#vi — Public Fediverse posts

@svw I started using emacs because in grad school someone told me RMAIL in emacs was the best mailer (1992). I got it working, but couldn't figure anything out. Got out of #emacs and realized RMAIL slurped up the whole mbox file. I had to learn emacs to get my mail back... by the time I did I stuck with emacs for my main work. (And usenet news)

Though I did always use #vi for small edits... emacs stayed with me for anything important to this day.

@svw I started using emacs because in grad school someone told me RMAIL in emacs was the best mailer (1992). I got it working, but couldn't figure anything out. Got out of #emacs and realized RMAIL slurped up the whole mbox file. I had to learn emacs to get my mail back... by the time I did I stuck with emacs for my main work. (And usenet news)

Though I did always use #vi for small edits... emacs stayed with me for anything important to this day.

@UmWerker

Das mit den listen sagt mir zwar nix. Gegen nervige Einrück Probleme steht vorallem das hier in meinen dotfiles. Kann das meiste zwar nicht erklären, aber vielleicht hilft ja was davon.

set autoindent
set nosmartindent
set nocindent
set indentexpr=
set indentkeys=
filetype indent plugin off
filetype indent off
autocmd BufNew,BufNewFile,BufRead *, set indentkeys= indentexpr=

#vi #vim #dotfiles #config #cmdline

@UmWerker

Das mit den listen sagt mir zwar nix. Gegen nervige Einrück Probleme steht vorallem das hier in meinen dotfiles. Kann das meiste zwar nicht erklären, aber vielleicht hilft ja was davon.

set autoindent
set nosmartindent
set nocindent
set indentexpr=
set indentkeys=
filetype indent plugin off
filetype indent off
autocmd BufNew,BufNewFile,BufRead *, set indentkeys= indentexpr=

#vi #vim #dotfiles #config #cmdline

@codeDude

You do not need to choose emacs over vi. If vi is your editor, you can just simply use it on emacs. Evil Mode is one way to do that.

https://github.com/emacs-evil/evil

@vantablack

#Emacs #Vi

@codeDude

You do not need to choose emacs over vi. If vi is your editor, you can just simply use it on emacs. Evil Mode is one way to do that.

https://github.com/emacs-evil/evil

@vantablack

#Emacs #Vi

Spotting Emacs in the Wild

https://fed.brid.gy/r/https://hackaday.com/2026/08/03/spotting-emacs-in-the-wild/

Said by clever computer-touching friend:

"The logo for vi is "vi" rendered in whatever typeface you use in your terminal."

#vi #nvi #plaintext #humor

nightmare on #vi street. Dropped my keyboard and damaged the corner.

nightmare on #vi street. Dropped my keyboard and damaged the corner.

i do understand why people prefer HJKL navigation over arrow keys. it's conveniently on the touch typing home row, and it doesn't get in the way of special keybinds like alt + arrow to switch virtual terminals.

but i dont understand why HJKL goes "left, down, up, right".

like, i'm not even talking about how the horizontal directions are split or how it's not in the order of a compass, that's another debate entirely.

but, uh, don't we generally read directions as "left and right" and "up and down"? don't we read from left to right and from up to down in the west, too? who says "left and right" and "down and up"?

shouldn't HJKL be "left, up, down, right"?

even when you consider the text navigation it doesn't make sense. left goes backward by character, down goes forward by line.

#linux #commandline #shell #vi #vim

i do understand why people prefer HJKL navigation over arrow keys. it's conveniently on the touch typing home row, and it doesn't get in the way of special keybinds like alt + arrow to switch virtual terminals.

but i dont understand why HJKL goes "left, down, up, right".

like, i'm not even talking about how the horizontal directions are split or how it's not in the order of a compass, that's another debate entirely.

but, uh, don't we generally read directions as "left and right" and "up and down"? don't we read from left to right and from up to down in the west, too? who says "left and right" and "down and up"?

shouldn't HJKL be "left, up, down, right"?

even when you consider the text navigation it doesn't make sense. left goes backward by character, down goes forward by line.

#linux #commandline #shell #vi #vim

TupperVim

https://keskonfai.fr/events/04f796d7-9838-4282-b039-a541d4a661a7

TupperVim

https://keskonfai.fr/events/04f796d7-9838-4282-b039-a541d4a661a7

Oyez Oyez !

Vimistes, NeoVimistes, voir même Vistes ou EVistes ? Emacsists, Nanoïstes, Edistes...

À #Grenoble, le mardi 27 octobre à 19h à #LaTrubineCoop se tiendra un évènement de renom : un #TupperVim https://tuppervim.org/ !

Ne préparez rien, venez avec un truc à qui miam ou qui glou et pointez vous au bon endroit https://www.openstreetmap.org/node/2782756987#map=19/45.184322/5.721137 à la bonne heure.

#vi #vim #nvim #neovim #evim

Oyez Oyez !

Vimistes, NeoVimistes, voir même Vistes ou EVistes ? Emacsists, Nanoïstes, Edistes...

À #Grenoble, le mardi 27 octobre à 19h à #LaTrubineCoop se tiendra un évènement de renom : un #TupperVim https://tuppervim.org/ !

Ne préparez rien, venez avec un truc à qui miam ou qui glou et pointez vous au bon endroit https://www.openstreetmap.org/node/2782756987#map=19/45.184322/5.721137 à la bonne heure.

#vi #vim #nvim #neovim #evim

@nohillside
Ist schon phänomenal, dass wir heute ganz selbstverständlich mit Clones eines 50 Jahre alten Editors arbeiten. Er taugt also offensichtlich was.
#vi

@nohillside
Ist schon phänomenal, dass wir heute ganz selbstverständlich mit Clones eines 50 Jahre alten Editors arbeiten. Er taugt also offensichtlich was.
#vi

@simonzerafa My three most frequent modes are Normal, Insert, and Visual.

#vi #vim #modes

@simonzerafa My three most frequent modes are Normal, Insert, and Visual.

#vi #vim #modes

🤗🎶🎵🎼🥱😌😴🍹🍷🍸🥂❤️🐈‍⬛🩵💙🌊🌿🩶🌞☁️🧡🤎🤍💚🐈🚗🚘🚙🤣😂🤣🔵🍉🤽‍♂️🏳️‍⚧️🌷🧁💙💚💜🩵🩷🤍💗💚💜💦🌊⛲😂🎶🎵🎼🤗*Sharing some Music Just Because I can!*& Dear Beloved Friends I hope you have a Good Night!*& Sweet Dreams!🤗🎶🎵🎼🥱😌😴🍹🍷🍸🥂❤️🐈‍⬛🩵💙🌊🌿🩶🌞☁️🧡🤎🤍💚🐈🚗🚘🚙🤣😂🔵🍉💙💚💜🩵🩷🤍💗⛲🌊💦🤣😂🎶🎵🎼🤗👉

#Music #Good #Night #and #Sweet #Dreams

Heart touching Gospel hymn Lily Of The Valley/#gospelsong #viralsong #vi...
https://youtube.com/shorts/D-uBP4exTFg?is=SGLs245AO4V4jUJW

@neauoire vi has undo (classic vi has only one-level of undo), but it also has something a bit like your snarf buffers (from what i understand). That most recent 9 things deleted that are a line or longer are kept in 9 numbered buffers, and can be pasted back into the document with "1p (1 for the most recent, 2 for the next, and so on). It seems less intentional than your snarf and probably a bit harder to keep track.
Not sure how well known it is, i had to find out from book learning.
#vi

@neauoire vi has undo (classic vi has only one-level of undo), but it also has something a bit like your snarf buffers (from what i understand). That most recent 9 things deleted that are a line or longer are kept in 9 numbered buffers, and can be pasted back into the document with "1p (1 for the most recent, 2 for the next, and so on). It seems less intentional than your snarf and probably a bit harder to keep track.
Not sure how well known it is, i had to find out from book learning.
#vi

📰 VnExpress

📢 13.000 runner đăng ký VnExpress Marathon Đà Nẵng 2026

🔗 https://vnexpress.net/13000-runner-dang-ky-vnexpress-marathon-da-nang-2026-5096570.html

#Vnexpress #Marathon #Nẵng #GlobalFeed #News #VI

Được đăng tự động bởi Global Feed Bot

📰 VnExpress Tech

📢 Apple kiện OpenAI, cáo buộc 'đánh cắp bí mật kinh doanh'

🔗 https://vnexpress.net/apple-kien-openai-cao-buoc-danh-cap-bi-mat-kinh-doanh-5096131.html

#Apple #Openai #GlobalFeed #News #VI

Được đăng tự động bởi Global Feed Bot

#rant

Wer hat sich eigentlich diese Doppelpunkte als Präfix für #vi /#vim Befehle ausgedacht? Ich mein, die Cursor-Tasten sind doch auch parallel auf Buchstaben gelegt?

Gerade fast dran verzweifelt, weil auch die virtuelle Tastatur kein : ausgegeben hat und ich die Netzwerk-Konfig nicht sichern konnte. Bzw. überhaupt ja nicht aus dem Editor raus kam. 😤
Durch das gewohnte :x dann noch ein Zeichen weggelöscht, nicht genau hingesehen/übersehen und damit die Konfig kaputt gemacht. 🙄

https://www.wacoca.com/media/706912/ 【きょうから】TOMORROW X TOGETHER初のタリーズコラボ開始 限定ビジュアルやPPULBATU描き下ろしグッズも – オリコンニュース # #KPOP #music #TOMORROWXTOGETHER #VI #音楽

Walg appeared out of nowhere in 2021 with a debut filled with tenacious riffs, creative melodies, and impassioned performances. They have attained a sort of cult status in the years since—not quite widely known, but fiercely beloved by their fans. Their energetic fervor has swept up a few writers here at AMG, including Gardenstale, Grin Reaper, and me.1 Walg have been prolific since their debut, releasing one album per year—sometimes there’s just no stopping the creative juices from flowing. On the flip side, such a prolific release schedule risks snuffing out the candle of passion by falling into the trap of formulaic songwriting. Walg continue to conjure that amazing, infectious energy, but once you’ve heard it 3 or 4 or 5 times, it’s difficult to create that original magic. So what will it be for this sixth go-around? Will the bellows continue to feed the flames of passion, or have the flames dwindled to mere embers?

On VI, Walg still tenaciously cling to the passion that drove them on their debut. “Nevel” starts things off with your typical Walg guitar lead—energetic and catchy as hell. Subtle symphonics enhance the music and bring their style of meloblack closer to the likes of Dimmu Borgir, Old Man’s Child, and …And Oceans. Yet Walg also sound fiercely like their own beast. VI does have a slightly different vibe compared to the earlier records; it’s missing those spontaneous moments of sudden passionate melodicism that surprised and delighted on prior records. The tunes here feel more deliberately crafted and controlled. A tenacity on past works has given way to a little more restraint. Of course, they still play with hunger and deliver many exceptional melodies. They also pause more frequently for moments of quieter beauty, as on “1597” when Robert Koning sings his plaintive cleans amidst some gentle tremolos.

That Walg wildness still remains, though, and it largely comes out in the vocal performance of Yorick Keijzer. He snarls and rasps like a wounded animal. While his deranged delivery gives the impression of a record careening out of control, there’s a method to his madness. His cadence sometimes brings to mind that of Maurice Wilson (Antrisch), and it adds a distinctive character to the heart and soul of the music. While the songs themselves have more constrained structures to offset Yorick’s wildness, there is one exception. The six-minute “De Eenlonkster” is an uncaged beast that is among Walg’s most creative. From arpeggios and riffs with a country twang, to a gently sung portion accompanied by the sound of lapping waves, to a brief moment when it nearly dives into death-doom territory, “De Eenlonkster” kicks and bucks, leaving you with whiplash and a purple bruise around your eye, but you’ll be grinning, missing teeth and all, when the tune rolls to its end.

Having written dozens of songs in the six years of their existence, it’s safe to wonder if Walg are running out of ideas, especially when they deliver, at 34 minutes and 8 songs, their shortest album to date. And yet they have meticulously crafted something fabulous, still full of the Walg zeal and spark. It’s true, though, as Gardenstale pointed out in his review of V, that the veneer of their formula is starting to wear thin. There’s a sense of déjà vu when a band releases material so frequently and consistently. On VI’s weaker tracks on the back half of the record, “Stil Geboren” and “De Nacht Behoort On Allen Toes” (which are still plenty fun), the repetition is more obvious than on other tracks. The back half does have a couple of winners, however. “Het Klooster Van Ter Apel” has some creative percussion work along with a sweet riff line, while “Erfvloek” takes a more subdued route with a beautiful trem melody that provides VI a rather lovely conclusion.

My journey with VI contained moments of ups and downs. Admittedly, my initial spins left it wanting—something felt different that I couldn’t quite put my finger on. Eventually, however, it clicked, and I began to again appreciate Walg’s songwriting magic. There’s a duet here between a gentle beauty and repellent wildness. Walg still sound like Walg, yet there’s a subtle evolution. They have managed to craft a very enjoyable record, and this brief package shows that Walg remain a wrecking ball force of nature in the realm of melodic black metal. However, one can hope they’re able to take a further step in their evolution on the follow-up to VI—VII.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Walg appeared out of nowhere in 2021 with a debut filled with tenacious riffs, creative melodies, and impassioned performances. They have attained a sort of cult status in the years since—not quite widely known, but fiercely beloved by their fans. Their energetic fervor has swept up a few writers here at AMG, including Gardenstale, Grin Reaper, and me.1 Walg have been prolific since their debut, releasing one album per year—sometimes there’s just no stopping the creative juices from flowing. On the flip side, such a prolific release schedule risks snuffing out the candle of passion by falling into the trap of formulaic songwriting. Walg continue to conjure that amazing, infectious energy, but once you’ve heard it 3 or 4 or 5 times, it’s difficult to create that original magic. So what will it be for this sixth go-around? Will the bellows continue to feed the flames of passion, or have the flames dwindled to mere embers?

On VI, Walg still tenaciously cling to the passion that drove them on their debut. “Nevel” starts things off with your typical Walg guitar lead—energetic and catchy as hell. Subtle symphonics enhance the music and bring their style of meloblack closer to the likes of Dimmu Borgir, Old Man’s Child, and …And Oceans. Yet Walg also sound fiercely like their own beast. VI does have a slightly different vibe compared to the earlier records; it’s missing those spontaneous moments of sudden passionate melodicism that surprised and delighted on prior records. The tunes here feel more deliberately crafted and controlled. A tenacity on past works has given way to a little more restraint. Of course, they still play with hunger and deliver many exceptional melodies. They also pause more frequently for moments of quieter beauty, as on “1597” when Robert Koning sings his plaintive cleans amidst some gentle tremolos.

That Walg wildness still remains, though, and it largely comes out in the vocal performance of Yorick Keijzer. He snarls and rasps like a wounded animal. While his deranged delivery gives the impression of a record careening out of control, there’s a method to his madness. His cadence sometimes brings to mind that of Maurice Wilson (Antrisch), and it adds a distinctive character to the heart and soul of the music. While the songs themselves have more constrained structures to offset Yorick’s wildness, there is one exception. The six-minute “De Eenlonkster” is an uncaged beast that is among Walg’s most creative. From arpeggios and riffs with a country twang, to a gently sung portion accompanied by the sound of lapping waves, to a brief moment when it nearly dives into death-doom territory, “De Eenlonkster” kicks and bucks, leaving you with whiplash and a purple bruise around your eye, but you’ll be grinning, missing teeth and all, when the tune rolls to its end.

Having written dozens of songs in the six years of their existence, it’s safe to wonder if Walg are running out of ideas, especially when they deliver, at 34 minutes and 8 songs, their shortest album to date. And yet they have meticulously crafted something fabulous, still full of the Walg zeal and spark. It’s true, though, as Gardenstale pointed out in his review of V, that the veneer of their formula is starting to wear thin. There’s a sense of déjà vu when a band releases material so frequently and consistently. On VI’s weaker tracks on the back half of the record, “Stil Geboren” and “De Nacht Behoort On Allen Toes” (which are still plenty fun), the repetition is more obvious than on other tracks. The back half does have a couple of winners, however. “Het Klooster Van Ter Apel” has some creative percussion work along with a sweet riff line, while “Erfvloek” takes a more subdued route with a beautiful trem melody that provides VI a rather lovely conclusion.

My journey with VI contained moments of ups and downs. Admittedly, my initial spins left it wanting—something felt different that I couldn’t quite put my finger on. Eventually, however, it clicked, and I began to again appreciate Walg’s songwriting magic. There’s a duet here between a gentle beauty and repellent wildness. Walg still sound like Walg, yet there’s a subtle evolution. They have managed to craft a very enjoyable record, and this brief package shows that Walg remain a wrecking ball force of nature in the realm of melodic black metal. However, one can hope they’re able to take a further step in their evolution on the follow-up to VI—VII.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

@nadiyar You do not need to switch to emacs. You just need to use vi on emacs. One of its name on emacs is evil mode.

#emacs #vi

@nadiyar You do not need to switch to emacs. You just need to use vi on emacs. One of its name on emacs is evil mode.

#emacs #vi

Just watched #codex get trapped in #vi while trying to edit some files.

Amusingly human behavior.

#linux