![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTvQizb0AABSlD.jpg)
![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTvPt3a0AADWNv.jpg)
![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTtZq4aMAE_Ua8.jpg)
Olivia
Online
Guillaume Beraud
@g_beraud
Médecine, Photo & Bandes dessinées
Joined August 2013
181 Following
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673 Posts
France Identité permet désormais à certains collégiens et lycéens du public de prouver qu’ils ont au moins 15 ans grâce à ÉduConnect.
Le site consulté reçoit seulement un « oui » ou un « non », pas leur identité complète.
Sur le papier, c’est plus protecteur que l’envoi d’une pièce d’identité ou d’un selfie.
Mais des questions restent ouvertes :
- Quels sites utilisent ce système ?
- Que contiennent les journaux conservés jusqu’à trois ans ?
- Que se passe-t-il en cas d’erreur ?
- Qui paie chaque vérification ?
Votre identité dans un téléphone, 4/8 : votre âge devient une autorisation :
https://t.co/WbTMVWEAD0
🇺🇸🇺🇸🧐🤔“AND YOU STILL DARE TO OPEN YOUR MOUTH…”
Sasha Legerman: This is too accurate not to share.
This Australian’s response to Trump’s rant that “NATO does nothing for America” is absolutely devastating:
“Mate. You run a country where 600,000 homeless people will sleep on the streets tonight.
A country where 40% of adults can’t cover a $400 emergency without borrowing money.
A country where insulin costs more than a car payment, and people ration it just to stay alive.
A country where medical debt is the number one cause of bankruptcy.
A country where women die in hospital parking lots because doctors are too afraid of abortion laws to treat miscarriages.
You imprison more of your own citizens than any country on Earth.
More than China. More than Russia. More than North Korea.
In the land of the free, 2 million people sit in cages, and a quarter of them haven’t even been convicted of anything.
They’re simply too poor to afford bail.
Your life expectancy is declining. You’re the only developed nation where that’s happening.
Your infant mortality rate is worse than Cuba’s.
Your children practice active shooter drills between math and English classes while you sell defense stocks to your friends.
Your minimum wage hasn’t changed in 15 years.
Your teachers work two jobs, your veterans sleep under bridges, and you just spent a trillion dollars flattening a country that never attacked you.
And now a convicted criminal — found liable for sexual abuse, defending a pedophile, sleeping with a porn star, and running the biggest dumpster-fire campaign since the Taliban — is thanking you for yet another disaster.
And you call Greenland badly governed?
Greenland has universal healthcare. Free education. One of the lowest incarceration rates in the world.
Nobody there goes bankrupt because they got sick. Nobody dies in a waiting room because insurance refused treatment.
‘NATO wasn’t there when we needed them.’
When exactly was that, champ?
September 11?
Because NATO invoked Article 5 for the first and only time in history FOR YOU.
Soldiers from dozens of countries deployed, fought, bled, and died in Afghanistan FOR YOU.
Australia wasn’t even in NATO, and we still showed up. For twenty years.
And then you left at 2 a.m. without telling anyone and left everybody else to clean up the mess.
You don’t care that a great nation is being terrorized by your friend, and you haven’t shown it a single ounce of sympathy.
So maybe before calling other countries badly governed, take a look at your own backyard, you aluminum siding salesman with a spray tan.
The only thing badly managed in this picture is your damn mouth.
And you still dare to lecture the rest of the world?”
Cet été j'ai découvert cette chaine Youtube, vous êtes déjà sûrement très nombreux à la connaitre mais si vous ne la connaissez pas, elle est topissime... et même les incultes comme moi comprennent plein de choses fascinantes : https://t.co/to08806DEB
Après tous les arguments claqués au sol du style "Intrusion du Conseil constitutionnel dans le travail du Législateur", voici l'argument d'autorité le plus risiblement émotif : "je suis mère".
Quand techniquement vous répondez à côté de la plaque, que légalement vous avez fait du grand n'importe quoi, qu'opérationnellement vous passez votre temps à vous faire piquer les données de millions d'administrés que reste t-il ?
L'EMOTION... et l'émotion est bien la pire chose à introduire dans le débat public.
Ayez la pudeur d'essayer de vendre ça lors d'un repas de famille dominical au grand maximum madame.
Voici un petit tutoriel en 5 mouvements pour repérer les tweets les plus idiots sur l'interdiction des réseaux sociaux aux mineurs de moins de 15 ans :
Premier mouvement : "nos enfants sont en danger" (venant de personnes qui n'ont pas levé le petit doigt pour les VSS sur mineurs ou la situation des mineurs de l'ASE (l'aide sociale à l'enfance), c'est gonflé, mais plus c'est gros... C'est très très dangereux Internet.
Second mouvement : "je suis parent, je sais comment les protéger"... le bon vieux TrustMeBro®
Troisième mouvement : "le perfide Conseil constitutionnel est coupable d'intrusion dans le travail du Législateur qui lui seul sait comment faire LE BIEN". C'est vrai, il y en a assez de ces pompiers qui s'immiscent dans les incendies pour éteindre le feu... Il faudrait durcir les peines à leur encontre, c'est quoi leur légitimité après tout ?
Quatrième mouvement : "on va revenir à la charge parce que c'est trop trop grave quand même" ... VSS sur mineurs, moyens pour la police et la justice, réforme et moyens de l'ASE attendront, ce n'est pas la priorité. Parce qu'Internet, c'est vraiment trop dangereux.
Cinquième mouvement : disqualifier l'opposition avec "vous défendez X et Tiktok" histoire de bien expliquer sur X (lol), que les citoyens sont vraiment trop cons pour défendre leurs libertés, respecter la Constitution et demander le minimum syndical, à savoir que le Législateur ne mette pas son nez n'importe comment dans n'importe quoi.
You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.
Bon... comme je l'expliquais il y a quelques mois sur @Thinkerview après une mauvaise nuit à tester les limites de Claude sur la secu, on a un problème.
Claude a trouvé une attaque de récupération de clé contre HAWK-256, schéma de signature post-quantique (version de test du candidat NIST). Elle exploite une symétrie latticielle inédite et fait chuter le coût de 2⁶⁴ à 2³⁸. Claude a aussi accéléré de 200 à 800 fois une attaque meet-in-the-middle sur AES-128 à 7 tours (via le « Möbius Bridge »).
Précision : aucun impact sur les systèmes en production. Travaux réalisés en 60 heures pour 100 000 $ de conso d'API.
Le souci n'est pas quantique ou pas, le problème c'est le chiffrement attaqué par downgrade et factorisation d'entiers. Et c'est à ce moment précis, sur ce point précis, que j'ai une pensée émue pour l'incrédulité des bitcoiners quand on leur explique que ce qui est chiffré aujourd'hui ne le sera plus demain, et que le coût ne baisse pas, il est juste en chute libre (et là je m'adresse au PoS)... sur ce je retourne aux égouts de la finance.
https://t.co/Thk6GraXg7
l0g a passé au scalpel le texte du Clarity Act.
Ce n’est pas un texte de dérégulation légère, c’est la construction d’un régime réglementaire entier, avec enregistrement, informations obligatoires, garde et conformité anti-blanchiment.
🚩 Cette version rapportée ne contient pas la clause éthique visant les responsables publics dont la négociation faisait l’actualité de juillet.
https://t.co/CrftuXOSAL
@Maitre_Eolas Digne successeur de Guillaume Remuepoire auteur de la pièce de théâtre Jambon Laissé 😉🤣🤣🤣
Il n'y a aucune raison que ça se passe mal ça encore... Sérieusement #FranceTravail... Vous nous avez prouvé à plusieurs reprises en quelques mois qu'on ne peut pas vous confier ce genre de jouets. Vous aviez déjà la boite d'allumettes, et vous voici avec le bidon d'essence.
https://t.co/eIpIh9bQxp
Vous avez toutes les cartographies gratuites sur https://t.co/4ngFtziAwo
@Maitre_Eolas Ce dont je me souviendrai de lui, pour avoir malheureusement produit 3 entrevues pour bfmtv dans son bureau, c’est qu’il n’a rien à foutre de ses journées. 5 heures d’installation, il nous a regardé faire. Il était encore patron. Pas un coup de fil, pas une réunion, rien.
Et je vous assure qu'il est comme ça avec tout le monde, même avec ses avocats et les juges.
Vous comprenez qu'il n'ait pas pu supporter qu'un prof de math de collège démontre qu'il avait tort (bon le prof de math de collège était docteur en sciences, il ne pouvait pas savoir)
A French engineer who lives quietly in Paris has spent 30 years writing software that the entire internet now runs on without knowing his name.
He wrote the code that streams every YouTube video, every Netflix show, every TikTok clip. He wrote the code that runs the virtual servers underneath AWS, Google Cloud, and Microsoft Azure. He calculated more digits of pi than anyone in history. He has no Twitter. He has no marketing. He just keeps shipping.
His name is Fabrice Bellard.
Here is the story, because almost nobody outside the systems programming world knows what one man has built.
Fabrice was born in 1972 in Grenoble, France. He studied at École Polytechnique, the top French engineering school. He never went to Silicon Valley. He never built a startup empire. He just wrote code.
In 2000 he started a project called FFmpeg, an open-source multimedia framework for encoding, decoding, and streaming video. He was 28. The project did one thing nobody else had done well. It handled every video and audio format that existed, in one library, on every operating system. He led it himself for years.
Today FFmpeg is the invisible engine of the internet. YouTube uses it. Netflix uses it. VLC uses it. Chrome and Firefox use parts of it. Every Android phone, every iPhone, every smart TV, every video editing tool you have ever touched runs FFmpeg somewhere underneath. If you have watched a video on a screen in the last 20 years, Fabrice's code processed it.
He was not done.
In 2003 he started QEMU, a machine emulator and virtualizer. He wrote it solo until version 0.7.1 in 2005. QEMU lets you run any operating system on any other operating system. It became the foundation of modern virtualization. KVM, the Linux kernel hypervisor, runs on top of QEMU. Every major cloud provider, AWS, Google Cloud, Microsoft Azure, IBM Cloud, runs virtual machines on infrastructure built around it. The Quick Emulator is the most cited piece of cloud infrastructure code on Earth.
He kept going.
In 2001 he won the International Obfuscated C Code Contest with a small C compiler that grew into TCC, the Tiny C Compiler. TCC can compile and boot a Linux kernel from source in under 15 seconds. In 2004 he calculated the most digits of pi ever computed at the time, using a personal desktop computer and an algorithm he derived himself called Bellard's formula. In 2011 he wrote a complete PC emulator in pure JavaScript that runs Linux in your browser, a project called JSLinux that engineers still cannot believe is real.
In 2019 he released QuickJS, a small but complete JavaScript engine that fits where V8 cannot. In 2021 he released NNCP, a neural network based lossless data compressor that immediately took the lead on the Large Text Compression Benchmark.
Then he turned his attention to large language models. He built TextSynth Server, a web server with a REST API for running LLMs locally. He released ts_zip and ts_sms, compression utilities that use language models to compress text and short messages at ratios traditional algorithms cannot reach. He released TSAC, a very low bitrate audio compression system. In December 2025 he released Micro QuickJS, a new JavaScript engine for microcontrollers, separate from QuickJS, designed for environments with almost no memory.
Fabrice co-founded a telecom company called Amarisoft in 2012, where he serves as CTO. Amarisoft builds 4G and 5G base station software used by carriers and labs around the world. He has been running it for over a decade while continuing to ship personal projects from his own home page at bellard dot org
He has no Twitter. He has no Instagram. He gives almost no interviews. His personal website is a flat list of projects with no styling, no fonts, no marketing copy. Just titles and links.
A quiet French engineer who never moved to Silicon Valley wrote the code that quietly runs the internet.
He is still shipping.
Imaginez que vous pensez investir dans une boîte de fusées, et surprise... juste avant l'introduction, SpaceX a avalé Grok et X, puis a mélangé les comptes tout ce joyeux bordel sur une feuille excel qu'on appelle un S-1 Dispo sur EDGAR), et c'est un chef d'oeuvre...
Vous n'achetez plus des fusées : vous achetez un chatbot réac et un réseau social, avec option fusées.
Le bilan trimestriel est une pépite : 4,7 milliards de dollars de revenus… pour 1,9 milliard de pertes.
Le seul truc qui rapporte vraiment, c'est Starlink, qui gagne 1,2 milliard et paie l'addition de tout le monde.
Dans le même temps, la division IA brûle 2,5 milliards par trimestre et dépense 7,7 milliards en infrastructures (soit trois fois plus que les fusées et Starlink réunis).
Tout ça pour envoyer des datacenters dans l'espace, dès 2028, pour les brancher sur le soleil.
On est probablement face au premier document officiel qui définit le plus sérieusement du monde le "canon électromagnétique lunaire" et la "civilisation de type Kardashev II.
Petit détail qui tue : vos actions valent 1 voix, celles de Musk en valent 10. En clair, Il possède 42% de la boîte mais contrôle 79% des votes 🤷♂️
A MIT professor taught the same lecture every January for 40 years, and every single time it was standing room only.
I watched it at 2am and it completely rewired how I think about communication.
His name was Patrick Winston. The lecture is called "How to Speak."
His opening line hit like a truck: your success in life will be determined largely by your ability to speak, your ability to write, and the quality of your ideas in that order.
Not your GPA. Not your pedigree. Not your IQ. How you speak is what separates people who get heard from people who get ignored.
Here's the framework he drilled into MIT students for four decades.
He said never start with a joke. Start by telling people exactly what they're going to learn. Prime the pump before you pour anything in. He called it the "empowerment promise" give people a reason to stay in their seats within the first 60 seconds.
Then he broke down the 5S rule for making ideas stick: Symbol, Slogan, Surprise, Salient, and Story. Every idea worth remembering hits at least three of these.
The part that floored me was his "near miss" technique. Don't just show what's right show what almost looks right but isn't. That contrast is when the brain actually locks something in permanently.
His final rule before any big talk: end with a contribution, not a summary. Don't recap what you said. Tell people what you gave them that they didn't have before they walked in.
I've used this framework in pitches, interviews, and presentations ever since watching it, and the results are not subtle.
Patrick Winston passed away in 2019, but this lecture is still free on MIT OpenCourseWare. One hour, watched by millions, and it costs absolutely nothing.
The most important class MIT ever put on the internet isn't about code or math. It's about how to make people actually listen to you.
Certes, mais lui on va avoir du mal à le faire passer pour une pucelle 🙄
La dernière fois que quelqu'un a entendu autant de voix, ça s'est terminé à Rouen sur un bûcher...
In 2019, MIT professor Patrick Winston gave a legendary 1-hour lecture called “How to Speak.”
It has 18M+ views for a reason.
His frameworks:
• Your ideas are like your children
• The 5-minute rule for job talks
• Why jokes fail at the start
15 lessons on communication:
Résumé de ce début de semaine en 30 secondes.
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