Want to join in? Respond to our weekly writing prompts, open to everyone.
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from Sprachabenteuer
Wochenende am Theater und Fête de la Musique. 20./21. Juni
Meine Praktikumsstelle ist wunderbar – nicht nur aus sprachlicher Sicht, nicht nur, weil ich Deutsch in den unterschiedlichsten Kontexten hören kann, nicht nur, weil ich Berlin und die Arbeit einer NGO kennenlernen darf, sondern auch, weil sie mir ermöglicht, die Kunst zu genießen!
An diesem Samstag konnte ich die „Dreigroschenoper“ von Bertolt Brecht im Berliner Ensemble erleben. Das war eine beeindruckende Erfahrung! Erstens ist das Stück sehr spannend und unterhaltsam – mit vielen Witzen, charmanten Figuren und wunderschöner Musik. Zweitens hatte ich dieses Theaterstück noch nie gesehen, und es war überhaupt mein erster Theaterbesuch in Deutschland. Drittens wurde die Inszenierung mit Audiodeskription angeboten. Das bedeutete, dass ich sie als blinde Zuschauerin selbstständig verstehen und genießen konnte.
Ich war schon lange nicht mehr im Theater. Das Leben ist sehr aktiv und mit Studium sowie vielen anderen Aktivitäten ausgefüllt. Deshalb habe ich diese Möglichkeit besonders geschätzt.
Der Tag war wieder sehr heiß. Meine Vorbereitung auf den Theaterbesuch war deshalb durchaus sinnvoll, denn draußen war ich schon nach wenigen Sekunden völlig verschwitzt. Und als wäre das nicht genug, fing es auch noch an zu regnen. Zu meinem Leidwesen muss ich zugeben, dass ich mich bei Gewitter wirklich schrecklich fühle. Natürlich musste das Gewitter genau dann beginnen, als ich mich auf den Weg zum Theater machte!
Zum Glück liegt unser neues Hotel sehr günstig an den öffentlichen Verkehrsmitteln, sodass ich diese etwas stressige Reise trotzdem gut bewältigen konnte. Es ist offensichtlich, dass das nicht das letzte Gewitter dieses Sommers gewesen sein wird. Obwohl ich völlig verschwitzt von der Hitze und dem schnellen Laufen schließlich in der S-Bahn saß, war das erste Glück des Tages, dass Kai und ich uns ganz ohne weitere Abenteuer getroffen haben.
Eigentlich wollte ich auch noch den Weg von der Station bis zum Theater anhand der Wegbeschreibung überprüfen. Stattdessen habe ich mich einfach auf Kais Erklärungen verlassen. Ich hatte die Wegbeschreibung zwar gut im Kopf und dachte deshalb zunächst, sie sei gar nicht so hilfreich. Meine Chefin Imke hat mir jedoch erklärt, dass dieses System einer ganz klaren Logik folgt. Deshalb möchte ich diese Wegbeschreibungen noch genauer ausprobieren. Auf der Website Berlinfuerblinde.de gibt es viele davon, und sie können für blinde Tourist*innen sehr hilfreich sein.
Vor dem Theater wurden wir zu einer Tastführung eingeladen. Das stimmt: Wenn man blind ist und gleichberechtigt an einer Theateraufführung teilnehmen, beziehungsweise eine Inszenierung wirklich gut verstehen möchte, muss man dafür deutlich mehr Zeit und Vorbereitung investieren. Vor allem muss man überhaupt erst einmal die Möglichkeit dazu bekommen. Die meisten Theaterstücke auf der Welt werden leider nicht mit Audiodeskription angeboten. Meiner Meinung nach ist das einer der Gründe, warum blinde Zuschauer*innen das Theater nicht regelmäßig besuchen.
Kai und ich haben auch darüber gesprochen, dass viele blinde Menschen lieber Theaterstücke mit Musik auswählen. Das hat einen ganz einfachen Grund: Wenn man nicht alles auf der Bühne verstehen kann, bleibt einem wenigstens noch die Musik.
Während der Tastführung bekamen wir viele zusätzliche Informationen über die Bühne, das Theatergebäude, die Requisiten und vieles mehr, was später im Stück verwendet wurde. Vieles davon lässt sich nur schwer während der Vorstellung beschreiben, weil die Audiodeskription zwischen den Dialogen gesprochen werden muss. Je nach Inszenierung ist das für die Audiodeskriptor*innen eine große Herausforderung.
Ich lerne hier die Sprache und möchte die Kultur kennenlernen. Deshalb sind für mich all diese zusätzlichen Informationen sehr wertvoll. Wäre ich allerdings einfach als blinde Zuschauerin in Litauen im Theater, würde ich mir manchmal die Frage stellen, warum uns so viele zusätzliche Informationen gegeben werden. Während der Tastführung hörten wir nämlich nicht nur etwas über das Stück selbst, sondern auch über das Gebäude, die Herstellung der Requisiten und viele andere allgemeine Informationen.
Als neugierige Person finde ich das alles sehr interessant. Wenn ich aber über Gleichberechtigung nachdenke, komme ich manchmal zu einem anderen Schluss: Häufig bekommen wir als blinde Menschen nicht genau das, worum wir gebeten haben, sondern das, was andere für uns ausgewählt haben.
So funktioniert Blindheit leider oft. Wenn ich zum Beispiel eine Straße überqueren möchte und mir jemand hilft, werde ich unterwegs nicht selten auch nach sehr persönlichen Dingen gefragt. Stellt euch vor: Jemand hilft mir gerade über eine stark befahrene Straße und fragt plötzlich: „Sind Sie schon lange blind?“ Was soll ich dann tun? Meistens antworte ich, weil ich ein kommunikativer Mensch bin. Aber ich weiß auch, dass man das nicht immer möchte.
Ähnlich empfinde ich es manchmal bei Tastführungen. Meiner Meinung nach sollten sie sich stärker auf das konzentrieren, was für das Verständnis des Stücks wirklich wichtig ist: die Bühne, die Kostüme, die Figuren, ihre Bewegungen und andere inszenierungsbezogene Informationen.
Vor der Vorstellung konnte ich außerdem den Audiodeskriptor Felix kennenlernen. Dabei fiel mir wieder auf, wie freundlich, offen und mit wie viel Begeisterung hier alle arbeiten. Das war besonders schön zu erleben – vor allem, nachdem ich so oft gehört hatte, Berliner seien eher direkt und manchmal unfreundlich. In meiner Praktikumsstelle habe ich bisher genau das Gegenteil erlebt.
Ich kann nur sagen: Die „Dreigroschenoper“ ist eine wunderbare Wahl für einen gelungenen Theaterabend. Ich möchte dieses Stück später unbedingt auch einmal gemeinsam mit meinem Mann in Litauen besuchen. Die Handlung ist unterhaltsam, die Musik wunderschön und die Ironie über das Leben zeitlos.
Auch der Anfang in unserem neuen Hotel ist sehr schön. Am Sonntagabend sind wir noch kurz zur Fête de la Musique gefahren. Es war wunderbar zu sehen, wie viele Menschen gemeinsam den Sommer und die Musik genießen. Die Stimmung auf den Straßen war besonders freundlich, entspannt und fröhlich.
Im Moment riechen für mich die Berliner Nächte nach friedlicher Gemeinschaft. Wie kann das sein? Hier begegnen sich Menschen mit den unterschiedlichsten Hintergründen – und trotzdem wirkt alles so friedlich und selbstverständlich.
I’m making some final changes, a read through, and then export them in EPUB and PDF. Also have to create a product page for it on Gumroad. Once I publish it I will celebrate. I can’t believe I accomplished so much in so little time.
Again, thanks for all your support!
#writing #draft #editing #novelette #shortstory #update
from
TechNewsLit Explores

Robert Costa, 8 June 2026.

Dasha Burns, 12 May 2026

James Fallows, 24 June 2026
The TechNewsLit portfolio at the Alamy photo agency added more leading media figure photos over the past few weeks, from events in Washington, D.C. The images are available in our Alamy media and business leader collection and the TechNewsLit portfolio at large.
The new additions include:
For photos of the people interviewed by these journalists — Senators Sanders and Scott, former V.P. Mike Pence, and Iranian crown prince Reza Pahlavi — see the TechNewsLit government and political leaders collection and overall portfolio.
Copyright © Technology News and Literature. All rights reserved.
from
Notes I Won’t Reread
I slept well last night, and i wont provide any details in that matter because i said so. i haven’t slept well in a while, long enough that i forgot the last time i ever did. I struggle and im using struggle lossly gossy here, with sleeping the first night in new places that aren’t my house, or haven’t been cleaned by me. you can call me a germaphobe if that’ll help you sleep at night, but id rather stay in my room for years than sit next to some sick, coughing goblin because im afraid whatever they’re launching into the air will become part of the oxygen i breathe, and that disgusts me. enough that i’d need to step outside just to get that awful, awful human breath away from me, if you do not understand, then oh well. who am i to judge an innocent human soul that'll happily inhale whatever complete stranger just launched into the air five seconds ago? Thats Admirable. I hope you both enjoy sharing lungs. I'm not a germaphobe. I just have an overwhelming hatred for humans and their relentless insistence on existing quite close to me, but anyway, I cleaned the place, like im resetting it just to make it tolerable. Not because im obsessed with cleanliness, Mr. “dont keep humans around him” Thats me, I just cant stand the idea that other people have been there, existing too loudly and too close, at least what seem to be cleaned havent been cleaned enough to make me completely calm. after that, i just sat with my own, and i enjoy it, no one trying to turn breathing into a group activity. And it’s quieter this way. away from the noise, away from troubles. if im being honest, I probably forgot my little mental pills somewhere along the way too, or i was just too irritated with humans that i forgot it somewhere here or there, but i still function just fine. if you ignore the fact that i function best when the world stops insisting i participate in it.
Thats all, i have nothing else for today.
Sincerely, Unpaid Human Critic
Anonymous
Percutaneous coronary intervention (PCI) has evolved significantly over the past two decades, enabling physicians to treat increasingly complex coronary lesions with greater precision and predictability. However, certain lesion subsets continue to present unique challenges despite advances in stent technology. Among these, coronary bifurcation lesions and in-stent restenosis (ISR) remain two of the most demanding scenarios in contemporary interventional cardiology.
As clinicians seek strategies that balance procedural success with long-term vessel preservation, the role of the drug coated balloon has gained considerable attention. Unlike conventional stent-based approaches, drug-coated balloons deliver antiproliferative therapy directly to the vessel wall without leaving behind a permanent implant. This characteristic has made them particularly relevant in situations where additional metal layers may complicate future treatment options.
Today, the growing use of DCB technology in complex PCI reflects a broader multidisciplinary effort involving interventional cardiologists, imaging specialists, vascular experts, and clinical researchers working toward more individualized treatment strategies.
While drug-eluting stents remain the foundation of modern coronary intervention, not every lesion is ideally suited for repeat stenting.
Complex lesions often involve:
In these situations, additional stent implantation may increase procedural complexity and potentially affect future treatment flexibility.
This has encouraged clinicians to explore therapies that can provide effective restenosis control while minimizing the long-term burden of permanent implants.
The drug coated balloon has emerged as one such option.
A DCB combines conventional balloon angioplasty with localized drug delivery.
During balloon inflation, an antiproliferative drug—most commonly paclitaxel—is transferred directly to the vessel wall. Once drug delivery is complete, the balloon is removed, leaving no scaffold, polymer, or implant behind.
This “leave nothing behind” approach offers several potential advantages:
These characteristics have made DCB therapy particularly valuable in ISR management and increasingly relevant in selected bifurcation interventions.
In-stent restenosis occurs when tissue growth causes re-narrowing within a previously implanted stent.
Although modern drug-eluting stents have significantly reduced restenosis rates, ISR continues to occur in clinical practice due to factors such as:
Historically, repeat stenting was a common treatment strategy. However, placing additional stent layers inside an already treated segment can create new procedural challenges.
DCB therapy offers an alternative by delivering medication without adding another permanent implant.
Potential benefits include:
Clinical trials such as PEPCAD II and ISAR-DESIRE 3 have demonstrated favorable outcomes for DCB therapy in ISR, helping establish its role in contemporary restenosis management.
Bifurcation lesions involve narrowing at or near a vessel branch point.
These lesions remain technically challenging because intervention must account for:
Stenting across a bifurcation can sometimes complicate side branch access and increase procedural complexity.
In selected bifurcation strategies, DCBs may be used to treat side branches after lesion preparation and balloon angioplasty.
Potential advantages include:
Although patient selection remains important, DCB-based approaches are increasingly being explored as part of lesion-specific treatment planning in bifurcation PCI.
Modern PCI increasingly relies on collaboration among multiple clinical specialties.
Successful DCB-based intervention often involves input from:
Each group contributes valuable insights regarding:
This multidisciplinary approach is particularly important in complex lesions where treatment decisions must balance immediate procedural success with future therapeutic flexibility.
Advanced imaging technologies have become essential tools when evaluating complex coronary disease.
Techniques such as:
help physicians:
Imaging is especially important before DCB therapy because optimal outcomes depend heavily on adequate lesion preparation and vessel expansion.
Unlike stent implantation, DCB therapy relies entirely on effective drug transfer to the vessel wall.
For this reason, lesion preparation plays a critical role.
Key objectives include:
Many experts view lesion preparation as one of the most important determinants of successful DCB treatment.
When performed correctly, it helps maximize therapeutic benefit and supports favorable long-term outcomes.
As evidence supporting DCB therapy continues to expand, innovation within the field has accelerated.
Several drug eluting balloon companies are investing in:
The focus is increasingly shifting toward optimizing both procedural performance and long-term vessel healing.
This ongoing innovation reflects the broader trend toward more personalized and lesion-specific treatment strategies in interventional cardiology.
Among the organizations contributing to this evolving field, Translumina has developed technologies that align with contemporary approaches to vessel restoration and restenosis management.
Its portfolio includes drug-coated balloon solutions designed to support localized drug delivery without leaving a permanent implant behind. These technologies reflect the growing clinical interest in treatment strategies that prioritize vessel preservation while maintaining procedural effectiveness.
As the adoption of DCB therapy continues to expand, companies such as Translumina play a role in supporting innovation through device development, clinical engagement, and ongoing advancements in interventional cardiology.
The role of DCB therapy is expected to continue evolving as additional clinical evidence becomes available.
Future areas of focus include:
As clinicians increasingly move toward vessel-preserving approaches, DCBs are likely to remain an important component of the interventional toolkit.
Bifurcation lesions and in-stent restenosis continue to represent some of the most challenging scenarios in modern PCI. In these complex settings, the drug coated balloon offers a unique therapeutic option by delivering targeted drug therapy without introducing additional permanent implants.
Supported by growing clinical evidence and ongoing innovation from leading drug eluting balloon companies, DCB technology has established an important role in selected coronary interventions. Its ability to support vessel preservation, reduce metal burden, and maintain future treatment flexibility makes it an increasingly valuable tool in contemporary interventional practice.
As multidisciplinary collaboration, imaging-guided intervention, and lesion-specific treatment planning continue to advance, drug-coated balloons are well positioned to play an even greater role in the future of complex PCI.
from
Unattributed
If you look up Neo-Luddite or Neo-Luddism in Wikipedia, Chellis Glendinning, who is considered to be one of the major influencers of the movement, wrote in her paper Notes towards a Neo-Luddite manifesto that Neo-Luddites are:
20th century citizens—activists, workers, neighbors, social critics, and scholars—who question the predominant modern worldview, which preaches that unbridled technology represents progress.
And, looking at the hobbies I am most interested in shows that at least half of them are rooted in more heritage ideas:
It could even be argued that my interest in Photography also fits in with the concept of Neo-Luddism. However, given that modern photography is highly dependent on current technologies, I don't count it.
But, just looking at my hobbies isn't a reflection of my thoughts in this area. While I absolutely agree with the sentiment that we should question the concept that unbridled technology represents progress, I cannot align myself with a number of other movements that appear to be related to neo-Luddism. Some of those are the anti-globalization movement, and the anarcho-primitivism movements.
Then what do I consider myself? I came up with a different term to describe my relationship with technology over a decade ago: Techno Curmudgeon. Basically, a curmudgeon is similar to a misanthrope, a person who distrusts other people and human nature. However, instead I have a distrust of technology. I maintain that a lot of the changes that we have seen over the last two decades have really been more change for the sake of change, instead of change with specific goals to improve technology for people.
This mistrust of technology is rooted in the many, many cases of the abuse of technology that we have seen. If I were to say there was any single story that made me into a Techno Curmudgeon it would be the story: How Target Figured Out A Teen Girl Was Pregnant Before Her Father Did. (Note: the original story was in the New York Times, but it is heavily sourced in the Forbes version).
The fact is, that was, in my book a severe invasion of privacy. This is on the order of the Police or a government body requiring that your Library book records be made available to them. I also consider this on the order of an Insurance Companies building a profile on you so they can deny your claim because of something ridiculous.
This can be extended to more recent things that we have seen. For example, the Mozilla Foundation deciding to become an advertising company. Just because they lack imagination needed to stick to their original principles while raising the capital they need, all of a sudden you become the product for them to sell.
In the end, the concept of becoming a Techno Curmudgeon (a term I would love to spread even further) means that I don't accept technology for technology's sake. I maintain a healthy skepticism which is reflected in my hobbies. All of them are about minimizing my interactions with computers and the online world. Instead, I make use of technology to disconnect from technology (like using my E-reader to get away from the computer). Something else that isn't reflected in this list: I minimize the number of subscriptions I have. I don't have Spotify, Netflix, or other streaming services.
This isn't to say I am completely able to avoid harmful technology. For example, given where I live, I am stuck using Amazon. They are the only company that can reliably (most of the time) deliver things that I need. However, when possible, I avoid technology that has proven itself to be harmful, or technology that hasn't proven there is a need for it to change.
from Two Sentences
Two months with you is long. It is never enough.

This is more of an overall reflection on my baal teshuva yeshiva period in Jerusalem (2007-2010). So that it is still recorded somewhere online:
I am happy that I left Judaism because of many different reasons; socially, intellectually, theologically, and physically. However, I do look positively back at the times where we as young adults had some great times at yeshiva Ohr Somayach. Yes, the food was really bad and the dorms were horrendous, but it was a way to connect to so many different people from all around the world while learning more about THEIR Charedi Judaism. A bunch of us never fitted in and we were never going to fit in. I have many negative stories about how Ohr Somayach in Jerusalem was actively pushing people to become Charedi instead of merely “good Jews”. But I won't discuss that here. I am so happy that I didn't go out on shidduchim while in yeshiva because almost all of the people I knew back than who did get married at a young age did also get divorced very quickly. It felt like a trap: You go into Ohr Somayach > become more frum > try to find someone “on your level” > have kids > live in Israel for X amount of years > and then ........ depending on the specific outcome/situation they would often have a very difficult life. With the latter I mean working working multiple jobs in Israel, or a 50-60 hour work week just to make ends meet.
Anyway, That was a long time ago because its 2026 already , Now I have a decent job, finished a good university, acquired different professional skills while still improving them. Focusing on Python, Excel, learning a different language. SQL, Linux. I really enjoy it all. Sometimes I still miss my “brothers in arms” who I studied with during the day, and partied with at night. We had some great Thursday evenings in town. Sometimes I miss being able to discuss Judaism with friends because I do still find it interesting. And no I cant discuss that with my current friends/acquaintances because non of them are Jewish.
I think we were part of the last “Baal Teshuva movement” era. There was still money for trips to the Golan Heights and Tsfat (Safed) including staying over at a hotel. I experienced the 2007-2010 years in retrospect as the final “golden Baal Teshuva movement years” before internet became more easily available on your smartphone. Don't get me wrong, we where trying to pick up free WiFi connection in the neighborhood and surprisingly the password was often “Admin”. At one point i managed to download so many secular books on my laptop that I was having my own curriculum during the break.
I know that Ohr Somayach changed a lot. they removed the courtyard where we used to sit underneath the fig tree. And they are catering towards high income families. this makes sense financially because back in 2007-2010 Ohr Somayach was in a financial crisis because of how much money they were spending. However, I guess they always managed to be somewhat successful at fund raising in the US. Otherwise, we could never have such amazing trips and events.
Times change I wonder if classical kiruv will still be a thing in 10 years from now. What I do know is that the younger generations have easy access to knowledge. therefore, my advice is the following to the upcoming yeshiva generation:
1# Remain critical and verify sources. 2# Look for academy sources and theories on the topic as well. 3# NEVER take a sabbatical from University to join a yeshiva. (Chances are high that you will stay longer) 4# Do not go to yeshiva after age 25. (Your focus should be towards your future > study/work) 5# Never cut your secular family and friends out of your life. 6# Set goal/s what you want to achieve in X amount of time.
from
Littoral
je suis l'enfant des rues ténébreuses grandir est plus grand que mes espérances il m'arrive de parler à mes fantômes
imprévisible beauté printemps vagabond à piétiner les roses j'ai peur de l'azur
je m'appelle décolonial éloigne-toi de mes rives éloigne-toi de mes sept voiliers j'ai souvenance j'ai souvenance masque somptueux l'histoire m'appelle à contre-jour
— Rodney Saint-Éloi, Nous ne trahirons pas le poème, p. 33
from Lastige Gevallen in de Rede
Zullen we haat en nijdje spelen we zitten elkaar toch maar te vervelen dan hebben we iets beters te doen lezen en schrijven tussen de regels van het goed fatsoen dan verwijt ik jou meer dan iets en jij mij heel wat en vallen we langzaam maar zeker ongezellig samen in een diep en donker gat daar gaan we dan mee door tot het onverbiddelijke end ik zeg dat jij je gedraagt als een idioot, jij zegt dat ik er één ben zo gaan we door tot we elkaar echt niet kunnen luchten of zien we schreeuwen 'wat heb ik ooit misdaan dat ik jou als mijn noodlot heb verdiend' dan timmer ik er op los en jij ontvangt de klappen en dan ga jij uiteindelijk opstappen en dan krijg ik spijt zit vol zelfverwijt want ik ben je kwijt en ondanks dat kom je niet terug je bent zeker niet voor niets gevlucht en dan zoek ik mijn heil in de drank wentel me in de smerige stank van echte en van junkie verdriet maar zorg dat niemand mij buiten mijn eigen alco hol me zo bezopen ziet tot het punt van geen terugkeer is bereikt en iedereen ziet hoe ik mezelf in de dranksuper onderzeik lijkt je dat wat schat of zal ik de tv aanzetten en irritant langs alle kanalen zappen?
from Lastige Gevallen in de Rede
Ik heb momenteel heel veel last van voorkennis ik ken alles al ver voor het er echt is zo is het eigenlijk altijd geweest ruim voor de uitnodiging ben ik op het feest het is inmiddels een flink probleem Ik vraag de huidarts om zalf maar die ziet niet wat ik weet wat zal intreden, akelig jeukend eczeem voorkennis is een vreselijk ongeluk ook al hou ik spullen stevig vast ze gaan toch stuk ik zie ellende maanden voor het zover is opdagen, en ken de meeste antwoorden veel eerder dan de vragen terwijl er iets op peil is hoor ik het zich al verlagen zie ze vallen in kuilen voor zichzelf of anderen gegraven ik weet waar en wanneer het mis gaat terwijl ik nog bezig ben om me netjes te gedragen ik kan zonder twijfel elke huid verkopen nog voor het leren jasje is afgeschoten alle loterijen op aard hoeven hier nooit te adverteren voor hun overdosis levensloten jaren geleden zag ik al dat ze alleen de hoop op beter leven verkopen ik ben al op mijn bestemming voor ik er naar toe ga fietsen of lopen nog voor ik mijn moede hoofd er op leg zie ik het verschil al tussen een puntige rots en een kussen voor er iets van wrevel tussen de partijen is ontstaan loop ik al te zussen het is zo vervelend om vooraf alles te weten gelukkig zal ik deze narigheid op donderdag om vijf uur veertien zijn vergeten.
from Lastige Gevallen in de Rede
Wat maak je me nou?! Een extra donker kelder lokaal voor bijscholen van de onderbouw en een fraaie scheidingsjurk voor je derde of is t al je vierde ex vrouw dat en heel veel roekeloos leven tegen wild woekerende rouw En ik overweeg nog het een en ander voor morgen misschien een robot voor het mogelijk maken van betere dus duurdere zorgen ruimte voor de schatkamer waarin verpakkingsmateriaal kan worden opgeborgen en een plekje in huis waar je even ongestoord lang en breed kan instorten dat is zo'n beetje het plan want dat komt er nou van als je mij mijn gang laat gaan dan draag ik dag in dag uit dag aan zinvol bij aan ieders vreselijk ingewikkeld bestaan.
from
EpicMind

Freundinnen & Freunde der Weisheit! Wer morgens gleich zum Smartphone greift und durch soziale Feeds scrollt, startet den Tag im Reaktionsmodus. Die eigene Aufmerksamkeit richtet sich auf fremde Inhalte, fremde Prioritäten, fremde Stimmen. Die eigene Kreativität kommt dabei zu kurz.
Was dabei zu kurz kommt, ist das kreative Potenzial, das gerade in den frühen Stunden besonders hoch ist – und das entscheidend sein kann für ein produktives Arbeiten.
Ein einfacher, aber wirksamer Perspektivenwechsel besteht darin, den Tag mit einem kurzen kreativen Impuls zu beginnen: schreiben, skizzieren, notieren, entwerfen. Es geht nicht um Perfektion, sondern um den Aufbau von Eigenimpulsen. Wer zuerst erschafft, bevor er konsumiert, aktiviert nicht nur seine Gestaltungsfähigkeit, sondern schützt auch die geistige Klarheit vor der Zersplitterung durch Input-Überflutung. Die ersten 15 bis 20 Minuten eines Arbeitstages reichen oft aus, um eigene Gedanken in Gang zu bringen – bevor die Welt anklopft.
Der Nutzen dieser Gewohnheit liegt in ihrer mehrfachen Wirkung: Sie schafft frühe Erfolgserlebnisse, erhält die Konzentration für anspruchsvolle Aufgaben und stärkt die Selbstbestimmung im Umgang mit der eigenen Zeit. Das bedeutet nicht, sich komplett von Nachrichten und Netzwerken abzuschotten – sondern die Reihenfolge bewusst zu gestalten. Wer zuerst erschafft, steuert den eigenen Arbeitstag aus einer Position der Klarheit und Kontrolle.
Produktivität entsteht nicht durch permanente Verfügbarkeit oder maximale Effizienz. Sie beginnt mit der Fähigkeit, den eigenen Denkraum gegen zu frühe Überreizung zu verteidigen. Wer sich morgens ein kurzes Zeitfenster reserviert, in dem ausschliesslich eigene Ideen zählen, schafft die Voraussetzung für echten Fokus – und vielleicht auch für das, was später Resonanz erzeugt.
„Intelligente Fehler zu machen, ist eine grosse Kunst.“ – Federico Fellini (1920–1993)
Unser Gehirn kann sich nicht alles merken. Schreibe Gedanken, Ideen oder Aufgaben sofort auf, damit Du sie nicht vergisst und Dein Kopf frei für Wichtiges bleibt.
Ich stehe kurz vor meinem fünfzigsten Geburtstag. Eine Zahl, die nüchtern betrachtet nichts anderes bedeutet, als ein weiteres volles Lebensjahrzehnt. Und doch lädt sie zum Innehalten ein. Dabei drängt sich mir eine Beobachtung auf, die ich lange mit einem gewissen Unbehagen betrachtet habe: Ich bin heute öfter alleine als früher. Nicht immer, nicht ausschliesslich – aber doch merklich häufiger. Und noch vor einigen Jahren hätte ich das für ein Warnsignal gehalten. Einsamkeit, so heisst es, sei die neue Volkskrankheit. Rückzug wird rasch mit Mangel gleichgesetzt. Doch je länger ich darüber nachdenke, desto weniger überzeugt mich diese Gleichung.
Vielen Dank, dass Du Dir die Zeit genommen hast, diesen Newsletter zu lesen. Ich hoffe, die Inhalte konnten Dich inspirieren und Dir wertvolle Impulse für Dein (digitales) Leben geben. Bleib neugierig und hinterfrage, was Dir begegnet!
EpicMind – Weisheiten für das digitale Leben „EpicMind“ (kurz für „Epicurean Mindset“) ist mein Blog und Newsletter, der sich den Themen Lernen, Produktivität, Selbstmanagement und Technologie widmet – alles gewürzt mit einer Prise Philosophie.
Disclaimer Teile dieses Texts wurden mit Deepl Write (Korrektorat und Lektorat) überarbeitet. Für die Recherche in den erwähnten Werken/Quellen und in meinen Notizen wurde NotebookLM von Google verwendet. Das Artikel-Bild wurde mit ChatGPT erstellt und anschliessend nachbearbeitet.
Topic #Newsletter
from An Open Letter
One thing I’ve been thinking about after talking with N Was how my Hinge profile could likely benefit from some sort of faith thirst trap or photo that shows off my physique. I feel like I’ve gotten a lot of mixed feedback on this, but most of it involves tastefully showing off your body. I feel like my profile lacks that right now, and it feels weird to try to figure out a socially acceptable way to show off.
Anonymous
Top 10 High-Paying AI Skills That Companies Want in 2026
Artificial Intelligence is no longer limited to research labs and tech giants. Today, AI is transforming industries such as healthcare, finance, education, e-commerce, manufacturing, and recruitment. As businesses continue investing in automation and intelligent technologies, the demand for skilled AI professionals is rising rapidly.
According to industry trends, companies are actively looking for candidates with specialized AI expertise rather than general technical knowledge. Whether you are a student, job seeker, or working professional, learning the right AI skills can help you access better career opportunities and higher-paying roles.
In this guide, we explore the top 10 high-paying AI skills that companies want in 2026 and how they can help you build a successful future-ready career. Why AI Skills Are in High Demand Organizations are adopting AI to improve efficiency, automate repetitive tasks, analyze large datasets, and enhance customer experiences. This shift has created strong demand for professionals who can develop, manage, and optimize AI-powered systems.
Employers searching through an AI job portal often prioritize candidates who possess practical AI skills alongside problem-solving and analytical abilities. As a result, professionals with specialized AI expertise frequently command higher salaries and faster career growth.
Machine Learning continues to be one of the highest-paying specializations listed on many AI job portal platforms.
Key applications include: AI-powered chatbots Content generation Marketing automation Virtual assistants Code generation Companies are increasingly hiring candidates with Generative AI skills to improve productivity and innovation.
Natural Language Processing (NLP) – Natural Language Processing enables machines to understand, interpret, and generate human language. NLP is widely used in: Voice assistants Sentiment analysis Chatbots Translation tools Search engines As businesses focus on improving customer experiences through conversational AI, professionals with NLP expertise can access lucrative career opportunities.
Data Science and Analytics – AI systems rely heavily on high-quality data. This makes Data Science one of the most valuable skills in the AI ecosystem. Data scientists help organizations: Analyze business trends Build predictive models Generate insights Improve decision-making Professionals who combine AI knowledge with data analytics are often preferred by employers using an AI recruitment platform to identify top talent.
Prompt Engineering – Prompt Engineering has emerged as a specialized skill in the age of Generative AI. Prompt engineers create structured instructions that help AI models generate accurate and useful responses. This skill is becoming increasingly important for: Content creation Customer support automation Research assistance AI workflow optimization Many organizations now consider prompt engineering an essential component of modern AI operations.
Computer Vision – Computer Vision allows machines to understand and interpret visual information from images and videos. Industries using computer vision include: Healthcare Manufacturing Retail Security Automotive Popular applications include facial recognition, quality inspection, medical imaging, and autonomous systems. As visual AI technologies continue evolving, demand for computer vision experts is expected to grow significantly in 2026.
AI Automation and Workflow Design – Businesses are increasingly using AI to automate repetitive processes and improve operational efficiency. Professionals skilled in AI automation can help organizations: Automate customer interactions Streamline workflows Reduce operational costs Improve productivity Knowledge of workflow automation tools and AI integrations can make candidates highly valuable in today's competitive job market.
AI Product Management – Not every high-paying AI role requires advanced coding expertise. AI Product Managers bridge the gap between technical teams and business stakeholders. They oversee the development, implementation, and success of AI-powered products. Key responsibilities include: Defining product strategy Understanding customer needs Managing AI projects Coordinating development teams This role is ideal for professionals with leadership and business management skills.
AI Cybersecurity As AI adoption grows, so do security concerns. Organizations require professionals who can protect AI systems from threats and vulnerabilities. AI cybersecurity specialists focus on: Threat detection Security monitoring Risk assessment Data protection Companies handling sensitive customer information are increasingly investing in AI-powered security solutions.
AI Cloud Computing – Modern AI applications rely on cloud infrastructure for scalability and performance. Professionals with expertise in cloud-based AI solutions can help organizations deploy and manage AI systems efficiently. Popular areas include: AI deployment Cloud architecture Model hosting AI infrastructure management Combining AI knowledge with cloud computing expertise often leads to some of the highest-paying positions in the technology sector.
How to Start Learning AI Skills in 2026
If you are new to AI, focus on building a strong foundation before specializing. A practical learning path includes: Learn Python fundamentals. Understand data analysis concepts. Explore Machine Learning basics. Study Generative AI applications. Build real-world projects. Create an impressive portfolio. Practice technical interviews. Apply through a trusted AI job portal. Employers increasingly value practical experience, so showcasing projects and certifications can significantly improve your chances of landing AI-related roles.
Future Career Opportunities in AI The AI industry is expected to create millions of new jobs over the next decade. Some of the most promising career options include: AI Engineer Machine Learning Engineer Prompt Engineer Data Scientist AI Product Manager AI Research Scientist NLP Specialist Computer Vision Engineer AI Consultant AI Automation Specialist Many companies now use intelligent hiring systems and specialized AI recruitment platform solutions to identify skilled professionals quickly.
Conclusion – The future of work is increasingly shaped by artificial intelligence. Learning the right high-paying AI skills can help you stay competitive, increase earning potential, and access exciting career opportunities across industries. Whether you choose Machine Learning, Generative AI, NLP, Computer Vision, or AI Automation, investing in AI education today can create long-term career advantages. As demand for AI talent continues to rise, professionals who continuously upgrade their skills will be best positioned to succeed in 2026 and beyond. If you're planning your next career move, building expertise in these AI domains and exploring opportunities through a reliable AI job portal can be an excellent starting point toward a future-ready profession.
from What Inspired Me
Ground-crawling heavy bass, brain-hacking intricate glitches, and tender yet frantic build-ups. In 2013, Jon Hopkins' Open Eye Signal literally shattered club floors worldwide, dragging him into a grueling world tour of over 165 shows.
However, skip ahead 11 years. In 2024, what he is playing is not a heavy four-on-the-floor kick, but strings that gently melt into the silence of space—music for a NASA space exhibition, and a time capsule sent to the lunar surface.
Why did he abandon the frenzy of the floor and head for the “altar of silence”? Behind this transformation lay an inevitable drama brought about by burnout, spiritual exploration, and a certain commissioned work.
Jon Hopkins was born in London. Showing musical talent from an early age, he attended the Saturday program at the Royal College of Music at age 16. There, he entered a concerto competition playing Ravel’s Piano Concerto in G major, and won.
Ironically, however, that experience distanced him from the world of classical piano.
“I had never been so nervous in my life as I was for that big concert. I realized I didn't need to feel that way.”
He reflected in a later interview, noting that he stopped performing in classical concerts afterward. Instead, he turned to electronic music at 17—bringing the musical foundation cultivated through five years of piano training into the introspective space of the studio.
This episode from his youth might be directly connected to the exhaustion he later felt when performing massive live sets in front of 20,000 people at Glastonbury. While he hasn't explicitly linked the two, it suggests an early sensitivity to the nervous strain of performing before large audiences.
Ironically, by escaping to the electronic music world to avoid public performance, he found himself once again standing in front of massive crowds. At least in the early stages of touring, though, this was a voluntary choice, not a mandate. Looking back, he noted, “Immunity changed my career. I jumped from 500-capacity venues to 5,000 all at once,” adding that after finishing a record, he was “happy to go around the world playing it.” Furthermore, he described his label, Domino, as one that “happily allows artists to take as much time as they want and never rushes them,” indicating no external pressure. As a result of being drawn into the gravity of his own success, he ended up taking on the same kind of exhaustion he once experienced in classical concerts—only on a vastly larger scale.
Sublimating his Royal College of Music piano techniques into the grammar of electronic music, and following collaborations with Brian Eno and Coldplay, film scoring, and a joint work with King Creosote (Diamond Mine, Mercury Prize-nominated), Hopkins released his fourth album, Immunity, in 2013.
The track Open Eye Signal is an 8-minute epic, with the main riff alone taking four months to craft using a 1979 Korg MS-20. The pleasure of its meticulous build-up and release achieved a high-dimensional balance between club music functionality and IDM experimentation.
The album Immunity was nominated for a Mercury Prize and later selected in Pitchfork's “50 Best IDM Albums of All Time,” solidifying its reputation as an electronica masterpiece. Mixmag praised it as “an album of organic techno and exquisite mini-symphonies.” The latter half of the album features ambient-leaning tracks, showing that the pendulum swing from rhythm to silence was already at the core of his musical identity.
However, this success came at a heavy price.
In terms of musical operation, the Immunity tour live sets were primarily DJ-style, controlling tracks in real-time using devices like Kaoss Pads. The scale and production of the show, however, were entirely different. Combined with an immersive, massive production featuring a team of LED hula-hoop performers, massive projections, strobes, and lasers, he reached the point of headlining the Park Stage at Glastonbury in front of 20,000 people.
Moreover, the album production itself had already drained him. Hopkins recalled on his website, “By the time I finished making Immunity, I was pretty burnt out musically.” On top of that came a tour of over 165 shows.
The core of his exhaustion wasn't the technical burden of playing, but the destruction of his biological rhythm—constantly releasing maximum adrenaline in clubs and festivals late at night, compounded by endless jet lag.
“Between putting out maximum adrenaline in the middle of the night and constant jet lag, I lost the ability to rest properly,” he stated.
It’s hard to deny that the nervous strain of large-scale performances he experienced at his 16-year-old competition had compounded once again on the 20,000-capacity stages.
Faced with this exhaustion, Hopkins spoke to Billboard magazine: “The exhaustion reached its limit. I felt I couldn't go on like this, and threw myself deeply into Transcendental Meditation ™ for a month.”
Before this, he had practiced Kundalini meditation (a yoga-derived technique combining breathing, mantras, and poses to induce altered states) and self-hypnosis (inducing deep relaxation, which he used to ease touring tension). However, triggered by the drain of the Immunity tour, he transitioned to TM, making it a daily routine.
What is Transcendental Meditation ™? A technique where one silently repeats a mantra to quiet the mind and naturally enter a state of deep rest. Unlike the previous two techniques, it involves no physical movement or breath control and can simply be done sitting in a chair. It requires learning from a certified instructor.
Then, at the age of 35, backed by years of meditation practice, he experienced DMT for the first time.
What is DMT (Dimethyltryptamine)? A powerful natural hallucinogen found in plants and the main active compound in Ayahuasca. Within a short 10-minute trip, it is said to bring profound transformations unattainable by normal consciousness, often described as “the most intense psychedelic experience.”
“That experience changed everything,” he reflects. “As I repeatedly experienced expanded states of consciousness, it was only natural that the destination of my music would change.”
Let's pause here to touch upon Hopkins' creative style itself.
Across multiple interviews, he has consistently stated:
“I plan nothing. I intuitively follow a single thread, and only realize what the song is about after the fact.” “There was a strange intelligence behind the process that didn't feel like it came from me.” “When I listen back to things I made years ago, I surprise myself, wondering what that sound is. Most of the sounds I can't explain how they came to exist.”
This creative style is deeply connected to the act of setting the conscious ego aside through meditation or DMT to draw music from the subconscious. Regarding TM, he noted it is “very helpful for drawing out ideas drifting deep in the subconscious.”
Here, the name of a certain painter comes to mind: the Swedish artist Hilma af Klint (1862–1944). After experiencing spiritual visions during séances in 1906, she began painting abstract works, predating Kandinsky as a pioneer of abstract art. Creating works under the belief that she was “commissioned to paint by higher entities,” her sensation of receiving something beyond the conscious ego strongly resonates with Hopkins' narrative.
Of course, the frameworks are completely different between af Klint, who believed in spiritual channeling, and Hopkins, who discusses the subconscious within the contexts of meditation and neuroscience. Yet, the structural experience of “when conscious planning is let go, something seemingly from the outside guides the work” is strikingly similar.
When tracing Hopkins' evolution, it’s difficult to deny the possibility that this wasn't merely a shift in musical direction, but an inevitable outcome of a highly suggestible individual deepening his access to the subconscious through meditation and psychedelics.
Official Website of the Hilma af Klint Foundation
Emerging from this period of introspection was his fifth album, Singularity (2018). Incorporating tracks featuring choirs, it further deepened the rhythm-to-silence pendulum swing already evident in Immunity, now framed within a more psychedelic context. Rather than a definitive departure, it can be heard as an extension of Immunity with intensified introspection. Hopkins describes the album's structure as mirroring the arc of a psychedelic experience—from chaos to clarity.
“I made this album to be listened to in its entirety. It’s a resistance to the streaming era's habit of immediately skipping to the next song.”
Nominated for a Grammy, the album cracked the UK Top 10, dragging him once again into a tour of hundreds of shows. By late 2019, sleep deprivation and exhaustion reached their limits once more. “If it weren't for COVID, I might have kept going a bit longer. But I felt like the universe took me by the hand,” he said.
Considering the dancefloor fanbase that followed him up to Singularity, his next two albums represented a kind of farewell. Hopkins completely abandoned beats, steering toward pure ambient works. The chart numbers honestly reflected the cost of this shift—but Hopkins himself didn't care. True to his words, “I made it without thinking about commercial success at all,” the success of Immunity and its aftermath had already afforded him the financial and mental freedom to create exactly the music he desired.
The forced halt of the pandemic, an expedition to the Tayos Caves in Ecuador, and his involvement with high-precision ketamine therapy. These elements converged, leading Hopkins to produce his first entirely drumless album.
Clocking in at over an hour, the album is designed to match the average duration of a ketamine trip, and upon release, it was immediately utilized by therapists and clients in actual psychedelic therapy sessions.
What is Psychedelic Therapy? Unlike the gradual process of letting go of desires in Zen meditation, this is a more rapid, medical approach. Using substances like ketamine or psilocybin (the active compound in magic mushrooms), it induces altered states of consciousness unattainable normally within a short time, aiming to resolve trauma and shift self-awareness. Before release, Hopkins had already designed musical experiences for Imperial College London's psilocybin clinical trials, and this album serves as an extension of that work.
On the UK Album Chart, it peaked at No. 30 and charted for just two weeks, a significant drop compared to Singularity's No. 6. However, beyond the charts, the work was vibrantly alive—receiving so much feedback from therapists and users that Hopkins created a dedicated trip report page on his website.
What is notable here is that eliminating drums was likely more than just a musical choice. The Immunity and Singularity style of meticulously placing sounds over a complex rhythmic grid requires immense time and logical decision-making. By letting go of that and transitioning to ambient focused on sustained notes and drones, the nature of production fundamentally changes—sound is no longer bound by a rhythmic grid but follows the flow of intuition. “I didn't do any conscious planning on this record,” Hopkins reflected. The goal of making music for meditation, the ambient format, and a creative stance of trusting the subconscious—these three elements aligned perfectly for the first time during this period.
Originating as a commissioned piece for Dreamachine in 2022, it evolved by late 2023 into a 41-minute, 8-chapter opus. Beginning with “altar” and quietly concluding with “nothing is lost,” Hopkins intends for it to be experienced as one continuous piece (the 8-track split was a label request). It is a ceremonial masterwork woven with cavernous sub-bass, hypnotic drums, and ascending melodies.
The starting point was a commission for Dreamachine in London—an immersive installation that induces visual hallucinations behind closed eyes using stroboscopic light. In an interview with Ableton, Hopkins noted:
“By its very nature, it had to be quite warm and accessible.”
The constraint of designing an immersive guided experience brought a new warmth to his music, sublimating into RITUAL.
Chart-wise, it peaked at No. 51 in the UK, dropping further than Music for Psychedelic Therapy. Yet, RA Magazine praised it as “masterfully crafted, sharpening the senses and encouraging introspection,” while Under the Radar gave it an 8.5/10. “Commissioned work opens new doors for an artist”—music designed to guide the internal experiences of others through the Dreamachine ultimately elevated into his most deeply personal art.
Following RITUAL, Hopkins' ambient works entered a new phase. Through collaborations with Icelandic post-classical composers, he shifted his affinity from drone and electronic-based introspective ambient toward symphonic, sweeping musical landscapes driven by strings and piano.
Released roughly two months after RITUAL, this single was co-written with Ólafur Arnalds, an Icelandic multi-instrumentalist and composer internationally acclaimed for his delicate fusion of neo-classical and electronics.
This piece was explicitly written for Space for Earth, NASA’s first immersive public exhibition at its Washington D.C. headquarters. It is spatial music designed to evoke the “Overview Effect”—the overwhelming realization of Earth's beauty and fragility experienced by astronauts viewing it from space.
If Music for Psychedelic Therapy and RITUAL were ambient works grounded in drones, Forever Held takes a step further. Arnalds' rich string arrangements expand entirely, evoking a majestic image with a cosmic scale and warm embrace. Maintaining ambient silence while offering emotional release through full orchestral resonance, this track stands as one of the defining masterpieces of his ambient career.
The waveform data of this song was engraved onto a NanoFiche disk and will be permanently preserved on the lunar surface as part of NASA's Artemis program.
Interestingly, we see the recurrence of his connection with Coldplay. In 2008, Hopkins played an original track for Chris Martin during the Viva la Vida sessions. That track, “Light Through the Veins,” was adopted as the intro for “Life in Technicolor,” setting the stage for Coldplay's defining album. Sixteen years later in 2024, Forever Held opens Coldplay's album Moon Music. Hopkins' career has repeatedly been mirrored in the massive pop lens of Coldplay at crucial turning points. If the 2008 track was the fresh ambient of an electronica up-and-comer, the 2024 track is the cosmic-scale silence achieved after undergoing burnouts, meditation, psychedelic experiences, and profound commissioned works.
His journey of transformation continues to cross paths with new external contexts in 2026, marking his participation in the soundtrack for the documentary film Wilding. The film chronicles the 18-year “rewilding” project to restore natural ecosystems to a ruined farm in Sussex, UK.
While Hopkins is credited as the main co-producer, this isn't a full-fledged solo album but a joint project with Icelandic film composer Biggi Hilmars. The 13-track (31-minute) compilation includes many solo tracks by Hilmars, indicating Hopkins' involvement is partial. Moreover, the reuse of material from the 2013 Immunity era—such as track 4, “New Land”—reveals this work as an extension of his commissioned (film scoring) repertoire.
Musically, the division of labor is clear: Hopkins handles electronic processing and ethereal synths, while Hilmars predominantly provides dramatic orchestral textures like strings and piano. For the “Wilding Theme,” the lead sound Hopkins used is actually his own voice, heavily processed to sound like an ancient woodwind instrument. This alien electronic acoustic merges with Hilmars' neo-classical majesty, lending a unique depth to the nature documentary's atmosphere.
It can be seen as a work that practically deepens the post-classical affinity he established since Forever Held, channeled through the functional format of film scoring.
Eleven years have passed since the glitches of Open Eye Signal shook dancefloors globally. Today, Jon Hopkins makes music in a place entirely antithetical to floor frenzy.
Yet, tracing his path reveals this wasn't a contradiction, but an inevitability. Burnout called for meditation; meditation opened the door to DMT; psychedelic experiences rewrote the purpose of his music; and commissioned works unlocked new expressive horizons.
“Music is medicine, space, and ritual.” Deepening this conviction, he continues to quietly expand the range of his music—from the dancefloor to the altar, from Earth to the cosmos.
And now, through his collaborations with Icelandic post-classical composers, Hopkins' music is undergoing yet another transformation. How will the introspection cultivated through electronic music grammar merge and deepen with the symphonic majesty woven by strings and piano? Looking back, the aforementioned painter Hilma af Klint also described her work as directly translating images descending from the universe through spiritual rituals. It's highly possible that such an affinity influenced Hopkins' participation in the NASA project. Will he continue to explore the realms of even more deeply autosuggestive inspiration? Only time will tell.