#ralf tech

[chronographes]

Fleux FLX001 : si la Skindiver avait été inventée en 2023

[digitalesleben]

The Big One - offizieller Trailer zum Buch

The Big One - das nächste Buch von Ralf T. Gruenendahl ist raus. Ein Tech-Thriller, der unser Digitales Leben erschüttert. Das Buch ist seit 24.5.2024 in jedem Buchhandel verfügbar.

Lange erwartet – bald ist es da. Das Buch meines Freundes Ralf T. Gruenendahl. Ich durfte bereits eine Vorabversion lesen und freue mich darauf, endlich die finale Version in Händen zu halten. Ab 24.5.2024 wird das Buch im Buchhandel verfügbar sein. The Big One ist der Titel und die Geschichte spielt im Silicon Valley. Da werden doch gleich Assoziationen mit dem großen Erdbeben wach, das…

Auf WordPress ansehen

[afrohouseking]

DJ Deborah De Luca was born in the challenging neighborhood of Scampia, located on the outskirts of Naples, in 1980. She began her journey in the music industry by working hard, initially as a waitress in various clubs and later as a dancer for several years. As a teenager, she relocated to Northern Italy for high school and pursued a career in fashion, studying to become a fashion designer. However, she soon realized her true passion lay elsewhere. The vibrant nightlife in her new surroundings inspired her to embark on a different path, leading to a growing number of fans who appreciate her talent. Upon returning to Naples, she met Giuseppe Cennamo, a DJ and producer from the area, associated with labels such as Desolat, Sci + Tech, and 8bit. Cennamo helped Deborah expand her knowledge of new music genres and trends, allowing her unique charisma to flourish. In March 2013, she founded her own label, Sola_mente Records, which now collaborates with artists like DJ Simi and Giorgio Rusconi. Her tracks have gained recognition from notable DJs such as Magda, DJ Ralf, Someone Else, and Layo & Bushwacka. Within a few years, her music has become synonymous with high quality, blending hard techno and minimal sounds while maintaining a distinct identity. This reflects her passion and strong personality. Today, Deborah De Luca performs in clubs around the globe, including locations in France, Spain, Portugal, Italy, Greece, Turkey, Switzerland, Germany, Morocco, Slovenia, Malaysia, Indonesia, Armenia, Russia, and America. She continues to create fresh and innovative music, skillfully blending diverse musical tastes without adhering to any specific trend.

[melishade]

Z-King: Hey in the human kids Trio AU do you think Eren would be jealous around Jack after hearing some the things Jack did including being trusted with the Key to Vector Sigma and heard from Miko and Ralf that Ratchet said Jack was a lot like Optimus?

TFP Kids Part 1

TFP Kids Part 2

Hm...I think it would be a mixed reaction. Because Eren was already aware of Jack, Miko, and Raf before they arrived to the AOP world in this timeline. Optimus told Eren about Earth and them in one of the Oneshot chapters on Ao3. Megatron alludes to them during the coup when he and Eren are having that fight. Megatron calls them a threat, and he believes it. Hell, Jack had the chance to kill him in the mine but chose not to.

But I think that Eren would be jealous of all three kids for different reasons. Not because Jack got entrusted the key to Vector Sigma, Miko killing an Insecticon by herself, or Raf giving Decepticon tech experts the run around.

No, he'd be jealous of them, because they are living the freest lives possible! Jack, Miko, and Raf are from a world where titans don't exist. There's no Marley or Eldia. They live in a place where food is not only in abundance, but even in excess. Miko wasn't even born in the US. She's from another continent. On top of that, they get to know someone as amazing as Optimus and even help end a war. But he gets to know them and he thinks they're amazing. It's just hard to be jealous of someone like them, but compared to the island, he thinks that they live in a paradise.

As the 104th and the kids are bonding, Eren kind of does bring it up as a pass in thought, saying that they must be living a life so grand and amazing. And then, to Eren's surprise, they all start busting out laughing.

"Look, buddy, we love our home!" Miko cackled, "But it's not all it's cracked up to be!"

"But there are no titans, no one threatening to destroy you because of who you are-,"

"Even when there is no massive threats to our home like titans, or even Megatron, humanity is it's own worst enemy," Jack explained, "Racism, sexism, climate change, nuclear warfare."

"Defunding of the arts, censorship in media, right-wing ass hats-!"

"Miko, take a breath," Jack interrupted her, earning a scowl from the human Wrecker.

"The displacement of thousand upon thousands of people due to the overall greed of capitalism," Rafael continued, "People are either forced out of their homes or have no choice but to flee, and a select few people have billions of dollars that they don't need."

"After my dad left us, me and my mom were living paycheck to paycheck for a time," Jack explained, "I had to learn to grow up and be responsible so she didn't have to worry about me. I even got a job because I didn't want to ask her for stuff and bother her with things when she already has enough to deal with."

"It's shit like this that kinda makes you think to just let the Decepticons destroy us," Miko proclaimed as she took a sip of her wine, "It's not like humans were making Earth better anyway!"

"We...we had no idea," Armin spoke.

"It's fine," Jack said, "We all just have our own set of problems. Just because one place has more, doesn't mean that they have it all together. Hell, we thought the Autobots were amazing when we first met them, but we met them when they were at war. An advanced civilization like them was at war. No one place is perfect. We're always fighting about something."

Eren has to privately re-examine his own assumptions about them and about Earth after that.

[randomvarious]

1990s Trance Playlist

I've been sort of pecking around the edges over the last bunch of weeks at the Harthouse Records catalog, but this week, to close out 2023, I'm finally diving right into its gooey muck and providing a bunch of tunes that really helped to make the label what it was: a pioneering trance music juggernaut 😤. Trance music really started to find its underground global audience in the late 90s, but the bridge to get it to that point—with its Tiëstos and Armin van Buurens and such—partially originates from the German city of Frankfurt, where Harthouse was originally headquartered, and first opened its doors in 1991.

Co-founded by the legendary Sven Väth, the label would issue its debut release in February of 1992, with a 12-inch called "My Name Is Barbarella," by Barbarella, which was a duo that consisted of Väth himself and his constant recording partner, Ralf Hildenbeutel. A good way to think of the relationship and dynamic between these two as producers is that of Steve Jobs and Steve Wozniak. Sven was basically the ideas man and Ralf then found ways to make those ideas into sonic reality. And with "My Name Is Barbarella," which sampled one of Jane Fonda's lines from the film that it was itself named after, we get a super chill tune that was clearly inspired by Sven's own summer holidays spent on the island of Ibiza, which throughout the 80s had developed itself into the undisputed party capital of the world 😌. This full version of the song is an early trance classic and it's currently sitting at over 115,000 plays on Spotify.

Another Väth tune that I added, though, is Metal Master's "Spectrum," which can be found on Harthouse's second-ever release, Vol. 1. Väth made this song with another one of the label's co-founders, Matthias Hoffmann, and true to the duo's name, it seems to incorporate slow, distorted, and majestic metal guitar into its production in order to form its own excellent lead melody 🤘. And this track, which is sitting at over 63,000 plays on Spotify, is another trance classic, but it is much less chill than "My Name Is Barbarella."

In addition to those couple tracks, I also added a few tunes from one of Harthouse's earliest signings, Hardfloor, a duo from Cologne who would soon become known as the master manipulators of the Roland TB-303 bass synthesizer, the machine that yields electronic dance music's famous acid squelch sound, which originated with mid-80s Chicago's own acid house scene. Hardfloor would go on to become far more known for their techno and tech-house exploits, but they also made trance tunes too, and in March of 1993, they released "Trancescript," soon followed by their debut album, TB Resuscitation, which had both "Trancescript" and another banger on it called "Into the Nature." And then in October of that same year, their popular remix of Robert Armani's "Circus Bells" would appear on a 12-inch that was put out on Dutch label Djax-Up-Beats. "Trancescript" has over 172,000 plays, "Into the Nature" has over 68,000, and that "Circus Bells" remix has over 407,000.

And to close out things on the Spotify side, I added a solo tune from Ralf Hildenbeutel as well, "Hypnoticharmony (Part II)," which he released in 1993 under the name of Progressive Attack. This deep, underappreciated stunner is the one add this week that truly feels most like a blueprint for what would become trance's future. Like, it kind of feels unbelievable that it's actually from 1993, when its vibe could fit on plenty of late 90s trance mixes. And it's the most obscure Spotify add of the week too, as it's currently only sitting at a little over 1,000 plays 😲. Soak it in!

Barbarella - "My Name Is Barbarella" Metal Master - "Spectrum" Hardfloor - "Trancescript" Hardfloor - "Into the Nature" Robert Armani - "Circus Bells (Remixed by Hardfloor)" Progressive Attack - "Hypnoticharmony (Part II)"

But folks, we're not done yet, because there are a couple tunes that I added to the YouTube version of this playlist too, which can't be found on Spotify at all. One of them comes courtesy of Stuttgart, Germany's Marco Zaffarano, who released a song called "For My Love" in 1993 on a Harthouse 12-inch called Minimalism Vol. IV. This song magnificently contrasts and pairs heavenly strings and other synth work with much deeper, ravey, pulsating, acid-addled stabs, and across its bunch of YouTube uploads, it currently has over 38,000 plays.

And the other YouTube add comes from Rotterdam's incredible Speedy J, who isn't really known for being a trance musician, but in '95, came through on Harthouse with an 11-minute track called "Fusion Live." And despite Speedy being a pretty well-known electronic musician, this tremendously constructed song of his only has a little over 900 YouTube plays.

Marco Zaffarano - "For My Love" Speedy J - "Fusion Live"

And this playlist is also on YouTube Music as well.

So with this latest update, the Spotify version of this playlist is now at 19 songs with a total runtime of 2 hours and 36 minutes, but over on YouTube and YouTube Music, we have 25 songs that clock in at nearly 3 hours. So if you want the playlist that has a handful of more and rare goodies on it, check out the YouTube one!

Glad to get an important dose of history onto this thing. Next week we'll dip back into more Harthouse tunes, but we'll be turning our attention to a specific subgenre of trance that the label also happened to pioneer: hard trance.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[metalsongoftheday]

Monday, September 18: Mekong Delta, "Without Honour"

Mekong Delta’s first album was as foundational in the development of prog/tech thrash as any of Voivod’s early records, and “Without Honour”, even with Ralf Hubert’s fat blower bass seemingly coming straight out of the Blacky playbook, was a crucial building block in the elevation of thrash as a subgenre.  Wolfgang Borgmann’s vocals were more pliable than usual for thrash and there was a certain thoughtfulness to the arrangement and performance that was certainly very unusual for thrash at the time.  At the same time the tune was still incredibly frantic and forceful, especially Jörg Michael’s (going under the pseudonym Gordon Perkins) drums.  Indeed, what really stood out was the dexterity and precision of the rhythm section’s attack, which turned what could’ve been another aimless thrash rant into something altogether more compelling.

[twenty20visionn]

HOW TO BUILD A LOW-TECH WEBSITE de Ralf Wissing et Marie Otsuka est un projet pour lowtechmagazine.com qui entretien, ainsi qu’un site web standard, une version de leur site web “low-tech” entièrement alimenté par de l’énergie solaire.

Le projet consiste d’un panneau solaire relié à une batterie et un petit ordinateur Linux sur le balcon du bureau du magazine à Barcelone.

En utilisant des images basse résolution, la police par défaut du navigateur, et d’autres techniques pour reduire les données requisent pour consulter les articles, la consommation d’énergie du système est de 1-2.5W ce qui permet au site d’être en ligne 90-95% du temps. Durant les longues périodes sans soleil, par contre, le site se retrouve parfois hors-ligne.

Le but du site est de montrer une manière simple de se décentraliser. En évitant le cloud et les data centers, le site web pollue beaucoup moins et permet de concrétiser le site web qui, selon la météo n’est pas toujours forcement en ligne. Cela nous fait réaliser l’impact environnemental d’internet.

[channeledhistory]

Der Energieverbrauch von Rechenzentren für KI-Anwendungen und andere Digitalisierungsprojekte wird in Europa einer Studie zufolge bis zum Jahr 2030 drastisch steigen.

Der Strombedarf werde sich in diesem Zeitraum voraussichtlich auf mehr als 150 Terawattstunden bis 2030 fast verdreifachen [...] "Das macht rund fünf Prozent des gesamten europäischen Stromverbrauchs aus" [...] Bislang seien es nur zwei Prozent.

Der steigende Strombedarf von KI könnte den Klimawandel beschleunigen, wenn er nicht durch erneuerbare Energien gedeckt werde [...] Derzeit stamme ein Großteil des Stroms für Rechenzentren noch aus fossilen Brennstoffen, obwohl sich viele große Rechenzentrumsbetreiber - darunter auch Branchenriesen wie Amazon (AWS), Microsoft und Google - verpflichtet haben, ihre Anlagen mit erneuerbaren Energien zu betreiben.

Zuletzt mussten die Tech-Riesen nämlich einräumen, dass der KI-Boom zu einem deutlichen Anstieg ihrer Treibhausgasemissionen geführt hat. Im jüngsten Google-Umweltbericht hieß es im vergangenen Juli, der Ausstoß sei allein im vergangenen Jahr um 13 Prozent auf über 14,3 Millionen Tonnen Kohlendioxid gestiegen, "ausgelöst vornehmlich durch den gestiegenen Energieverbrauch von Rechenzentren und Emissionen in der Lieferkette".

Um den Bedarf auf saubere Art zu decken, hat die Alphabet-Tochter Google kürzlich als erstes Unternehmen weltweit einen Vertrag mit dem Unternehmen Kairos Power über den Kauf von kleinen modularen Atom-Reaktoren unterzeichnet. [...]

Die Ursachen des großen Stromhungers kann man exemplarisch an der technischen Ausstattung eines neuen KI-Rechenzentrums sehen, das vom Elon-Musk-Unternehmen xAI im Sommer eröffnet wurde. Die Anlage nutzt 100.000 der neusten Spezialchips (sogenannte H100 GPUs von Nvidia) gleichzeitig, wie Musk auf X verkündete. "Jeder dieser Nvidia-Prozessoren hat eine Leistung von 700 Watt, was ungefähr der Leistung eines modernen, energieeffizienten Backofens entspricht", sagt Ralf Herbrich, Leiter des Fachgebiets "Künstliche Intelligenz und Nachhaltigkeit" am Hasso-Plattner-Institut (HPI) in Potsdam. Wenn dieses Rechenzentrum ein Modell trainiere, brauche es 70 Megawatt allein für die Berechnungen. "Rechnet man den Energieverbrauch für die Netzwerkübertragung der Daten hinzu, verdoppelt sich das noch einmal. Das entspricht der Energieleistung von 25 Windkrafträdern."

Herbrich schätzt, dass global die Rechenzentren vier bis fünf Prozent des Energieverbrauchs ausmachen. "Nimmt man die Nutzung digitaler Technologien wie Laptops und Smartphones dazu, sind acht Prozent des weltweiten Energieverbrauchs erreicht." Ein enormer Anteil dieser Energie gehe in das Training von KI-Modelle.

Wenn man sich Texte und Bilder mit modernen KI-Modellen erstellen lässt, wird ähnlich wie beim KI-Training, viel Strom verbraucht: Das Generieren eines Bildes basierend auf einer Textanfrage verbraucht nach Berechnungen des Experten so viel Energie wie eine halbe Handyladung. "Selbst wenn KI-Modelle zukünftig weniger trainiert werden, wird die Vorhersage mit diesen Modellen den Energieverbrauch stetig steigen lassen." Die Anzahl der Berechnungsschritte für die genauesten KI-Modelle habe sich seit dem Jahr 2018 bis heute fast um einen Faktor von einer Million vergrößert.

Herbrich sieht aber auch Ansätze, um den Energieverbrauch von KI-Methoden zu senken: die Anzahl der Berechnungsschritte zu verkleinern und die Energie pro Berechnungsschritt deutlich zu reduzieren. Dazu müsse man mathematisch andere Verfahren verwenden, die effizienter seien. Ein alternativer Ansatz sei, die Energieverbrauch der einzelnen Berechnungsschritte zu verringern. Wichtig sei, dass bei der Vereinfachung der Formeln die Genauigkeit der KI-Vorhersagen nur minimal sinke.

Aber selbst mit energieeffizienteren Algorithmen wird der Strombedarf durch KI-Anwendungen zunehmen, weil immer mehr Menschen im Beruf und in der Freizeit Künstliche Intelligenz einsetzen. Und beim tatsächlich vorhandenen Energiemix in der Europäischen Union wird jede KI-Nutzung auch CO2-Emissionen generieren. Im Jahr 2023 wurde knapp ein Drittel des Stroms (32,5 Prozent) in der EU mit fossilen Brennstoffen produziert.

Die zunehmende Nachfrage nach sauberem Strom bringe erhebliche Herausforderungen mit sich [...] So seien zuverlässige Stromquellen nur begrenzt verfügbar. Außerdem gebe es Engpässe bei der Verfügbarkeit von Fachkräften. [...]

Neben Google setzen auch andere Tech-Giganten wie Amazon und Microsoft derweil auf Kernenergie, um den wachsenden Energiebedarf ihrer KI-Rechenzentren zu decken und gleichzeitig ihre hochgesteckten Klimaziele zu erfüllen. Erst Ende September war bekannt geworden, dass ein vor fünf Jahren stillgelegter Atomreaktor im US-Kraftwerk Three Mile Island wieder hochgefahren werden soll, um Rechenzentren des OpenAI-Partners Microsoft zu versorgen. Zwar entstehen bei der Stromerzeugung durch Kernspaltung keine direkten CO2-Emissionen, dafür aber langlebige und hochradioaktive Abfälle.

[...]

[agnisystechnology]

DVCon Japan 2024

Agnisys is the Pioneer and Industry Leader in Golden Executable Specification Solutions™

Meet us at Booth #E1, at DVCon Japan and schedule a meeting by completing the form on the right!

KP Garden City Premium – Shinagawa Takanawa

Agnisys is excited to be exhibiting at DVCon Japan 2024! Join us at our booth #E1 to explore the future of verification technology with our latest innovations. Our team will be on hand for live demonstrations, product showcases, and expert consultations, ready to address your technical queries and offer insights into optimizing your verification workflows.

Paper Presentation Topic: Hardware/Software Co-Design and Co-Verification of Embedded Systems Venue: Conference E, Tech Track 1 Time: 13:30 – 14:00

Tutorial Session Topic: Hierarchical CDC and RDC Closure with Standard Abstract Models Venue: Conference E, Tech Track 1 Time: 10:30 – 11:20

Accelerate your Front-end SoC, FPGA, and IP Development with Agnisys

In the dynamic realm of semiconductor design, Agnisys is your catalyst for accelerating Frontend SoC, FPGA, and IP development. Experience a transformative journey with our innovative solutions that automate Design & Verification directly from our Golden Executable Specifications.

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Leverage executable specifications for efficient workflow execution.

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Capture and centralize registers, sequences, and connectivity for IP/SoCs.

Support for IP-XACT, PSS, SystemRDL, YAML, RALF, Word, Excel, and templates.

Enhanced Productivity:

Auto-generate collateral for the entire project development team.

AI / ML- powered test generation for increased efficiency.

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Utilize the certified IDesignSpec™ Solution Suite.

Implement standardized workflows for consistency.

Achieve “Correct by Construction” design principles.

Push-Button capabilities for simplicity and reliability.

Market Segments:

Agnisys serves a wide array of market segments including:

Artificial Intelligence (AI)

Automotive

Autonomous Technology

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Military/Aerospace

Mobile/5G

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RISC-V

Semiconductor

Specification Automation Solutions:

Explore our suite of solutions tailored for IP/SoC development:

IDesignSpec GDI

IDS-Batch CLI

IDS-Verify

IDS-Validate

IDS-Integrate

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[b2bcybersecurity]

Ein Jahr ChatGPT

Der aktuelle Boom rund um Künstliche Intelligenz führt zu einer stark steigenden Nachfrage im deutschen Markt. Die Ausgaben für KI-Software, -Dienstleistungen und entsprechende Hardware werden in diesem Jahr voraussichtlich auf 6,3 Milliarden Euro steigen. Das entspricht einem Plus von 32 Prozent verglichen mit 2022, als 4,8 Milliarden Euro für Künstliche Intelligenz ausgegeben wurden. Dies teilt der Digitalverband Bitkom auf Grundlage von Daten des Marktforschungsunternehmens IDC mit. „Der Start von ChatGPT vor einem Jahr war eine Initialzündung für den KI-Einsatz. ChatGPT hat vielen Menschen erstmals vor Augen geführt, was KI heute schon leisten kann“, sagt Bitkom-Präsident Dr. Ralf Wintergerst. „Für Unternehmen war es noch nie so einfach und kostengünstig wie heute, KI einzusetzen und erste Erfahrungen zu sammeln. Diese Chance gilt es, jetzt zu nutzen.“ KI-Software Den größten Anteil an den KI-Ausgaben in diesem Jahr hat KI-Software (4,1 Milliarden Euro), gefolgt von Dienstleistungen rund um KI (1,3 Milliarden Euro) sowie Hardware (0,9 Milliarden Euro). Im kommenden Jahr wird nach aktuellem Stand ein ähnlich starkes Wachstum erwartet. 2024 sollen die Ausgaben erneut um 30 Prozent auf dann 8,2 Milliarden Euro steigen, 2025 könnte sogar die 10-Milliarden-Euro-Marke übersprungen werden. Die Marktentwicklung hängt laut Bitkom sehr stark vom Regulierungsrahmen ab. Wintergerst: „Anbieter und Anwender von KI brauchen einen sicheren Rechtsrahmen, deshalb ist richtig, dass sich die EU um einen AI Act bemüht. Allerdings müssen wir darauf achten, dass der Schuss anders als bei der Datenschutz-Grundverordnung nicht nach hinten losgeht. In das Zentrum des AI Acts gehören kritische KI-Anwendungen und nicht die sogenannten Foundation Models als Basis-Technologie.“ Viele Menschen haben in diesem Jahr erstmals direkten Kontakt mit Künstlicher Intelligenz gehabt, seitdem am 30. November 2022 ChatGPT öffentlich zugänglich war. Laut einer aktuellen Bitkom-Befragung unter 1.004 Personen in Deutschland ab 16 Jahren haben 34 Prozent den KI-Chatbot schon einmal ausprobiert. Zwei Drittel (66 Prozent) glauben, dass ChatGPT und ähnliche Anwendungen unser Leben grundlegend verändern werden.   Über Bitkom 1999 gegründet, vertreten wir heute mehr als 2.200 Mitgliedsunternehmen – darunter rund 1.000 leistungsstarke KMUs, über 500 innovative Tech-Startups, die Hälfte der Dax40-Unternehmen und viele weitere Global Player. Unsere Mitglieder bieten Software und IT-Services, Telekommunikations- oder Internetdienste, stellen Geräte und Bauteile her, sind im Bereich der digitalen Medien oder der Netzwirtschaft tätig oder in anderer Weise Teil der digitalen Ökonomie. Darüber hinaus schließen sich immer mehr Unternehmen, die derzeit ihre gewachsenen Geschäftsmodelle digital weiterentwickeln wollen, quer durch alle Branchen dem Bitkom an. Passende Artikel zum Thema Lesen Sie den ganzen Artikel

[digitalesleben]

The Big One - offizieller Trailer zum Buch

The Big One - das nächste Buch von Ralf-T. Grünendahl. Ein Tech-Thriller, der unser Digitales Leben erschüttert. Ich zeige seinen offiziellen Trailer zur Veröffentlichung seines Buchs am 24.5.2024.

Lange erwartet – bald ist es da. Das Buch meines Freundes Ralf T. Gruenendahl. Ich durfte bereits eine Vorabversion lesen und freue mich darauf, endlich die finale Version in Händen zu halten. Ab 24.5.2024 wird das Buch im Buchhandel verfügbar sein. The Big One ist der Titel und die Geschichte spielt im Silicone Valley. Da werden doch gleich Assoziationen mit dem großen Erdbeben wach, das…

[josiebelladonna]

oi! california girl here, i’ve been watching since i was 12 years old in 2005 (kimi räikkönen and robert kubica were my guys 🔥) and i was actually considering a career in being head engineer for ferrari or mclaren at one point. favorite tracks are spa and monza, and favorite seasons were 2009 and 2016–i actually quit watching it so much in 2013 (major life and career changes, a lot of drivers i really liked left, and i also physically couldn’t watch it: this was back when streaming services were still scrappy and glitchy, so i literally had nothing to watch it on, but i managed to catch 2016 and nico rosberg absolutely killing it). as for the current grid, i guess i like charles and alex—i have a very sentimental attachment to the name “alex” so figure this is the case. okay, i lied, i also like carlos and george, and i was surprised to see fernando on the grid still today! really , that blew my mind a bit, it was right there with takuma sato winning the indy 500 a few years back, it made me go, “whoa, really? right on!” i remember when fernando was mr. big shot (and takuma was interestingly a long shot…?) going against michael schumacher in his penultimate season.

i still have some books on f1, one of which goes back to its scrappy roots in the 40s all the way to its ritzy classiness that manifested in the 70s and the 80s and persisted all the way to the 2000s. i remember when my dad and i were watching it, i was always so amazed by the tech that went into it. it’s a hard, grueling sport but it was also elegant and luxurious. it helped bring out the smarts in me as well as the sensual side of me, too, being a young teen absorbing things that woke me up inside. i see f1 nowadays and it feels so overly political and polished, like how hollywood is. i watched a minute of today’s race in miami and i had to change the channel (i literally hadn’t watched a whole season in a decade, so it was shocking to me).

but if you can find them, go watch some races from 2016, 2009, or 2007 (the year kimi became champion): lots of passing and lots of (good) drama, lots of wild cards, and lots of monkey wrenches in everyone’s plan. go start reading about the great drivers, ayrton senna and alain prost, the hills (phil, graham, and damon), fangio, jackie stewart, jimmy clark, niki lauda, and of course schumacher and häkkinen. go start watching the movies about it: ford vs ferrari, and the one about niki lauda and the one about senna (fair warning: that one will make you cry). being in california in the 2000s, before social media, it was rather isolating to be a young (female) f1 fan: when you said you were into racing, everyone just assumed you were into nascar. they looked at you funny when you raved about nick heidfeld and jenson button making the podium in a downpour in hungary (that had to have been one of my favorite races, hungary 2006) or you wondered if they were going to keep ralf schumacher onboard or that you were sad because the season ended in late october and you wouldn’t even hear it mentioned on tv until the end of february. a couple of my dad’s friends were/still are fans like us, but no one at school liked it. being an alt rock and metal fan who was poor and well-read and liked to draw who also liked open-wheel, you can imagine the loneliness (i also dealt with anorexia back then, too).

i’m also hanging out with rock n roll guys, i’m an artist and a writer, i’m a cartoon buff, and i’m a science nerd, too 🔥

yeah so I’m now going down a f1 rabbit hole after this weekend watching miami

so if anyone would like to be f1 friends (and help teach me lol) I would love it 🫶🫶

or just new hockey friends too! <3

[neueuhren]

RalfTech WRB Ocean: Die Uhr der französischen Marinetaucher

RalfTech WRB Ocean: Die Uhr, die bereits seit 2020 von der französischen Marine eingesetzt wird. Für Profi-Taucher ist die Saison auch im September nicht zu Ende, auch wenn RalfTech, der Ausrüster für Profis auf Ölplattformtauchern und diversen Special Forces, jetzt “Blau” macht: Ralftech erweitert wird die Kollektion professioneller Taucheruhren jetzt mit der WRB Ocean um ein 39-mm Modell, das…

[schibborasso]

"The mother of all transistorized vocoders, prototype of early 70s, custom built for german electronic duo kraftwerk of that period, documented by back cover photo of KW's album "Ralf & Florian" and in some part in the artwork on inside sleeve.