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:skull360: We've successfully upgraded our Mastodon server to v4.6.0-alpha.7+mementomods-2026-05-02, along with Mastodon Bird UI 4.0.0-alpha.7 (nightly).
This update includes today's latest daily build with 207 new commits from upstream since mementomods-2026-04-05.
What's new in Mastodon core - These are the changes Mastodon Team have introduced us in the latest nightly version we are running:
✨️ New features
- Collections continue to mature - per-user maximum number of collections, "Featuring you" tab, "Follows you" badge in lists, federated `Flag` activities, "added to collection" notifications with full context menus, and viewing unlisted collections on your own Featured tab
- New collection editor - final design for account dropdown menu, account search dropdown, accounts editor page, "Must follow" section in suggestions, grouped Combobox results
- Profile redesign keeps polishing - full join date (currently in modal), animated/transparent avatars, illustrations using CSS vars, control over follower/following list visibility, bot toggle in editing, advanced view overflow fix
- Server thumbnail alt text - admins can now define alt text for the server thumbnail, surfaced in the frontend
- Fallback attributes for new and infrequent notification types so no event renders as an empty card
- Keyboard-only modal form submission
- Extended date display for relative times when `feature_approval` cooldown applies, including new `AccountMigration#remaining_cooldown_days` helper
- New `domain_variants` helper on `DomainNormalizable` for IDN handling🔧 Fixes & improvements
- Several profile bugs - minor visual glitches, gap in fields layout, dropdown blocking missing the confirmation modal, follower/following list error for accounts that never posted
- Custom emoji not appearing in autocomplete
- Stale collections list after deleting a collection, broken client-side collection routes, collection item limit, multiple occurrences of the same user in a collection
- Quote blocked user issue
- Bio line clamping in `AccountListItem`
- Combobox loading state and confusing admin list hover states
- Streaming server uses WHATWG URL API instead of deprecated `url.parse`
- Signature verification fixes carried from previous nightly
- Importing emoji loader statically inside the inline worker (Vite 8 compatibility)
- Hero image radius brought back into repo📦 Dependency updates
- Ruby 4.0.3 (from 4.0.2), Puma 8.0.1, Vite 8.0.10, Node.js 24.15, Yarn 4.14.1, Sidekiq 8.1.3, propshaft, formatjs, opentelemetry-ruby, and dozens of smaller bumps
🐦⬛ Mastodon Bird UI 4.0.0-alpha.7 (nightly)
- Fix duplicate profile buttons after upstream class name change
- Remove padding-top from `account__header__buttons` on viewports under 420px
- Apply `--font-size` variables to display name, form field wrapper, app form link text, and simple_form hints so accessible themes scale them correctly
- Move field list row-gap 5px to all viewports
- Fix follows you badge and pinned badge styling
- Fix familiar followers margin spacing
- Fix profile badge and username spacing
- Map `--color-text-brand` to `--color-accent` for consistent link colors🔧 Mementomori.social Mastodon fork fixes
- Fixed private mention styles and follow requests styling
- Fixed emoji worker loader using a static import for Vite 8 inline worker compatibility
- Fixed trends alignment and trends counter missing `tagName` after the upstream `FormattedMessage` wrapper removal
- Fixed uncaught `play()` promise rejections on autoplay-blocked browsersSource code: https://github.com/mementomori-social/mastodon
As always, if you notice anything unusual or buggy, please reach out to me or any of the admins. Enjoy your time here, and feel free to message me with any questions or thoughts. :bunhdheart:
If anything feels off, please let us know!
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🇫🇷 Une journée super, loin du tumulte du monde et j'ai voulu en profiter un maximum, même si le dernier kilomètre a été ardu! 25 kilomètres autour de Florenville dans une nature magnifique, un beau soleil printanier, pas mal d'oiseaux (vus, entendus mais à peine réussi à en photographier deux...). Pour ce soir, juste une photo du panorama depuis le belvédère derrière l'église de Florenville. J'ai des photos pour un moment : 130 en tout que je distillerai sur différents hashtags dans les prochains jours/semaines.
Passez une excellente soirée, pour moi, pas d'inquiétude, je vais dormir comme un nouveau-né! 👋 🙂
🇬🇧 A great day, far from the hustle and bustle of the world and I wanted to make the most of it, even if the last kilometer was difficult! 25 kilometers around Florenville in magnificent nature, beautiful spring sunshine, quite a lot birds (seen, heard but barely managed to photograph two...). For this evening, just a photo of the panorama from the belvedere behind the church in Florenville. I have photos for a while to post: 130 in total that I will distill on different hashtags in the next days/weeks.
Have a great evening, for me, don't worry, I'll sleep like a newborn! 👋 🙂
#hiking #randonnée #sentierDeGrandeRandonnée #Gaume #Outdoors #randoSansAuto #paysage #photographiePaysage #Landscape #LandscapePhotography #Belgique #België #Belgien #Belgium
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🇫🇷 Une journée super, loin du tumulte du monde et j'ai voulu en profiter un maximum, même si le dernier kilomètre a été ardu! 25 kilomètres autour de Florenville dans une nature magnifique, un beau soleil printanier, pas mal d'oiseaux (vus, entendus mais à peine réussi à en photographier deux...). Pour ce soir, juste une photo du panorama depuis le belvédère derrière l'église de Florenville. J'ai des photos pour un moment : 130 en tout que je distillerai sur différents hashtags dans les prochains jours/semaines.
Passez une excellente soirée, pour moi, pas d'inquiétude, je vais dormir comme un nouveau-né! 👋 🙂
🇬🇧 A great day, far from the hustle and bustle of the world and I wanted to make the most of it, even if the last kilometer was difficult! 25 kilometers around Florenville in magnificent nature, beautiful spring sunshine, quite a lot birds (seen, heard but barely managed to photograph two...). For this evening, just a photo of the panorama from the belvedere behind the church in Florenville. I have photos for a while to post: 130 in total that I will distill on different hashtags in the next days/weeks.
Have a great evening, for me, don't worry, I'll sleep like a newborn! 👋 🙂
#hiking #randonnée #sentierDeGrandeRandonnée #Gaume #Outdoors #randoSansAuto #paysage #photographiePaysage #Landscape #LandscapePhotography #Belgique #België #Belgien #Belgium
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Jak vypadá (a funguje) dekády budované know-how nakladatele a „profesionálního čtenáře“ Tomáše Baránka? To se můžete dozvědět už během dvou hodin na webináři Vyšší melvilí.📚
Přijďte se inspirovat, ptát se a sdílet vlastní zkušenosti.
Dnes naposledy za early bird cenu.🐣
🎓 Registrace: https://www.vyssimelvili.cz/course/maximum-z-chytrych-knih -
@Panos Damelos (Catodon) :catodon: What's even worse is that just about everyone who joined the Fediverse in the last two years did so with the belief that the Fediverse is Mastodon, i.e. the Fediverse is nothing more than micro-blogging with a maximum of 500 characters.
Many more still believe so than you may think. And I'm not talking about total newbies, but even about second-wave Twitter refugees who came here right after Musk had bought the birdsite.
For others, the first encounter with an over-500-character post was not only completely unexpected, catching them entirely off-guard, but utterly shocking and disturbing.
Now they want their nice, friendly, cosy, fluffy, comfy Fediverse back that's only vanilla Mastodon.
A few actually want a total, absolute, Fediverse-wide ban on posts over 500 characters. Others are looking for technical means that block any and all posts with over 500 characters server-side, and I think they aren't limited to those still stuck on the official phone app that doesn't fold longer posts in because it was built not only against only Mastodon, but against Mastodon being the only Fediverse project.
As long as they don't get that, they complain and mute or out-right block anyone from whom they spot a post with over 500 characters in their federated timeline. And I guess they're so numerous after all that this behaviour cuts deep into the range of everyone who isn't on vanilla Mastodon.
This exactly is why I always add the hashtags #Long, #LongPost, #CWLong and #CWLongPost to everything that goes out of here that exceeds 500 characters. Raw count in a text editor, not fancy Mastodon way of counting. And if it's a post as opposed to a comment, I also add a Mastodon-style CW like "CW: long (5,204 characters)" although Hubzilla a) doesn't have Mastodon-style CWs in the summary field as part of its culture and b) has something much better instead.
Still, hardly anyone reads these posts.
It really seems like the only way to get my posts significant exposure on Mastodon is by actually staying below 500. Considering the amount of hashtags I need for my posts to both be discoverable and trigger filters, and considering that I didn't come from 140/280 characters to 500 characters, but I'm used to not having a character limit, it's a struggle. I often end up giving up, exceeding 500 characters and pulling all long post warning stops because that's easier for me.
It doesn't help that everyone who joins Mastodon believes that Eugen Rochko has invented the Fediverse. Bonus points for Rochko having invented both Mastodon and the Fediverse in 2022 as a reaction upon Musk's announcement to buy out Twitter. If they haven't heard of it any earlier, it probably hasn't existed any earlier.
When they're wondering what kind of witchcraft you're pulling off with your impossibly long post, not to mention stuff like bold type or italics or a bullet-point list, and you've managed to get into their heads that you are, in fact, not on Mastodon, they still think that whatever you're on was bolted onto Mastodon by someone.
Even if you manage to convince them that, no, what you're using is being developed entirely independently from Mastodon, they still think it was made after Mastodon. And they wonder why it deviates so much from Mastodon instead of mimicking it. Or why it exists at all if there's already Mastodon.
However, this also means that they see everything in the Fediverse that isn't Mastodon as an intruder in Mastodon's Fediverse because, of course, Mastodon was here first. And everything that isn't Mastodon has to conform to Mastodon's unwritten rules and adopt Mastodon's culture. In fact, if something isn't Mastodon, it isn't allowed to have its own culture if that culture differs from Mastodon's.
This also means that nothing that isn't Mastodon is allowed to make use of any features that Mastodon itself doesn't have because they disturb some Mastodonians.
Of course, at this point, you could and actually should tell them the truth.
Rochko did, in fact, not invent the Fediverse. Because when Mastodon was launched, the Fediverse had already existed for about eight years. Without Rochko's doing.
When Mastodon was launched, it immediately connected itself to StatusNet, Friendica, Hubzilla and Pleroma. The last three of these are actually still around, still part of the Fediverse, and Mastodon is still connected to them.
So, you should ask them, why do you think Friendica would accept to throw six years more worth of culture than Mastodon has and 80% of its features out of the window and start behaving like a Mastodon clone?
If they don't block you on the spot for not unconditionally surrendering to the new Mastodon overlords, you could try to compare the pre-Mastodon Fediverse projects to Native Americans and Mastodon to white European colonists.
Oh, and by the way: Before Mastodon, character limits in general were an exception rather than the standard, especially if Diaspora* is taken into account.
#FediMeta #FediverseMeta #CWFediMeta #CWFediverseMeta #NotOnlyMastodon #MastodonIsNotTheFediverse #FediverseIsNotMastodon #CharacterCount #CharacterLimit #CharacterLimits #500Characters -
Messed around with #Spoutible for the first time today after seeing their CEO, #ChristopherBouzy (#cbouzy), mention Mastodon on Birdsite...
First thing I noticed was that the interface has a lot more random symbols for navigation. The post button is a water droplet, and there's whales and stuff that I don't remember what they do.
Scrolling through the timelines, it was basically a few ads and a lot of Democrats posting about being Democrats. I also saw, for the first time ever, people arguing vehemently AGAINST a maximum voting age, because I guess they would be cut off by it, and seeing as the suggestion is like 65 or 70 years old, I can only assume that they are at least in their '60s...
So that's my impression, that it's elderly Democrats.
I did notice that they let you hide reposts (echoes), which is nice, and they let you hide their algorithmic feed (splashback), which is also nice.
Still don't see any reason to use this for-profit #SocialNetwork over Mastodon though...
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Messed around with #Spoutible for the first time today after seeing their CEO, #ChristopherBouzy (#cbouzy), mention Mastodon on Birdsite...
First thing I noticed was that the interface has a lot more random symbols for navigation. The post button is a water droplet, and there's whales and stuff that I don't remember what they do.
Scrolling through the timelines, it was basically a few ads and a lot of Democrats posting about being Democrats. I also saw, for the first time ever, people arguing vehemently AGAINST a maximum voting age, because I guess they would be cut off by it, and seeing as the suggestion is like 65 or 70 years old, I can only assume that they are at least in their '60s...
So that's my impression, that it's elderly Democrats.
I did notice that they let you hide reposts (echoes), which is nice, and they let you hide their algorithmic feed (splashback), which is also nice.
Still don't see any reason to use this for-profit #SocialNetwork over Mastodon though...
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Messed around with #Spoutible for the first time today after seeing their CEO, #ChristopherBouzy (#cbouzy), mention Mastodon on Birdsite...
First thing I noticed was that the interface has a lot more random symbols for navigation. The post button is a water droplet, and there's whales and stuff that I don't remember what they do.
Scrolling through the timelines, it was basically a few ads and a lot of Democrats posting about being Democrats. I also saw, for the first time ever, people arguing vehemently AGAINST a maximum voting age, because I guess they would be cut off by it, and seeing as the suggestion is like 65 or 70 years old, I can only assume that they are at least in their '60s...
So that's my impression, that it's elderly Democrats.
I did notice that they let you hide reposts (echoes), which is nice, and they let you hide their algorithmic feed (splashback), which is also nice.
Still don't see any reason to use this for-profit #SocialNetwork over Mastodon though...
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Messed around with #Spoutible for the first time today after seeing their CEO, #ChristopherBouzy (#cbouzy), mention Mastodon on Birdsite...
First thing I noticed was that the interface has a lot more random symbols for navigation. The post button is a water droplet, and there's whales and stuff that I don't remember what they do.
Scrolling through the timelines, it was basically a few ads and a lot of Democrats posting about being Democrats. I also saw, for the first time ever, people arguing vehemently AGAINST a maximum voting age, because I guess they would be cut off by it, and seeing as the suggestion is like 65 or 70 years old, I can only assume that they are at least in their '60s...
So that's my impression, that it's elderly Democrats.
I did notice that they let you hide reposts (echoes), which is nice, and they let you hide their algorithmic feed (splashback), which is also nice.
Still don't see any reason to use this for-profit #SocialNetwork over Mastodon though...
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Messed around with #Spoutible for the first time today after seeing their CEO, #ChristopherBouzy (#cbouzy), mention Mastodon on Birdsite...
First thing I noticed was that the interface has a lot more random symbols for navigation. The post button is a water droplet, and there's whales and stuff that I don't remember what they do.
Scrolling through the timelines, it was basically a few ads and a lot of Democrats posting about being Democrats. I also saw, for the first time ever, people arguing vehemently AGAINST a maximum voting age, because I guess they would be cut off by it, and seeing as the suggestion is like 65 or 70 years old, I can only assume that they are at least in their '60s...
So that's my impression, that it's elderly Democrats.
I did notice that they let you hide reposts (echoes), which is nice, and they let you hide their algorithmic feed (splashback), which is also nice.
Still don't see any reason to use this for-profit #SocialNetwork over Mastodon though...
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Enjoyers of pirate-adjacent content, if you're looking for some shenanigans and emotions featuring two characters from two different cinematic universes who simply belong together, look no further than Flightless Birds of Parc National du Mont-Tremblant. It's on chapter 21 of 23 and the author is going to be very sad when it finishes posting, because my goodness, what a wild ride it's been.
https://archiveofourown.org/works/45799981/chapters/115258945
(idk how to tag this for maximum reach because it's so niche)
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#twitterdown #riptwitter #elonmusk #elonmusktwitter #elongate
Not a #NAFO meme but right from the oven of a #NAFOmemes bakery.
We already all know here that there's a solution to that sick blue bird. But if you know someone over there who doesn't see the solution yet you can show it now:
(The idea is to "steal" my picture here to then tweet it over there on Twitter before you hit some obscure maximum of whatnot.) -
#twitterdown #riptwitter #elonmusk #elonmusktwitter #elongate
Not a #NAFO meme but right from the oven of a #NAFOmemes bakery.
We already all know here that there's a solution to that sick blue bird. But if you know someone over there who doesn't see the solution yet you can show it now:
(The idea is to "steal" my picture here to then tweet it over there on Twitter before you hit some obscure maximum of whatnot.) -
#twitterdown #riptwitter #elonmusk #elonmusktwitter #elongate
Not a #NAFO meme but right from the oven of a #NAFOmemes bakery.
We already all know here that there's a solution to that sick blue bird. But if you know someone over there who doesn't see the solution yet you can show it now:
(The idea is to "steal" my picture here to then tweet it over there on Twitter before you hit some obscure maximum of whatnot.) -
#twitterdown #riptwitter #elonmusk #elonmusktwitter #elongate
Not a #NAFO meme but right from the oven of a #NAFOmemes bakery.
We already all know here that there's a solution to that sick blue bird. But if you know someone over there who doesn't see the solution yet you can show it now:
(The idea is to "steal" my picture here to then tweet it over there on Twitter before you hit some obscure maximum of whatnot.) -
#twitterdown #riptwitter #elonmusk #elonmusktwitter #elongate
Not a #NAFO meme but right from the oven of a #NAFOmemes bakery.
We already all know here that there's a solution to that sick blue bird. But if you know someone over there who doesn't see the solution yet you can show it now:
(The idea is to "steal" my picture here to then tweet it over there on Twitter before you hit some obscure maximum of whatnot.) -
Good morning. ☕📸🐦
8 August 2025
I probably spend way too much on camera gear—but it keeps me busy. Just yesterday, I added a Canon RF 1.4x Extender to my setup, pairing it with the Canon R5 and the 200–800mm lens. That bumps my maximum focal length up to 1120mm, effectively bringing me about 40% closer to the subject—usually birds. I gave it a quick test last night with a snapshot of the moon (you can find it somewhere in my threads). I’ll need more time with it before I can judge how much it affects image quality, though everything I’ve read suggests the impact is minimal. I joke about overspending, but honestly, the gear gives me purpose. It’s like running a quiet workshop where no one pays, but the craft keeps calling—each photo a piece laid gently on the bench, shaped by light and patience.
“A hobby a day keeps the doldrums away.” — Phyllis McGinley
#photo #photography #photographer #nature #morning #hobbies #cameras #bayou #marsh #marshmaddness #swamp #landscape
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Good morning. ☕📸🐦
8 August 2025
I probably spend way too much on camera gear—but it keeps me busy. Just yesterday, I added a Canon RF 1.4x Extender to my setup, pairing it with the Canon R5 and the 200–800mm lens. That bumps my maximum focal length up to 1120mm, effectively bringing me about 40% closer to the subject—usually birds. I gave it a quick test last night with a snapshot of the moon (you can find it somewhere in my threads). I’ll need more time with it before I can judge how much it affects image quality, though everything I’ve read suggests the impact is minimal. I joke about overspending, but honestly, the gear gives me purpose. It’s like running a quiet workshop where no one pays, but the craft keeps calling—each photo a piece laid gently on the bench, shaped by light and patience.
“A hobby a day keeps the doldrums away.” — Phyllis McGinley
#photo #photography #photographer #nature #morning #hobbies #cameras #bayou #marsh #marshmaddness #swamp #landscape
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Good morning. ☕📸🐦
8 August 2025
I probably spend way too much on camera gear—but it keeps me busy. Just yesterday, I added a Canon RF 1.4x Extender to my setup, pairing it with the Canon R5 and the 200–800mm lens. That bumps my maximum focal length up to 1120mm, effectively bringing me about 40% closer to the subject—usually birds. I gave it a quick test last night with a snapshot of the moon (you can find it somewhere in my threads). I’ll need more time with it before I can judge how much it affects image quality, though everything I’ve read suggests the impact is minimal. I joke about overspending, but honestly, the gear gives me purpose. It’s like running a quiet workshop where no one pays, but the craft keeps calling—each photo a piece laid gently on the bench, shaped by light and patience.
“A hobby a day keeps the doldrums away.” — Phyllis McGinley
#photo #photography #photographer #nature #morning #hobbies #cameras #bayou #marsh #marshmaddness #swamp #landscape
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Good morning. ☕📸🐦
8 August 2025
I probably spend way too much on camera gear—but it keeps me busy. Just yesterday, I added a Canon RF 1.4x Extender to my setup, pairing it with the Canon R5 and the 200–800mm lens. That bumps my maximum focal length up to 1120mm, effectively bringing me about 40% closer to the subject—usually birds. I gave it a quick test last night with a snapshot of the moon (you can find it somewhere in my threads). I’ll need more time with it before I can judge how much it affects image quality, though everything I’ve read suggests the impact is minimal. I joke about overspending, but honestly, the gear gives me purpose. It’s like running a quiet workshop where no one pays, but the craft keeps calling—each photo a piece laid gently on the bench, shaped by light and patience.
“A hobby a day keeps the doldrums away.” — Phyllis McGinley
#photo #photography #photographer #nature #morning #hobbies #cameras #bayou #marsh #marshmaddness #swamp #landscape
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Good morning. ☕📸🐦
8 August 2025
I probably spend way too much on camera gear—but it keeps me busy. Just yesterday, I added a Canon RF 1.4x Extender to my setup, pairing it with the Canon R5 and the 200–800mm lens. That bumps my maximum focal length up to 1120mm, effectively bringing me about 40% closer to the subject—usually birds. I gave it a quick test last night with a snapshot of the moon (you can find it somewhere in my threads). I’ll need more time with it before I can judge how much it affects image quality, though everything I’ve read suggests the impact is minimal. I joke about overspending, but honestly, the gear gives me purpose. It’s like running a quiet workshop where no one pays, but the craft keeps calling—each photo a piece laid gently on the bench, shaped by light and patience.
“A hobby a day keeps the doldrums away.” — Phyllis McGinley
#photo #photography #photographer #nature #morning #hobbies #cameras #bayou #marsh #marshmaddness #swamp #landscape
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Sermon to the Lambs – Sermon to the Lambs Review By Alekhines GunWhat’s your favorite slam album and why? Do you value catchiness in your big bruutz? Clear production? Melodic presence? My favorite slam alternates with my mood between Devourment’s Obscene Majesty and Analepsy’s Quiescence; the former for the excellent execution of such a narrow sound, and the latter for the colors and beauty imbued into the otherwise bone-shattering grooves. Though given a bad rap for its easy-to-emulate smoothbrain caveman stereotypes, slam has shown much evolution in recent years as bands continue to push and redefine the limits of extremity. Hailing from Chile, new outfit Sermon to the Lambs have arrived with their self-titled debut, coming with the usual aggrandizing promises of maximum aural violence and assurances of a downright traumatizing listen for anyone who has ears to hear; will this sermon find the hearts of true believers or leave the congregation cold and unmoved?
Well, at least they know their way around a riff. Periodic snapshots show Sermon to the Lambs at their proselytizing best, with the occasional moment raising itself to headbangable proportions (“Crowned King of the Worms”, “God Spat and the Man was Done”) with a high octane assault. Slam styles range from the chunkier chromatic walks of Maggot Colony or Condemned, to moodier setpieces near the end of “Clergy’s Malevolence” for tonal shift and a sense of climax to round out the release. Melodies are almost completely excised in favor of a full steam ahead barrage, which rarely tinkers with tempo changes or distinguishing features, placing Sermon to the Lambs as students of the class of professors Disgorge and Gorgasm with regard to their commitment to bludgeoning the listener to death.
Sermon to the Lambs by SERMON TO THE LAMBS
Unfortunately, those highlights are few and far between and only serve to exacerbate how unbelievably bland this album is. Vocalist Richard Aguayo falls prey to the maddening trend of not knowing how to let his vocals support the music, choosing instead to slather almost the entire album with belches and brees which possess little sense of diction or phrasing. His gutturals are excellent, but the frustrating insistence on double-tracking them with his more shrill screams is not, and the mix has him pushed so far forward that he frequently drowns out whatever interesting musicality might be hiding underneath. Songs stop and go on a dime, and frequently I’d be surprised to see I was several tracks deeper into a listen than I thought I was, thanks to song conclusions and kick-offs blurring together in composition. Any random 30 seconds chosen to play would certainly unleash an attack filled with energy and enthusiasm, but Sermon to the Lambs is utterly devoid of truly head-spinning moments or anything to warrant repeat listens.
What is the biggest culprit for this? The mix is no help, with all the knobs on the board shoved all the way up to 11, leaving instrument and vocals fighting for attention while the bass’s body is buried in the backyard and forgotten. For the most part, the riffs are no help, a hodgepodge of expected staccato presentations and a beige haze of blasts. The drumming is no help; while skillfully delivered, there are certainly no fills to catch the listener’s attention. Other than the aforementioned moments of semi-memorability in the bookending tracks, there’s definitely no run of riffs to raise horns and toss beer at innocent passerby. Sermon to the Lambs lacks any dose of menace or cinema, though the band definitely tries, taking a page from the book of Brodequin and injecting some Gregorian chant into an intro (“Maximum Apostasy”) before that too devolves into paint-drying and bird watching. The closing track makes a valiant effort to get some real atmosphere with its tempo shifts, and Sermon to the Lambs wisely err on the side of brevity with the releases 30 minute runtime. But ultimately, this is an opaque, textureless, flavorless album, so focused on the brutalizing that it never manages to get out of first gear and approach anything with replayability.
I’ve wrestled for a while on why this is. Objectively, there’s nothing executed that’s “poor” in the literal sense. Instruments are played well, throats are wildly abused, and snares blow out the treble in your speakers with savage glee. One might argue that this was the very vision, and if such monotonous brutality is your jam, you’ll probably find lots more to like here. But slam is capable of its own artistic merit and is more than malleable to compositional adventures, and Sermon to the Lambs is lacking heavily in both artistic vision (beyond “kill”) and compositional adventures. If straightforward jackhammer thrashings are your parish, you’ll find plenty of good word here, but this lion lamb will be attending services elsewhere.
Rating: 2.0/5.0
#20 #2026 #Analepsy #Brodequin #BrutalDeathMetal #ChileanMetal #ComatoseMusic #Condemned #Devourment #Disgorge #Gorgasm #MaggotColony #Mar26 #Review #Reviews #SermonToTheLambs
DR: 41 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Website: Album Bandcamp
Releases Worldwide: March 6th, 2025 -
Sermon to the Lambs – Sermon to the Lambs Review By Alekhines GunWhat’s your favorite slam album and why? Do you value catchiness in your big bruutz? Clear production? Melodic presence? My favorite slam alternates with my mood between Devourment’s Obscene Majesty and Analepsy’s Quiescence; the former for the excellent execution of such a narrow sound, and the latter for the colors and beauty imbued into the otherwise bone-shattering grooves. Though given a bad rap for its easy-to-emulate smoothbrain caveman stereotypes, slam has shown much evolution in recent years as bands continue to push and redefine the limits of extremity. Hailing from Chile, new outfit Sermon to the Lambs have arrived with their self-titled debut, coming with the usual aggrandizing promises of maximum aural violence and assurances of a downright traumatizing listen for anyone who has ears to hear; will this sermon find the hearts of true believers or leave the congregation cold and unmoved?
Well, at least they know their way around a riff. Periodic snapshots show Sermon to the Lambs at their proselytizing best, with the occasional moment raising itself to headbangable proportions (“Crowned King of the Worms”, “God Spat and the Man was Done”) with a high octane assault. Slam styles range from the chunkier chromatic walks of Maggot Colony or Condemned, to moodier setpieces near the end of “Clergy’s Malevolence” for tonal shift and a sense of climax to round out the release. Melodies are almost completely excised in favor of a full steam ahead barrage, which rarely tinkers with tempo changes or distinguishing features, placing Sermon to the Lambs as students of the class of professors Disgorge and Gorgasm with regard to their commitment to bludgeoning the listener to death.
Sermon to the Lambs by SERMON TO THE LAMBS
Unfortunately, those highlights are few and far between and only serve to exacerbate how unbelievably bland this album is. Vocalist Richard Aguayo falls prey to the maddening trend of not knowing how to let his vocals support the music, choosing instead to slather almost the entire album with belches and brees which possess little sense of diction or phrasing. His gutturals are excellent, but the frustrating insistence on double-tracking them with his more shrill screams is not, and the mix has him pushed so far forward that he frequently drowns out whatever interesting musicality might be hiding underneath. Songs stop and go on a dime, and frequently I’d be surprised to see I was several tracks deeper into a listen than I thought I was, thanks to song conclusions and kick-offs blurring together in composition. Any random 30 seconds chosen to play would certainly unleash an attack filled with energy and enthusiasm, but Sermon to the Lambs is utterly devoid of truly head-spinning moments or anything to warrant repeat listens.
What is the biggest culprit for this? The mix is no help, with all the knobs on the board shoved all the way up to 11, leaving instrument and vocals fighting for attention while the bass’s body is buried in the backyard and forgotten. For the most part, the riffs are no help, a hodgepodge of expected staccato presentations and a beige haze of blasts. The drumming is no help; while skillfully delivered, there are certainly no fills to catch the listener’s attention. Other than the aforementioned moments of semi-memorability in the bookending tracks, there’s definitely no run of riffs to raise horns and toss beer at innocent passerby. Sermon to the Lambs lacks any dose of menace or cinema, though the band definitely tries, taking a page from the book of Brodequin and injecting some Gregorian chant into an intro (“Maximum Apostasy”) before that too devolves into paint-drying and bird watching. The closing track makes a valiant effort to get some real atmosphere with its tempo shifts, and Sermon to the Lambs wisely err on the side of brevity with the releases 30 minute runtime. But ultimately, this is an opaque, textureless, flavorless album, so focused on the brutalizing that it never manages to get out of first gear and approach anything with replayability.
I’ve wrestled for a while on why this is. Objectively, there’s nothing executed that’s “poor” in the literal sense. Instruments are played well, throats are wildly abused, and snares blow out the treble in your speakers with savage glee. One might argue that this was the very vision, and if such monotonous brutality is your jam, you’ll probably find lots more to like here. But slam is capable of its own artistic merit and is more than malleable to compositional adventures, and Sermon to the Lambs is lacking heavily in both artistic vision (beyond “kill”) and compositional adventures. If straightforward jackhammer thrashings are your parish, you’ll find plenty of good word here, but this lion lamb will be attending services elsewhere.
Rating: 2.0/5.0
#20 #2026 #Analepsy #Brodequin #BrutalDeathMetal #ChileanMetal #ComatoseMusic #Condemned #Devourment #Disgorge #Gorgasm #MaggotColony #Mar26 #Review #Reviews #SermonToTheLambs
DR: 41 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Website: Album Bandcamp
Releases Worldwide: March 6th, 2025 -
Sermon to the Lambs – Sermon to the Lambs Review By Alekhines GunWhat’s your favorite slam album and why? Do you value catchiness in your big bruutz? Clear production? Melodic presence? My favorite slam alternates with my mood between Devourment’s Obscene Majesty and Analepsy’s Quiescence; the former for the excellent execution of such a narrow sound, and the latter for the colors and beauty imbued into the otherwise bone-shattering grooves. Though given a bad rap for its easy-to-emulate smoothbrain caveman stereotypes, slam has shown much evolution in recent years as bands continue to push and redefine the limits of extremity. Hailing from Chile, new outfit Sermon to the Lambs have arrived with their self-titled debut, coming with the usual aggrandizing promises of maximum aural violence and assurances of a downright traumatizing listen for anyone who has ears to hear; will this sermon find the hearts of true believers or leave the congregation cold and unmoved?
Well, at least they know their way around a riff. Periodic snapshots show Sermon to the Lambs at their proselytizing best, with the occasional moment raising itself to headbangable proportions (“Crowned King of the Worms”, “God Spat and the Man was Done”) with a high octane assault. Slam styles range from the chunkier chromatic walks of Maggot Colony or Condemned, to moodier setpieces near the end of “Clergy’s Malevolence” for tonal shift and a sense of climax to round out the release. Melodies are almost completely excised in favor of a full steam ahead barrage, which rarely tinkers with tempo changes or distinguishing features, placing Sermon to the Lambs as students of the class of professors Disgorge and Gorgasm with regard to their commitment to bludgeoning the listener to death.
Sermon to the Lambs by SERMON TO THE LAMBS
Unfortunately, those highlights are few and far between and only serve to exacerbate how unbelievably bland this album is. Vocalist Richard Aguayo falls prey to the maddening trend of not knowing how to let his vocals support the music, choosing instead to slather almost the entire album with belches and brees which possess little sense of diction or phrasing. His gutturals are excellent, but the frustrating insistence on double-tracking them with his more shrill screams is not, and the mix has him pushed so far forward that he frequently drowns out whatever interesting musicality might be hiding underneath. Songs stop and go on a dime, and frequently I’d be surprised to see I was several tracks deeper into a listen than I thought I was, thanks to song conclusions and kick-offs blurring together in composition. Any random 30 seconds chosen to play would certainly unleash an attack filled with energy and enthusiasm, but Sermon to the Lambs is utterly devoid of truly head-spinning moments or anything to warrant repeat listens.
What is the biggest culprit for this? The mix is no help, with all the knobs on the board shoved all the way up to 11, leaving instrument and vocals fighting for attention while the bass’s body is buried in the backyard and forgotten. For the most part, the riffs are no help, a hodgepodge of expected staccato presentations and a beige haze of blasts. The drumming is no help; while skillfully delivered, there are certainly no fills to catch the listener’s attention. Other than the aforementioned moments of semi-memorability in the bookending tracks, there’s definitely no run of riffs to raise horns and toss beer at innocent passerby. Sermon to the Lambs lacks any dose of menace or cinema, though the band definitely tries, taking a page from the book of Brodequin and injecting some Gregorian chant into an intro (“Maximum Apostasy”) before that too devolves into paint-drying and bird watching. The closing track makes a valiant effort to get some real atmosphere with its tempo shifts, and Sermon to the Lambs wisely err on the side of brevity with the releases 30 minute runtime. But ultimately, this is an opaque, textureless, flavorless album, so focused on the brutalizing that it never manages to get out of first gear and approach anything with replayability.
I’ve wrestled for a while on why this is. Objectively, there’s nothing executed that’s “poor” in the literal sense. Instruments are played well, throats are wildly abused, and snares blow out the treble in your speakers with savage glee. One might argue that this was the very vision, and if such monotonous brutality is your jam, you’ll probably find lots more to like here. But slam is capable of its own artistic merit and is more than malleable to compositional adventures, and Sermon to the Lambs is lacking heavily in both artistic vision (beyond “kill”) and compositional adventures. If straightforward jackhammer thrashings are your parish, you’ll find plenty of good word here, but this lion lamb will be attending services elsewhere.
Rating: 2.0/5.0
#20 #2026 #Analepsy #Brodequin #BrutalDeathMetal #ChileanMetal #ComatoseMusic #Condemned #Devourment #Disgorge #Gorgasm #MaggotColony #Mar26 #Review #Reviews #SermonToTheLambs
DR: 41 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Website: Album Bandcamp
Releases Worldwide: March 6th, 2025 -
Sermon to the Lambs – Sermon to the Lambs Review By Alekhines GunWhat’s your favorite slam album and why? Do you value catchiness in your big bruutz? Clear production? Melodic presence? My favorite slam alternates with my mood between Devourment’s Obscene Majesty and Analepsy’s Quiescence; the former for the excellent execution of such a narrow sound, and the latter for the colors and beauty imbued into the otherwise bone-shattering grooves. Though given a bad rap for its easy-to-emulate smoothbrain caveman stereotypes, slam has shown much evolution in recent years as bands continue to push and redefine the limits of extremity. Hailing from Chile, new outfit Sermon to the Lambs have arrived with their self-titled debut, coming with the usual aggrandizing promises of maximum aural violence and assurances of a downright traumatizing listen for anyone who has ears to hear; will this sermon find the hearts of true believers or leave the congregation cold and unmoved?
Well, at least they know their way around a riff. Periodic snapshots show Sermon to the Lambs at their proselytizing best, with the occasional moment raising itself to headbangable proportions (“Crowned King of the Worms”, “God Spat and the Man was Done”) with a high octane assault. Slam styles range from the chunkier chromatic walks of Maggot Colony or Condemned, to moodier setpieces near the end of “Clergy’s Malevolence” for tonal shift and a sense of climax to round out the release. Melodies are almost completely excised in favor of a full steam ahead barrage, which rarely tinkers with tempo changes or distinguishing features, placing Sermon to the Lambs as students of the class of professors Disgorge and Gorgasm with regard to their commitment to bludgeoning the listener to death.
Sermon to the Lambs by SERMON TO THE LAMBS
Unfortunately, those highlights are few and far between and only serve to exacerbate how unbelievably bland this album is. Vocalist Richard Aguayo falls prey to the maddening trend of not knowing how to let his vocals support the music, choosing instead to slather almost the entire album with belches and brees which possess little sense of diction or phrasing. His gutturals are excellent, but the frustrating insistence on double-tracking them with his more shrill screams is not, and the mix has him pushed so far forward that he frequently drowns out whatever interesting musicality might be hiding underneath. Songs stop and go on a dime, and frequently I’d be surprised to see I was several tracks deeper into a listen than I thought I was, thanks to song conclusions and kick-offs blurring together in composition. Any random 30 seconds chosen to play would certainly unleash an attack filled with energy and enthusiasm, but Sermon to the Lambs is utterly devoid of truly head-spinning moments or anything to warrant repeat listens.
What is the biggest culprit for this? The mix is no help, with all the knobs on the board shoved all the way up to 11, leaving instrument and vocals fighting for attention while the bass’s body is buried in the backyard and forgotten. For the most part, the riffs are no help, a hodgepodge of expected staccato presentations and a beige haze of blasts. The drumming is no help; while skillfully delivered, there are certainly no fills to catch the listener’s attention. Other than the aforementioned moments of semi-memorability in the bookending tracks, there’s definitely no run of riffs to raise horns and toss beer at innocent passerby. Sermon to the Lambs lacks any dose of menace or cinema, though the band definitely tries, taking a page from the book of Brodequin and injecting some Gregorian chant into an intro (“Maximum Apostasy”) before that too devolves into paint-drying and bird watching. The closing track makes a valiant effort to get some real atmosphere with its tempo shifts, and Sermon to the Lambs wisely err on the side of brevity with the releases 30 minute runtime. But ultimately, this is an opaque, textureless, flavorless album, so focused on the brutalizing that it never manages to get out of first gear and approach anything with replayability.
I’ve wrestled for a while on why this is. Objectively, there’s nothing executed that’s “poor” in the literal sense. Instruments are played well, throats are wildly abused, and snares blow out the treble in your speakers with savage glee. One might argue that this was the very vision, and if such monotonous brutality is your jam, you’ll probably find lots more to like here. But slam is capable of its own artistic merit and is more than malleable to compositional adventures, and Sermon to the Lambs is lacking heavily in both artistic vision (beyond “kill”) and compositional adventures. If straightforward jackhammer thrashings are your parish, you’ll find plenty of good word here, but this lion lamb will be attending services elsewhere.
Rating: 2.0/5.0
#20 #2026 #Analepsy #Brodequin #BrutalDeathMetal #ChileanMetal #ComatoseMusic #Condemned #Devourment #Disgorge #Gorgasm #MaggotColony #Mar26 #Review #Reviews #SermonToTheLambs
DR: 41 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Website: Album Bandcamp
Releases Worldwide: March 6th, 2025 -
Sermon to the Lambs – Sermon to the Lambs Review By Alekhines GunWhat’s your favorite slam album and why? Do you value catchiness in your big bruutz? Clear production? Melodic presence? My favorite slam alternates with my mood between Devourment’s Obscene Majesty and Analepsy’s Quiescence; the former for the excellent execution of such a narrow sound, and the latter for the colors and beauty imbued into the otherwise bone-shattering grooves. Though given a bad rap for its easy-to-emulate smoothbrain caveman stereotypes, slam has shown much evolution in recent years as bands continue to push and redefine the limits of extremity. Hailing from Chile, new outfit Sermon to the Lambs have arrived with their self-titled debut, coming with the usual aggrandizing promises of maximum aural violence and assurances of a downright traumatizing listen for anyone who has ears to hear; will this sermon find the hearts of true believers or leave the congregation cold and unmoved?
Well, at least they know their way around a riff. Periodic snapshots show Sermon to the Lambs at their proselytizing best, with the occasional moment raising itself to headbangable proportions (“Crowned King of the Worms”, “God Spat and the Man was Done”) with a high octane assault. Slam styles range from the chunkier chromatic walks of Maggot Colony or Condemned, to moodier setpieces near the end of “Clergy’s Malevolence” for tonal shift and a sense of climax to round out the release. Melodies are almost completely excised in favor of a full steam ahead barrage, which rarely tinkers with tempo changes or distinguishing features, placing Sermon to the Lambs as students of the class of professors Disgorge and Gorgasm with regard to their commitment to bludgeoning the listener to death.
Sermon to the Lambs by SERMON TO THE LAMBS
Unfortunately, those highlights are few and far between and only serve to exacerbate how unbelievably bland this album is. Vocalist Richard Aguayo falls prey to the maddening trend of not knowing how to let his vocals support the music, choosing instead to slather almost the entire album with belches and brees which possess little sense of diction or phrasing. His gutturals are excellent, but the frustrating insistence on double-tracking them with his more shrill screams is not, and the mix has him pushed so far forward that he frequently drowns out whatever interesting musicality might be hiding underneath. Songs stop and go on a dime, and frequently I’d be surprised to see I was several tracks deeper into a listen than I thought I was, thanks to song conclusions and kick-offs blurring together in composition. Any random 30 seconds chosen to play would certainly unleash an attack filled with energy and enthusiasm, but Sermon to the Lambs is utterly devoid of truly head-spinning moments or anything to warrant repeat listens.
What is the biggest culprit for this? The mix is no help, with all the knobs on the board shoved all the way up to 11, leaving instrument and vocals fighting for attention while the bass’s body is buried in the backyard and forgotten. For the most part, the riffs are no help, a hodgepodge of expected staccato presentations and a beige haze of blasts. The drumming is no help; while skillfully delivered, there are certainly no fills to catch the listener’s attention. Other than the aforementioned moments of semi-memorability in the bookending tracks, there’s definitely no run of riffs to raise horns and toss beer at innocent passerby. Sermon to the Lambs lacks any dose of menace or cinema, though the band definitely tries, taking a page from the book of Brodequin and injecting some Gregorian chant into an intro (“Maximum Apostasy”) before that too devolves into paint-drying and bird watching. The closing track makes a valiant effort to get some real atmosphere with its tempo shifts, and Sermon to the Lambs wisely err on the side of brevity with the releases 30 minute runtime. But ultimately, this is an opaque, textureless, flavorless album, so focused on the brutalizing that it never manages to get out of first gear and approach anything with replayability.
I’ve wrestled for a while on why this is. Objectively, there’s nothing executed that’s “poor” in the literal sense. Instruments are played well, throats are wildly abused, and snares blow out the treble in your speakers with savage glee. One might argue that this was the very vision, and if such monotonous brutality is your jam, you’ll probably find lots more to like here. But slam is capable of its own artistic merit and is more than malleable to compositional adventures, and Sermon to the Lambs is lacking heavily in both artistic vision (beyond “kill”) and compositional adventures. If straightforward jackhammer thrashings are your parish, you’ll find plenty of good word here, but this lion lamb will be attending services elsewhere.
Rating: 2.0/5.0
#20 #2026 #Analepsy #Brodequin #BrutalDeathMetal #ChileanMetal #ComatoseMusic #Condemned #Devourment #Disgorge #Gorgasm #MaggotColony #Mar26 #Review #Reviews #SermonToTheLambs
DR: 41 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Website: Album Bandcamp
Releases Worldwide: March 6th, 2025 -
Lax Laws in Indonesia Turn Blind Eye To Animal Trafficking
When Indonesian prosecutors went after the leader of an illegal wildlife syndicate operating near the Malacca Strait, they relied on the country’s then relatively new 2019 Quarantine Act to seek a prison sentence.
After being connected to the illegal smuggling of four lion cubs, a leopard, and 58 species of Indian Star tortoises from Malaysia to Indonesia, Irawan Shia received a four-year prison sentence and fine of IDR 1 billion (USD$65,468). If the fine is not paid, the replacement is three months imprisonment.
The sentence was the biggest ever handed out, but falls far short of what it could have been had Indonesia brought its laws in line with global conventions.
Illegal #wildlife #crime is rampant in #Indonesia, from #birds to #orangutans, to coral. #Trafficking online is worth $852.6mil USD per year. Indonesia is weak in response. #BoycottPalmOil #Boycott4Wildlife #extinction @palmoildetect https://palmoildetectives.com/2024/11/03/indonesias-lax-laws-fail-to-crack-down-on-rampant-animal-trafficking/
Share to BlueSky Share to TwitterOriginally published under Creative Commons by 360info™, written by Anugerah Rizki Akbari. Read the original article here.
Illegal trading of wildlife is rampant in Indonesia, from bird species and orangutans, to coral specimens. Wildlife traffickers using online platforms have found a new marketplace.
Environmental crime is the world’s third largest illegal trade, according to INTERPOL. It’s worth more than USD$20 billion a year but remains overlooked and under-prosecuted. In Indonesia, illegal trade of wildlife costs the economy an estimated USD$852,4 million every year, and according to INTERPOL it’s growing at between 5-7 percent per year.
Despite the numbers, Indonesia is falling short in its response to wildlife trafficking. Observers have called for better criminal investigations and more suitable punishments for the offenders as well as an upgrade to the legislative frameworks tackling these criminal activities.
Due to its lucrative nature and extensive markets, it is almost impossible for criminals to act individually when trafficking wildlife. Similar to drugs and human trafficking, illegal trade of wildlife requires a multitude of criminal networks with individuals holding various duties in committing the crime. Poachers, brokers, intermediaries, exporters-importers, wholesale traders, and retailers are all present in the chain of criminal enterprises.
The involvement of organised crime actors, other crime groups, officials, authorities, and militias in the different stages of wildlife trafficking complicates the state’s intervention to tackle an offence considered a nested complex crime. Because of this, the illegal trade of wildlife is generally considered to be transnational organised crime, requiring a matched response.
For example, the United Nations Conventions against Transnational Organized Crime (UNTOC), in tackling transnational organised crime enables governments to criminalise participation, introduce liability for legal persons, undertake special investigation techniques and cooperate internationally. There are programmes for law enforcement agencies to effectively collaborate in combating these crimes, such as collecting, exchange and analysis of information on the nature of organised crime and training and technical assistance.
But Indonesia has yet to adopt these initiatives in its own regulations. Despite ratifying UNTOC in 2009, the primary foundation of Indonesia’s response to illegal trade of wildlife lies in its Conservation of Biological Natural Resources and their Ecosystems Law. This more than 30-year old law is not suited to combating today’s rampant wildlife trafficking.
For instance, the maximum criminal sentence of five years’ imprisonment and fines of up to IDR 100 million (USD$6,548) are far too lenient compared to the harm caused by the illegal wildlife trade. Indonesian law fails to regulate the involvement of corporations in the illicit trade of protected floras and faunas as it only criminalises individual offenders. Subsequently, it does not equip law enforcement agencies with the necessary powers to investigate and prosecute if such crimes have cross-border characteristics and involve syndicates.
The possibility of using technology to stop wildlife trafficking is yet to be regulated. Even though the government’s claims that Indonesia has succeeded in replenishing and restoring endangered species, the law remains insufficient to comprehensively react to the evolving nature of wildlife trafficking.
Despite being recorded as the biggest verdict of a wildlife-smuggling case, Shia’s prison time does not even reach the maximum term under the 1990 Conservation Law, which various observers considered too lenient. The Quarantine Act is not specifically designed to combat wildlife trafficking as it demands the complete documents for fauna coming to Indonesia. If the offenders could provide such paperwork, the possibility of prosecuting traffickers using this law would be off the table.
Being unable to consider it an organised crime, law enforcement agencies rarely proceed with wildlife trafficking cases until the very top of its business chain. Even though the Financial Action Task Force (FATF) recommends a complete analysis on the potential money laundering risks relating to the illegal wildlife trade, convictions haven’t gone beyond the leaders and their couriers.
The fact that money laundering and other high-ranking corrupt officers were never present in Shia’s trial reiterates the fragmented strategy of pursuing wildlife trafficking syndicates.
Indonesia’s approach to legislating against wildlife trafficking is threatening its ambition to remain a biodiversity hotspot in Southeast Asia as more endangered species come closer to extinction.
Anugerah Rizki Akbari is a PhD Candidate at the Van Vollenhoven Institute for Law, Governance, and Society, Leiden Law School, Universiteit Leiden. He also holds a non-permanent position as lecturer at Department of Criminology, Faculty of Social and Political Science, University of Indonesia. His research interests are crime, criminal law, and criminal justice. He can be found on Twitter @anugerahrizki. A.R. Akbari declares no conflict of interest and did not receive special funding in any form.
Originally published under Creative Commons by 360info™.
Originally published under Creative Commons by 360info™, written by Anugerah Rizki Akbari. Read the original article here.
ENDS
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Kicking us off on our first session of the morning was Matt Parker @standupmaths who shared how he's planning to break the world record for the most digits of π calculated by hand, for next π day (see his other attempts here: https://www.youtube.com/playlist?list=PLhtC92GarkjyYbxI3-4qzIWIRbZaw4wuP). We also heard from Bob Huxley, who has also been thinking about π day, but this time on Mars where it turns out it's actually tomorrow! Annette Margolis then talked about her class' favourite (and least favourite) way to solve quadratic equations. John Hoskinson discussed Diffy Squares (https://mathforlove.com/2020/03/diffy-squares/) and adapted them to generalised diffy N-gons - for odd N, you get repeating cycles! Nobody has ever said the word 'diffy' more times in the space of 5 minutes. Alistair Bird @outofthenorm shared about a mathematician who got inspired in the bath (but not that one), and what his discovery meant (turns out, not much, but it did inspire some nice results around Fermat's Last Theorem). Read more here: https://outofthenormmaths.wordpress.com/2011/11/09/blitz-krieger/ Adam Atkinson talked about Misère Games, leading to his discovery of just how many semigroups of order 8 there are, inducting us all into membership of DOCTIAL (the Department of 'Crikey! That Is A Lot!'); and finally Harlan Connor got LOUD about signal processing - it's possible to have peaks in audio volume that are higher than the maximum value the system can store! #mathsjam #maths #pi #worldrecords #mars #piday #quadraticequations #classwork #teaching #diffysquares #baths #inspiration #misèregames #doctial #loud #signalprocessing #groups #monoids #semigroups #combinatorialgametheory
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Kicking us off on our first session of the morning was Matt Parker @standupmaths who shared how he's planning to break the world record for the most digits of π calculated by hand, for next π day (see his other attempts here: https://www.youtube.com/playlist?list=PLhtC92GarkjyYbxI3-4qzIWIRbZaw4wuP). We also heard from Bob Huxley, who has also been thinking about π day, but this time on Mars where it turns out it's actually tomorrow! Annette Margolis then talked about her class' favourite (and least favourite) way to solve quadratic equations. John Hoskinson discussed Diffy Squares (https://mathforlove.com/2020/03/diffy-squares/) and adapted them to generalised diffy N-gons - for odd N, you get repeating cycles! Nobody has ever said the word 'diffy' more times in the space of 5 minutes. Alistair Bird @outofthenorm shared about a mathematician who got inspired in the bath (but not that one), and what his discovery meant (turns out, not much, but it did inspire some nice results around Fermat's Last Theorem). Read more here: https://outofthenormmaths.wordpress.com/2011/11/09/blitz-krieger/ Adam Atkinson talked about Misère Games, leading to his discovery of just how many semigroups of order 8 there are, inducting us all into membership of DOCTIAL (the Department of 'Crikey! That Is A Lot!'); and finally Harlan Connor got LOUD about signal processing - it's possible to have peaks in audio volume that are higher than the maximum value the system can store! #mathsjam #maths #pi #worldrecords #mars #piday #quadraticequations #classwork #teaching #diffysquares #baths #inspiration #misèregames #doctial #loud #signalprocessing #groups #monoids #semigroups #combinatorialgametheory
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Kicking us off on our first session of the morning was Matt Parker @standupmaths who shared how he's planning to break the world record for the most digits of π calculated by hand, for next π day (see his other attempts here: https://www.youtube.com/playlist?list=PLhtC92GarkjyYbxI3-4qzIWIRbZaw4wuP). We also heard from Bob Huxley, who has also been thinking about π day, but this time on Mars where it turns out it's actually tomorrow! Annette Margolis then talked about her class' favourite (and least favourite) way to solve quadratic equations. John Hoskinson discussed Diffy Squares (https://mathforlove.com/2020/03/diffy-squares/) and adapted them to generalised diffy N-gons - for odd N, you get repeating cycles! Nobody has ever said the word 'diffy' more times in the space of 5 minutes. Alistair Bird @outofthenorm shared about a mathematician who got inspired in the bath (but not that one), and what his discovery meant (turns out, not much, but it did inspire some nice results around Fermat's Last Theorem). Read more here: https://outofthenormmaths.wordpress.com/2011/11/09/blitz-krieger/ Adam Atkinson talked about Misère Games, leading to his discovery of just how many semigroups of order 8 there are, inducting us all into membership of DOCTIAL (the Department of 'Crikey! That Is A Lot!'); and finally Harlan Connor got LOUD about signal processing - it's possible to have peaks in audio volume that are higher than the maximum value the system can store! #mathsjam #maths #pi #worldrecords #mars #piday #quadraticequations #classwork #teaching #diffysquares #baths #inspiration #misèregames #doctial #loud #signalprocessing #groups #monoids #semigroups #combinatorialgametheory