play.
The Role of The British Games Institute
This is precisely why the BGI and the National Videogames Museum are so vital. They are one of the very few organisations in the UK dedicated to preserving, cataloguing, and interrogating games as a cultural form. They are the epitome of the ‘More Than Games’ philosophy – a permanent, physical declaration that games are more than just ‘digital toys’ suitable only for children, or financially lucrative products; they are artistic expressions, social platforms, and powerful tools for learning and connection.
In an industry defined by rapid technological change and relentless forward momentum, we need an institution that has the mandate to look back, to hold onto our history, and to ask critical questions about our impact.
But for me, this new role isn’t just about preservation. That work is essential, but it is the foundation, not the final structure. The true opportunity is to help build upon that foundation. It’s about looking beyond just cataloguing the past and helping to position Britain as a global leader in thinking about games differently.
This is a platform to champion the role of games in our wider cultural and social life. It’s about moving from simply preserving our history to actively using our medium’s power to shape the future – in education, in healthcare, in public policy, and in our national discourse.
I am incredibly proud and excited to join the BGI board and to contribute to this mission. It is work that aligns perfectly with everything we are trying to build here in Scotland – a mature, confident, and culturally-aware games ecosystem that understands its own value far beyond the balance sheet.
#bgi #britishGamesInstitute #games #nationalVideogameMuseum #nvm #sheffield #uk
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More Than a Game: On Joining the British Games Institute
Last week, I was formally onboarded as a new trustee of the British Games Institute (BGI), the incredible organisation that runs the National Videogames Museum. After taking part in my first board meeting, I’ve been reflecting on why this work is so important – and why it cuts to the very heart of the challenges and opportunities facing our entire industry.
For years, we’ve all heard the same statistics. We know the games industry is commercially massive, dwarfing film and music combined. We are, by any financial metric, a spectacular success story.
But for all our commercial confidence, we have been shamefully quiet when it comes to our cultural confidence. As an industry, we are incredibly adept at talking about what we make and how much it sells for, but we are often silent, or even dismissive, on the subject of why it matters.
We lack cultural leadership. We have very few public-facing institutions that look beyond that huge financial bottom line and champion the deeper, transformative potential of play.
The Role of The British Games Institute
This is precisely why the BGI and the National Videogames Museum are so vital. They are one of the very few organisations in the UK dedicated to preserving, cataloguing, and interrogating games as a cultural form. They are the epitome of the ‘More Than Games’ philosophy – a permanent, physical declaration that games are more than just ‘digital toys’ suitable only for children, or financially lucrative products; they are artistic expressions, social platforms, and powerful tools for learning and connection.
In an industry defined by rapid technological change and relentless forward momentum, we need an institution that has the mandate to look back, to hold onto our history, and to ask critical questions about our impact.
But for me, this new role isn’t just about preservation. That work is essential, but it is the foundation, not the final structure. The true opportunity is to help build upon that foundation. It’s about looking beyond just cataloguing the past and helping to position Britain as a global leader in thinking about games differently.
This is a platform to champion the role of games in our wider cultural and social life. It’s about moving from simply preserving our history to actively using our medium’s power to shape the future – in education, in healthcare, in public policy, and in our national discourse.
I am incredibly proud and excited to join the BGI board and to contribute to this mission. It is work that aligns perfectly with everything we are trying to build here in Scotland – a mature, confident, and culturally-aware games ecosystem that understands its own value far beyond the balance sheet.
#bgi #britishGamesInstitute #games #nationalVideogameMuseum #nvm #sheffield #uk
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More Than a Game: On Joining the British Games Institute
Last week, I was formally onboarded as a new trustee of the British Games Institute (BGI), the incredible organisation that runs the National Videogames Museum. After taking part in my first board meeting, I’ve been reflecting on why this work is so important – and why it cuts to the very heart of the challenges and opportunities facing our entire industry.
For years, we’ve all heard the same statistics. We know the games industry is commercially massive, dwarfing film and music combined. We are, by any financial metric, a spectacular success story.
But for all our commercial confidence, we have been shamefully quiet when it comes to our cultural confidence. As an industry, we are incredibly adept at talking about what we make and how much it sells for, but we are often silent, or even dismissive, on the subject of why it matters.
We lack cultural leadership. We have very few public-facing institutions that look beyond that huge financial bottom line and champion the deeper, transformative potential of play.
The Role of The British Games Institute
This is precisely why the BGI and the National Videogames Museum are so vital. They are one of the very few organisations in the UK dedicated to preserving, cataloguing, and interrogating games as a cultural form. They are the epitome of the ‘More Than Games’ philosophy – a permanent, physical declaration that games are more than just ‘digital toys’ suitable only for children, or financially lucrative products; they are artistic expressions, social platforms, and powerful tools for learning and connection.
In an industry defined by rapid technological change and relentless forward momentum, we need an institution that has the mandate to look back, to hold onto our history, and to ask critical questions about our impact.
But for me, this new role isn’t just about preservation. That work is essential, but it is the foundation, not the final structure. The true opportunity is to help build upon that foundation. It’s about looking beyond just cataloguing the past and helping to position Britain as a global leader in thinking about games differently.
This is a platform to champion the role of games in our wider cultural and social life. It’s about moving from simply preserving our history to actively using our medium’s power to shape the future – in education, in healthcare, in public policy, and in our national discourse.
I am incredibly proud and excited to join the BGI board and to contribute to this mission. It is work that aligns perfectly with everything we are trying to build here in Scotland – a mature, confident, and culturally-aware games ecosystem that understands its own value far beyond the balance sheet.
#bgi #britishGamesInstitute #games #nationalVideogameMuseum #nvm #sheffield #uk
-
More Than a Game: On Joining the British Games Institute
Last week, I was formally onboarded as a new trustee of the British Games Institute (BGI), the incredible organisation that runs the National Videogames Museum. After taking part in my first board meeting, I’ve been reflecting on why this work is so important – and why it cuts to the very heart of the challenges and opportunities facing our entire industry.
For years, we’ve all heard the same statistics. We know the games industry is commercially massive, dwarfing film and music combined. We are, by any financial metric, a spectacular success story.
But for all our commercial confidence, we have been shamefully quiet when it comes to our cultural confidence. As an industry, we are incredibly adept at talking about what we make and how much it sells for, but we are often silent, or even dismissive, on the subject of why it matters.
We lack cultural leadership. We have very few public-facing institutions that look beyond that huge financial bottom line and champion the deeper, transformative potential of play.
The Role of The British Games Institute
This is precisely why the BGI and the National Videogames Museum are so vital. They are one of the very few organisations in the UK dedicated to preserving, cataloguing, and interrogating games as a cultural form. They are the epitome of the ‘More Than Games’ philosophy – a permanent, physical declaration that games are more than just ‘digital toys’ suitable only for children, or financially lucrative products; they are artistic expressions, social platforms, and powerful tools for learning and connection.
In an industry defined by rapid technological change and relentless forward momentum, we need an institution that has the mandate to look back, to hold onto our history, and to ask critical questions about our impact.
But for me, this new role isn’t just about preservation. That work is essential, but it is the foundation, not the final structure. The true opportunity is to help build upon that foundation. It’s about looking beyond just cataloguing the past and helping to position Britain as a global leader in thinking about games differently.
This is a platform to champion the role of games in our wider cultural and social life. It’s about moving from simply preserving our history to actively using our medium’s power to shape the future – in education, in healthcare, in public policy, and in our national discourse.
I am incredibly proud and excited to join the BGI board and to contribute to this mission. It is work that aligns perfectly with everything we are trying to build here in Scotland – a mature, confident, and culturally-aware games ecosystem that understands its own value far beyond the balance sheet.
#bgi #britishGamesInstitute #games #nationalVideogameMuseum #nvm #sheffield #uk
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#weeklyreview 37/2025
back to Berlin
Finally back in Berlin after the school holidays. Everyone trying to adapt to the big city and regular schedule again. I noticed that’s it’s getting harder and harder to get back to the big busy city after spending time in the countryside. Everything in Berlin is so busy and hectic and especially peopley.
Dinner at L’s
Nice catch-up dinner at my dear friends L. We hadn’t seen each other for the holidays and a meeting was long overdue. Very delicious food as always 🙂
Hacker Stammtisch
Due to communication breakdown only two of the nerds showed up. Nevertheless a good evening with nerdy conversations at the Pratergarten.
Freestyle UNO
We chose a different game for our weekly Poker night. Kiddo had Minecraft UNO cards and wanted to play UNO. But we tried to play with his extended set of rules that they made up during their bike trip the week before. Quirky rules like “you can’t say the color of the card, but must say this instead…”. Every round he came up with a new rule or changed the ones he already issued. Felt a bit like work were the rules seem to change with each manager and round of reorg. But never make any logical sense….
B&B Friedenau Edition
After quite some walking around the city (I forgot the Fahrzeugschein when delivering my car to the garage to get new TÜV and had to fetch it) I was looking forward to the next B&B meeting Thursday evening at the Boerge HQ in Friedenau. That was rather delicious and garnished with warm hospitality. Unfortunately he set the bar high for home made burgers now :-/
Also the lovely Klappstulli gifted us these team bracelets BnB♾️
energy consultant
On Saturday I met with the local energy consultant to start making a proper renovation plan for #project25. Slowly but surely we’re making progress.
The consultant will look at the condition and our vision how the house and rooms should look etc. and then does the calculation for the heating and what kind and level of insulation we’d need to apply in order to received subsidies for the renovation.
Stella rockt
Saturday afternoon K3 and me drove to nearby Friedrichswalde for their Saalkultur events. That’s various exhibitions and events in the village with its many historic halls. The opening event was an art installation made up of 3772 CDs forming a nice mosaic.
Later there was a comedy fashion show, buffet, bbq and finally a concert by the band “Stella Rockt“.
They started with “Lonely Boy” from The Black keys and immediately set the tone for the rest of the concert. Powerful rock music with their own touch. They played cover songs of many famous songs. What I liked is that they didn’t just try to imitate the original but made them proper rock songs with their own twist. Sometimes changing the speed or the tone slightly. All four of them were great performers at their instruments. The lady on the drums absolutely killed it as well did the lead guitarist. I had great fun attending the concert and also lovely conversation with the band afterwards. Can highly recommend them for your next gig.
https://videos.explain-it.org/w/pbSN6agEkwkNTWEVX6uLar
#concert #enEN #Music #project25 #StellaRockt #Uckermark #weeklyreview #wochenrueckblick
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Heyho! I've been fighting a stomach bug these last two days, so in the few hours I was awake I had some time to catch up on TV shows.
I finished the second season of #CastlevaniaNocturne, which I ended up liking quite a bit. Now I'm watching the new Netflix production of #DevilMayCry. That's also growing on me, despite having much of the same issues as the Castlevania series had. I think that Dante is also very hard to adapt. I like his over the topness and close to fourth wall breaking self awareness -- in the games. It gets annoying real quick in the series, but they also tone it way down after the first two episodes.
It also somehow manages to turn into The Raid for a bit. 😅
But I have to say that I liked Lady Mary much better in the Japanese anime that came out years ago. She's still a badass, but... I dunno I still find the amount of swearing in these modern videogame adaptations hard to stomach. 😩 -
Heyho! I've been fighting a stomach bug these last two days, so in the few hours I was awake I had some time to catch up on TV shows.
I finished the second season of #CastlevaniaNocturne, which I ended up liking quite a bit. Now I'm watching the new Netflix production of #DevilMayCry. That's also growing on me, despite having much of the same issues as the Castlevania series had. I think that Dante is also very hard to adapt. I like his over the topness and close to fourth wall breaking self awareness -- in the games. It gets annoying real quick in the series, but they also tone it way down after the first two episodes.
It also somehow manages to turn into The Raid for a bit. 😅
But I have to say that I liked Lady Mary much better in the Japanese anime that came out years ago. She's still a badass, but... I dunno I still find the amount of swearing in these modern videogame adaptations hard to stomach. 😩 -
Heyho! I've been fighting a stomach bug these last two days, so in the few hours I was awake I had some time to catch up on TV shows.
I finished the second season of #CastlevaniaNocturne, which I ended up liking quite a bit. Now I'm watching the new Netflix production of #DevilMayCry. That's also growing on me, despite having much of the same issues as the Castlevania series had. I think that Dante is also very hard to adapt. I like his over the topness and close to fourth wall breaking self awareness -- in the games. It gets annoying real quick in the series, but they also tone it way down after the first two episodes.
It also somehow manages to turn into The Raid for a bit. 😅
But I have to say that I liked Lady Mary much better in the Japanese anime that came out years ago. She's still a badass, but... I dunno I still find the amount of swearing in these modern videogame adaptations hard to stomach. 😩 -
Heyho! I've been fighting a stomach bug these last two days, so in the few hours I was awake I had some time to catch up on TV shows.
I finished the second season of #CastlevaniaNocturne, which I ended up liking quite a bit. Now I'm watching the new Netflix production of #DevilMayCry. That's also growing on me, despite having much of the same issues as the Castlevania series had. I think that Dante is also very hard to adapt. I like his over the topness and close to fourth wall breaking self awareness -- in the games. It gets annoying real quick in the series, but they also tone it way down after the first two episodes.
It also somehow manages to turn into The Raid for a bit. 😅
But I have to say that I liked Lady Mary much better in the Japanese anime that came out years ago. She's still a badass, but... I dunno I still find the amount of swearing in these modern videogame adaptations hard to stomach. 😩 -
Heyho! I've been fighting a stomach bug these last two days, so in the few hours I was awake I had some time to catch up on TV shows.
I finished the second season of #CastlevaniaNocturne, which I ended up liking quite a bit. Now I'm watching the new Netflix production of #DevilMayCry. That's also growing on me, despite having much of the same issues as the Castlevania series had. I think that Dante is also very hard to adapt. I like his over the topness and close to fourth wall breaking self awareness -- in the games. It gets annoying real quick in the series, but they also tone it way down after the first two episodes.
It also somehow manages to turn into The Raid for a bit. 😅
But I have to say that I liked Lady Mary much better in the Japanese anime that came out years ago. She's still a badass, but... I dunno I still find the amount of swearing in these modern videogame adaptations hard to stomach. 😩 -
New release of https://thi.ng/genart-api, a modular cross-platform API/SDK for browser-based computational/algorithmic/generative art projects, helping to reduce artists' efforts to adapt work for different art platforms/environments/uses/workflows.
Main new v0.18.0 additions:
- The param editor reference implementation now groups parameters by their declared group and sorts them by given order (both optional)
- The `@genart-api/adapter-layer` package supports adaptations/translations for more param types, incl. vectors, which are not yet natively supported by that platform. E.g. vectors will be transparently represented as multiple, separate numeric params on the platform side, but your artwork is blissfully unaware of this and still only would deal with vectors. The platform adapter does all the reconcilation and handling of param changes...
- Started adding tests
- Updated API docs & readme'sAs always, feedback highly appreciated — this project is in active development...
I'm aware, the target audience for this larger project is quite limited, but the benefits are real (and palpable!), not just for artists in this field (but especially for them!)... I'll do my best to illustrate the (recurring) problems being solved here, demystify some of the concepts and squeeze in recording a short(ish) video showing how to develop a small project from scratch using this system/setup and then repurpose it and show related tools still in development...
#GenArtAPI #Art #GenerativeArt #AlgorithmicArt #Parameters #Interoperability #OpenSource #TypeScript #JavaScript
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Reign is one of those systems that I was hoping might turn out to be the perfect RPG. Because that's what I'm looking for, and I'm sure it must exist, but none of the previous contenders weren't quite it. The previous contender was Burning Wheel, which I'd heard a lot of good stuff about, and the way Beliefs work is really great, and a big part of what I'm looking for. Only the rest of the system was extremely fiddly with excessive amounts of detail in some places (the enormous skill list) but fantastic bits in other places (lifepaths), but also some gaping holes (anything in between Fight and Bloody Versus).
Reign is next on my radar, and some stuff I read about it makes it sound it might be almost perfect. The dice system is unique and really interesting, but ultimately I fear it might be a bit gimmicky. You roll a dice pool of d10s, and all dice that come up with the same number form a set. You can roll multiple sets, and for each action you declared (which could be more than one), you pick one of your sets. The number of dice in the set is its width, the number on the dice is the height. Getting two different dimensions out of a single roll is a really cool idea. The problem is that the system tends to use these two dimensions for more than two things, which can have weird results.
For example, hits to your legs are easier to parry than hits to your head. I think that's the big one to me. Another one is that quick attacks that go first, also do more damage. I have less issue with that, but with 4 effects mapped to the two dimensions of the roll, I do wonder if two rolls wouldn't have made more sense.
Something I really love about it is that, unlike Burning Wheel, this system is intentionally a toolbox, meant to be tinkered with. Lots of optional rules and suggestions how to adapt it. These seem to be 5 chapters on combat; not sure if they're all the same system or alternatives, but clearly you can start easy and add detail as required.