I wholly recommend adding bread spice to your rye breads. Gives a nice complexity to the flavour profile.
I use equal parts cumin, fennel, coriander and anise seeds, coarsely ground. 10g total per kg bread.

cross-posted from: https://sh.itjust.works/post/69600486

I wholly recommend adding bread spice to your rye breads. Gives a nice complexity to the flavour profile.
I use equal parts cumin, fennel, coriander and anise seeds, coarsely ground. 10g total per kg bread.

Turns out throwing billions at GPUs doesn't automatically mean everyone gets more done. Just 0.1 to 0.2 percentage points of additional annual productivity growth since early 2024.

cross-posted from: https://piefed.blahaj.zone/c/2meirl4meirl@lemmy.dbzer0.com/p/1055430/2meirl4irl

Today’s game is some more Uncharted 4. Today was kind of busy (but not really, I was playing with a new camera lens I got). I did get through the entire auction level though. Honestly when playing through First Light this was the level I drew the closest connections to. Big party event. Waiters. All that Jazz.

This is also just one of my favorite set pieces for this game though. I really vibe with the whole fancy party with blue lights. It’s really pretty to see and there’s a whole bunch of little parts in it that are pretty.

For example, there’s this ice sculpture. It plays really well with the lights in a way that’s satisfying to me. And I like the backdrop of the loud crowd. I really think it makes for an interesting scene.

After this there’s Scotland which is another one of my favorite places (to be honest this whole game is my favorite place). I like the combat sections in this one. Lots of space to run around in while also being able to run and gun from cover. It makes for a really nice flowing combat section.

I also just like it because it has some nice scenes and it lets me play photographer with the scenes.

Anyways. I stopped there to go play with my lens and do some astral photography. I saw a tutorial online and wanted to try it. So I thought that was a perfect stopping point.

While Cisco’s involvement with Israel’s military before and since 2023 has been documented before, the leaked documents obtained by the Guardian reveal the lengths the company went to in order to preserve and expand the relationship as the war in Gaza dragged on.

They also show that earlier this year, Splunk – a Cisco subsidiary platform that can process and analyze massive volumes of machine-generated data – made a pitch to join the controversial cloud computing contract between the Israeli government, Google and Amazon known as Project Nimbus.

Cisco pursued these opportunities as the mass killing of civilians in Gaza was amply documented, international organizations and governments began to refer to Israel’s actions in Gaza as genocide, and the company itself was roiled by internal turmoil over its own role in the war.

Nvidia chip refrigeration = 8 microwaves

Two houses almost in blackout

Ich kann mich dem meisten was in den Reviews schon gesagt wurde anschliessen. Mich hat es nicht so sehr gestört, dass das Buch so kurz ist und das Worldbuilding dadurch eher limitiert, weil ich den Fokus auf die soziale Funktionsweise der Konsensdemokratie und die Gruppendynamiken auch sehr interessant fand. Vor allem wie es kommt dass die soziale Macht einzelner so unterschätzt wird, und Menschen die irgendwie anders sind dort nicht so einfach Platz finden. Ich bin mir auch nicht ganz sicher, ob ich in der Welt gerne leben würde. Also auf jeden Fall lieber als in der jetzigen, ich vermute ich würde mich aber auch nicht so leicht tun mich in so eine Dorfgemeinschaft einzufinden. Ich fand es auf jeden Fall ein tolles Buch und würde es auch weiterempfehlen, und ich werde bestimmt noch eine Weile darüber nachdenken :)

Coincidentally, it was feeling dysphoric about my leg hair that actually made me realize I wanted to be a woman

Artist: Charles Courtney Curran

Year: 1889

Medium: Oil on panel

Charles Courtney Curran’s intimate In the Luxembourg (Garden) presents a casual glimpse of public life in a modern city park. In the foreground, a young woman in black is seated on one of a pair of slender chairs set along the edge of a path. Leaning down to feed a cluster of small birds, she turns her back on the activity taking place on a distant but parallel path beyond a strip of shaggy lawn. There, shaded by the dense foliage of chestnut trees, a frieze-like arrangement of random visitors offers a spectacle of passing life. A barefoot running boy and a robed priest pass in opposite directions, a small child tugs against his nursemaid’s protective grasp, and other park-goers are caught in accidental, momentary arrangements as they sit, stroll, chat, and read. None of the figures seems to notice the conspicuous bronze sculpture that dominates the middle ground. Its larger-than-life scale and dramatic subject--a lion standing triumphantly over its prey--contrasts with the prosaic immediacy of the surroundings, especially in such practical details as the furled umbrellas carried by the priest and nursemaid and resting on the empty chair in the foreground.

Curran painted this work during the second year he spent in Paris as a student at the popular Académie Julian. Like many fellow American artists studying and working in Paris in the late nineteenth century, he was fascinated by daily life in the French capital. Between 1853 and 1870, Baron Georges Eugène Haussmann, Emperor Napoléon III’s urban planner, reformed the old city. From its chaotic layout and dearth of public green spaces emerged a modern metropolis of broad boulevards, handsome apartment blocks, and vast parks ornamented with statuary and fountains. The Luxembourg Gardens, originally a private preserve designed in the 1620s for the palace of Marie d’Medici, was one of the more celebrated Parisian parks, and it attracted numerous artists, including Maurice Prendergast, as seen in his The Luxembourg Garden, Paris (TF 1992.68). Among the sculptures there was The Nubian Lion and Its Prey (1870) by French artist August Nicolas Cain (1822–1894), seen in Curran’s painting.

The formal grandeur of Cain’s sculpture evokes the traditional training imbibed in Parisian academies by artists such as Curran and reflected in his painting’s high degree of finish and naturalistic illusionism. His subject, in contrast, demonstrates his awareness of current trends in art. French impressionist painters in particular had focused unconventionally on such settings of contemporary leisure activity as urban streets, railroad stations, and parks. Curran in this image emphasized the independence of the modern middle-class woman—literally so by placing the solitary female figure in the foreground of his picture. His model, shown with her face mostly shielded from view by the brim of her large hat, probably was his wife, Grace, who also posed for Curran’s Lotus Lilies (TF 1999.35). Although the nearby empty chair seems to invite a companion to join her, she is conspicuously unchaperoned, yet quite at ease—a representative of Gilded Age urbane cosmopolitanism

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