Vanillasludge posted a photo:
BertvB posted a photo:
A detailed, low-angle macro shot of a small cluster of Lawn Mower's Mushrooms (Panaeolus foenisecii) rising delicately through the grass at the Amsterdamse Waterleidingduinen (AWD), Netherlands. Captured at 100mm macro with f/11 and a 1/25s exposure, the photo highlights the warm reddish-brown striations on the conical caps and fine, slender stalks set against a backdrop of fresh grass and fallen autumn leaves.
MEXICO-STAD (ANP) - Max Verstappen start zondag vanaf de vijfde positie in de Grote Prijs van Mexico-Stad. De viervoudig wereldkampioen reed in de kwalificatie de vierde tijd, maar moet door een gridstraf één positie naar achteren in de startopstelling.
Lewis Hamilton veroverde poleposition op het hooggelegen Autódromo Hermanos RodrÃguez. Hij was in zijn Ferrari 0,009 seconde sneller dan de Brit George Russell van Mercedes.
Kampioenschapsleider Kimi Antonelli klokte de vijfde tijd, maar hij wisselt van plek met Verstappen en start zondag als vierde. De 20-jarige Italiaan heeft genoeg aan een plek in de top 9 om de jongste wereldkampioen ooit in de Formule 1 te worden.
Verstappen was in de laatste minuut van de kwalificatie bezig aan een snelle ronde die mogelijk goed was voor pole, maar hij moest in de laatste sector van de ideale lijn af door verkeer voor hem en brak zijn poging af.
AMSTERDAM (ANP) - De pakketbezorger die eerder deze week in de Amsterdamse Jordaan door een motoragent werd getaserd, gaat daarvan begin komende week aangifte doen. Dat bevestigt zijn advocaat Gerald Roethof na berichtgeving van AT5.
De agent vuurde zijn stroomstootwapen op de bezorger af, omdat die zijn bestelbus niet wilde weghalen en ook niet direct zijn identiteitsbewijs bij de hand had. Er ontstond een woordenwisseling waarna de agent de bezorger arresteerde en duwde, en deze de agent wilde afweren. De politieman schoot de man eerst met de taser in zijn schaamstreek, daarna in zijn buik. Hij viel daardoor op de grond. Op sociale media gingen filmpjes rond van het incident, veel omstanders waren verontwaardigd.
De politie zegt dat taseren de enige manier was om de situatie onder controle te krijgen. Maar Roethof wijst dat van de hand en zegt dat zijn cliënt "lichamelijk en geestelijk letsel" heeft opgelopen. Hij gaat ervan uit dat de bezorger na grondig onderzoek zal worden gerehabiliteerd. Ook rekent hij op "passende maatregelen tegen de verbalisant".
Fulham helped cement Jamie Carragher’s argument that Aston Villa will never be Manchester United. No, they know how to grind out a point on a bad day and can go to Barcelona on Tuesday with some confidence.
Villa’s goalkeeper Zion Suzuki dropped Alex Iwobi’s corner over his own goalline to deny Unai Emery’s team a fifth win in six games after Nicolas Jackson’s eighth goal of the season had promised to lift a resurgent Villa back into the top third of the Premier League. Not even John McGinn’s missed penalty had looked set to deny them as they took control in the first period.
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BBS-era "door" games are preserved by the site Break Into Chat, along with their history. Now the site's actually traced the origins of several ANSI art screens in the 1980s and "how different people later transformed the original images," starting from one of the most popular bulletin board systems in St. Louis, Missouri.
Slashdot reader Kirkman14 writes:
"Fire Escape" was curator of the authoritative list of bulletin board systems in St. Louis's area code and sysop of the area's most popular board. Like many sysops of that time, Fire Escape enlivened her bulletin board by finding and repurposing older ANSI art. Eventually her BBS had 18 different logon screens in its rotation, many of which featured flames or mushroom clouds or made liberal use of red and yellow.
Break Into Chat follows the trail:
Some, maybe even most, of Fire Escape's logon screens had actually been adapted from old school "public domain" ANSI art drawn in the late 1980s and early 1990s by folks such as Michael C. Ling, Lora Ruffner (aka "Ebony Eyes") and Violet Stymacks.... Stymacks was unusually generous with her ANSI art. When she first began drawing, she combed through Fidonet node lists looking for bulletin boards with interesting or inspiring names. When she found one, she would draw an ANSI screen that fit the board's theme, then send it to the sysop. Eventually, sysops began seeking her out, too. By late 1990, she claimed that 500 bulletin boards were using her screens. Three years later, that total had tripled, according to Boardwatch . I believe it — I have located more than 1,100 of her pieces so far. She was so prolific that it would be surprising if she hadn't reused or remixed her own work over the years...
[D]id they intend for other people to do so? Or would they have considered such borrowing or adapting as "ripping" or just plain "stealing"? These questions have dogged the BBS, ASCII art, and ANSI art scenes from the beginning. A freelance writer named Patrick Grote grappled with this ethical dilemma in 1990. He had begun to publish archives of ANSI art that he had collected from various public messageboards and networks. But what were people allowed to do with the ANSI screens in these collections? Was it okay to modify them? "Tough call," Grote said. "I know some people copyright their screens by inserting a little '(C)' on it," Grote wrote in a README file included in these collections. "Is this 'true' copyrighting? I would say yes, but then again, I don't feel like having any legal action taken against me for using an ANSI screen. In my opinion, I would say leave the ones that say '(C)' alone, but make every effort to contact the artist and ask for permission...."
When I corresponded with Fire Escape this year, she admitted her memory wasn't what it used to be, but felt certain that she had not asked any artists for permission because she didn't know who they were or how to reach them. "I figured if anyone had an issue, I'd just remove the screen," she said.
"But no one ever said anything about it."
Slashdot reader Kirkman14 writes:
"Fire Escape" was curator of the authoritative list of bulletin board systems in St. Louis's area code and sysop of the area's most popular board. Like many sysops of that time, Fire Escape enlivened her bulletin board by finding and repurposing older ANSI art. Eventually her BBS had 18 different logon screens in its rotation, many of which featured flames or mushroom clouds or made liberal use of red and yellow.
Break Into Chat follows the trail:
Some, maybe even most, of Fire Escape's logon screens had actually been adapted from old school "public domain" ANSI art drawn in the late 1980s and early 1990s by folks such as Michael C. Ling, Lora Ruffner (aka "Ebony Eyes") and Violet Stymacks.... Stymacks was unusually generous with her ANSI art. When she first began drawing, she combed through Fidonet node lists looking for bulletin boards with interesting or inspiring names. When she found one, she would draw an ANSI screen that fit the board's theme, then send it to the sysop. Eventually, sysops began seeking her out, too. By late 1990, she claimed that 500 bulletin boards were using her screens. Three years later, that total had tripled, according to Boardwatch . I believe it — I have located more than 1,100 of her pieces so far. She was so prolific that it would be surprising if she hadn't reused or remixed her own work over the years...
[D]id they intend for other people to do so? Or would they have considered such borrowing or adapting as "ripping" or just plain "stealing"? These questions have dogged the BBS, ASCII art, and ANSI art scenes from the beginning. A freelance writer named Patrick Grote grappled with this ethical dilemma in 1990. He had begun to publish archives of ANSI art that he had collected from various public messageboards and networks. But what were people allowed to do with the ANSI screens in these collections? Was it okay to modify them? "Tough call," Grote said. "I know some people copyright their screens by inserting a little '(C)' on it," Grote wrote in a README file included in these collections. "Is this 'true' copyrighting? I would say yes, but then again, I don't feel like having any legal action taken against me for using an ANSI screen. In my opinion, I would say leave the ones that say '(C)' alone, but make every effort to contact the artist and ask for permission...."
When I corresponded with Fire Escape this year, she admitted her memory wasn't what it used to be, but felt certain that she had not asked any artists for permission because she didn't know who they were or how to reach them. "I figured if anyone had an issue, I'd just remove the screen," she said.
"But no one ever said anything about it."
Read more of this story at Slashdot.