#QUICHE is one of the particularly innovative passion projects we are proud to be involved in. It was therefore a great pleasure to visit our collaboration partners at Quantum Motion and Riverlane in the UK and gain first-hand insights into their fascinating cutting-edge #QuantumComputing technology.
A big thank you for the warm hospitality and the inspiring exchange - let’s continue shaping the future together!
#QUICHE #QuantumComputing #QuantumChemistry #ORCA #DeepTech #QuantumTechnology
Published by the #GreenPartyOfCanada on #Bluesky : There are only 73 endangered Southern Resident #orcas left, and #MarkCarney is targeting their protections.
#environment #animals #Orca #Canpoli #Canada #NovaScotia #politics #NewBrunswick #Manitoba #pei #newfoundland #NewfoundlandAndLabrador #BC #britishcolumbia #Alberta #Yukon #northwestterritories #NWT #Nunavut #Quebec #saskatchewan #Ontario #Carney #greenparty #ElizabethMay #MikeMorrice
Llevo unos días que no estoy subiendo ruido, porque a) #redacted y b #redacted
También es verdad que estoy aprendiendo a manejar el #eurorack que, sinceramente, no es tan chuli guay juan pelotilla como el #vcvrack
En el virtual tienes cienes y cienes de módulos Open Source y Free Software, que te permiten hacer diezmil diabluras sin tener mucha idea.
El rack es otra cosa. Es carísimo, y ya sabeis que yo son de la cofradía de la virgen del puño cerrado. Y además está limitado al espacio. Yo he comprado un 84hp que en su idioma son unos 45 cm para poner los módulos que te quepan.
Hay módulos para todo, pero en general suelen ser de los que están al lado de los baratos.
Yo estoy empezando, y soy pobre, así que estoy tirando por el lado de módulos usados y por el lado de Behringer, que es una compañía que se dedica a clonar módulos de otras compañías y venderlos por la cuarta parte. Sí, muy mal, pero yo tengo ahora mismo 4 módulos en el rack, un oscilador con dos salidas, un ampli, un secuenciador y dos filtros por unos 200 euros. Ahora para mi cumpleaños se vienen más cositas, pero de momento estoy probando ha hacer techno chorra y lo que realmente me gusta, #drone
¿Que todo esto ya lo estoy haciendo de gratis en #puredata #vcvrack #orca #decentsampler #yoshimi y demás cosas que he ido poniendo con el tiempo?
Sí.
¿Que lo estoy disfrutando un montón retorciendo pezon*BOTONES y manejando sliders?
Apostad vuestro culo.
...
Joer, pedazo turra os acabo de soltar.
Ea, el ruido hoy es #eurorack usando el #nts1 para la reverb y el flanger.
Orcas and Otters and Eagles! Oh My!
A couple of months ago a reader sent me a photo of a Pictish stone I hadn’t seen.1 It was absolutely crammed with beasts, including two I hadn’t encountered on a stone before (a bear, and a goat—I think), plus two new combinations: a doe and faun, and an eagle eating a salmon.
Beastie StoneIt’s a puzzling stone because some of the beasties are incredibly lifelike—the bear is easily recognisable, so much so that you can tell it’s a brown bear, and the doe and faun are lovely!—while others are, well, perhaps the kindest way to describe them is ‘stylised to strangeness’. One beast in particular, the goat, is so odd the only reason it could be a goat is the horn.2 And the eagle eating the fish is so stiff I’m guessing the stone mason had never seen such a thing happen in the wild, so they just took an image of an eagle, swivelled it 90 degrees at the hips, and made it look as though it was lying on top of the fish like a toppled tree. (As I’ve noted elsewhere, some Pictish carvers were not very good at depicting animals in motion. Static and in profile? Yes. In motion and/or turned a few degrees? No.)
Still, I really liked that doe and faun, and I thought that if I rationalised the weird goatish beast just a bit it could at least look interesting. And then of course I thought I’d draw my own version of a Pictish eagle, only without the bother of the fish.
So that’s what I did—trying to represent Pictish style but with a slightly more 21st-century sensibility—that is, a sense of personality and a lot more movement:
Nervous doe and faun. Goat. Ish. Bad-tempered eagleI admit I completely forgot about the bear. Eh, maybe another time.
But then I started thinking about all the beasties that might, reasonably speaking, be familiar to Picts of the Early Medieval but that aren’t—as far as I know—represented on any stones.3 Things like dolphins and orcas, beavers, lynx, otters…
I’d already tried my hand at the lynx (though sadly that came out rather stiffly—it gave me much sympathy for the poor old stonemasons of yore) so I thought orcas might be cool. And they were! But. And. It turned out to be a bit difficult to render them Pictish style because—having lived in Seattle for more than 30 years—when I think of stylised orcas I tend to think of First Nations/Native American, particularly Coast Salish, imagery.4
Given that both cultures—Picts and Coast Salish—were working with the constraints of two-dimensional sculpture, it’s not surprising that there is a certain similarity between the two art styles. Anyway, to get the influence out of my system I did a version of the Tulalip Casino logo as it might have appeared on a Pictish stone. It’s a male orca (note the shape of the dorsal fin) with classic predator teeth.
🎶 Grinning like a fool…Once that was done I felt better and could buckle down to a proper attempt. I wanted a killer whale, one that looked Early Medieval without also looking like the evil, mustachio-twirling villain of a silent movie. Also, given that traditionally female orcas do more hunting, I wanted her to be a girl.
🎶 She’s a killer queen, gunpowder gelatine…I was pretty happy with that—and I wanted more of a challenge: to draw something more dynamic, less of a simple profile. So then I came up with this.
🎶 Girls just wanna have fun…So now I couldn’t decide which I liked best. They were pretty different in tone: one serious, watchful, deadly; the other playful and carefree. And then it struck me: they belonged together!
🎶 Big fish little fish swimming in the water, come back here and give me my daughter…When I worked on the hares I managed to get some dynamic figures—but they were still largely in profile. I wanted a really big challenge—and what better beastie to work with than an otter?
Otters, like hares, are very difficult to draw in simple black and white lines. The first few I tried looked like Frankenbeasts: a blend of seal, weasel and beaver. (One unfortunate version was rather like a manatee…) So then I decided to begin with basics: the dreaded static profile. And here I ran into a different problem: they looked like cute cartoons. However, after studying photo after photo of otters in the wild, then one of an otter skeletons, I finally figured out how to draw something recognisably otterly, vaguely Early Medieval, and with some personality: alert, curious, delightful but not too cute…
But it’s still a profile. Yes, I turned the head (I’ve learnt that’s the best way to animate an otherwise stiff pose) and artistically curved the tail but, still: a fucking profile. None of that otterly twisting, turning, diving playful curiosity that is so characteristic. So then the hard work began.
I’ll spare you the litany of woe, the shouting at my iPad, cursing the universe for making such weird and simultaneously delightful animals, and bellowing at the cats when they deleted six minutes work by thoughtfully tapping the wrong icon, and just show you what I ended up with (click through each image to larger versions).
There are things about all three that I like, and things that I can’t figure out how to fix. I experimented with different ways to draw the head, the paws, the limbs. None are quite as successful in their own right as the one in simple profile. If I had to choose a favourite of these three it would be the last—it feels more alive and proportional than the other two.5 I don’t think it’s a coincidence that it’s also the one that’s least Medievalised. At my level of artistic skill (beginner, self-taught), that mix of Lindisfarne Gospels and Pictish Stones style that I’m fond of does not play nicely with dynamic movement and personality. Could an actual artist do it? Very probably. (And if one of you wants to have a go I would absolutely love to see some otters done right!)
But for now I might be done with drawing. I need to be writing.
With ORCA’s ExtOpt interface and our orca-external-tools package, MLIPs such as #UMA can be used in #ORCA for geometry optimizations GOAT and more.
Check out the work by Ess and co-workers, who use this functionality to investigate MLIPs as DFT surrogates for the computational evaluation of homogeneous transition-metal catalytic energy landscapes.
ExtOpt Tutorial: https://www.faccts.de/docs/orca/6.1/tutorials/workflows/extopt.html
Orca : l'ADE open source qui veut remplacer ton IDE : et ça marche
https://www.devbyben.fr/blog/orca-lade-open-source-qui-veut-remplacer-ton-ide-et-ca-marche
Découvre Orca, l'Agent Development Environment open source qui centralise agents IA, worktrees Git, terminaux et browser intégré dans une seule interface. Fini le context switching permanent entre Claude Code, Codex, VS Code et GitHub.
Orca IDE (@orca_build)
Orca에서 Cursor agents와 다른 에이전트들을 나란히 함께 사용할 수 있도록 지원한다고 안내했다. 여러 AI 에이전트를 동시에 활용하는 개발 워크플로를 강조한 업데이트로 보인다.
Borrowed composition from an old Joanhonekawa piece for this drawing of a very large Ingrid. It just kind of fell into place.
(I might make her head just a touch smaller than those dirigibles when I go to ink this for scale reasons.)
FACCTs
NotDennisBonvie 🇨🇦
pinche_compinche
Kate 
Gemæcce
~/devbyben
sayzard
Garrett Latimer