https://media.ccc.de/c/lgm2026 This feed contains all events from lgm2026 as opus see video outro Mon, 11 May 2026 16:40:25 -0000 https://static.media.ccc.de/media/unknown.png https://media.ccc.de/c/lgm2026 https://media.ccc.de/v/lgm-2026-110678-design-students-experimenting-with-free-software For design students, software is a basic and everyday working tool. When teaching design, the question of how much software should be taught is as persistent as it is relevant. In this talk, I present some notes on an assignment given to design university students from several disciplines, in which they are asked to identify and test free and open-source software for a common task in their daily practice, and to produce a short evaluation and public review. The assignment aims to introduce the free software philosophy through a practical approach. It includes an introduction to the basics of free software, community building, and the presentation of case studies such as Blender and its animated films. This activity is preceded by a theoretical reflection on software from the perspective of Vilém Flusser’s black box theory. Student reviews reveal several recurring themes regarding the relationship between design and software. One of the most common is the lack of basic technical understanding of the functions encoded in user interfaces, along with a certain blind trust in the “wizard” assistance provided by proprietary software. This issue has deep pedagogical implications for design education, since at some point developing technical competence in design seems to be reduced to becoming “an advanced user” of a specific software suite. The assignment asks students to distinguish between two different situations when testing the selected free software: the uncomfortable sensation of lack of knowledge or speed when learning a new tool - in comparison to performing the same task in familiar software-, and the objective issues of usability or missing functionalities in the tested software. As a general conclusion, most students value both the experience of discovering free software suited to their specific needs and the testing process itself as a meaningful alternative. Some students also discover a new world to explore and experiment. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/W8BELX/ Fri, 24 Apr 2026 17:50:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110678-eng-Design_Students_Experimenting_with_Free_Software_opus.opus?1777159054 fd752b98-00eb-5b1d-8488-9c145fbdfb0a 2026-04-24T17:50:00+02:00 Lila Pagola No W8BELX, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 For design students, software is a basic and everyday working tool. When teaching design, the question of how much software should be taught is as persistent as it is relevant. In this talk, I present some notes on an assignment given to design university students from several disciplines, in which they are asked to identify and test free and open-source software for a common task in their daily practice, and to produce a short evaluation and public review. The assignment aims to introduce the free software philosophy through a practical approach. It includes an introduction to the basics of free software, community building, and the presentation of case studies such as Blender and its animated films. This activity is preceded by a theoretical reflection on software from the perspective of Vilém Flusser’s black box theory. Student reviews reveal several recurring themes regarding the relationship between design and software. One of the most common is the lack of basic technical understanding of the functions encoded in user interfaces, along with a certain blind trust in the “wizard” assistance provided by proprietary software. This issue has deep pedagogical implications for design education, since at some point developing technical competence in design seems to be reduced to becoming “an advanced user” of a specific software suite. The assignment asks students to distinguish between two different situations when testing the selected free software: the uncomfortable sensation of lack of knowledge or speed when learning a new tool - in comparison to performing the same task in familiar software-, and the objective issues of usability or missing functionalities in the tested software. As a general conclusion, most students value both the experience of discovering free software suited to their specific needs and the testing process itself as a meaningful alternative. Some students also discover a new world to explore and experiment. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/W8BELX/ 00:22:23 https://media.ccc.de/v/lgm-2026-110683-typeroof-the-march-to-v1 tbd Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/NG9DSV/ Sat, 25 Apr 2026 10:35:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110683-eng-TypeRoof_-_The_March_to_v1_opus.opus?1777125846 253668d3-ee78-572c-8c6e-dfd7766ff4a4 2026-04-25T10:35:00+02:00 Lasse Fister No NG9DSV, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 tbd Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/NG9DSV/ 00:24:30 https://media.ccc.de/v/lgm-2026-110666-floss-real-time-visuals-for-media-arts-with-ossia-score This {presentation/workshop} will introduce ossia score to the audience. It is a free and open-source desktop software, running on Linux (including Raspberry Pi), FreeBSD, macOS and Windows, and has been used in artworks showcased in high-profile venues such as Ars Electronica, Nemo Biennale, Venice Architecture Biennale and others. Originally centered on pure show control and music, recent versions have focused more and more on providing a state-of-the-art real-time pipeline for live visual arts. Combining timelines and patch-based metaphors, it now allows visual artists, VJs, installation and performance artists, to freely combine shaders, geometry processing, audio-reactive behaviours and generative AI in a performant, GPU-only rendering pipeline, while being compatible with industry standards in show control, media processing and A/V formats: OSC, DMX, MIDI, Spout, Syphon, NDI and many others. It also enables more advanced users to live-code any kind of shaders on the fly. This presentation will give a quick overview of the general features and concept of the software, and will then delve more in depth in the graphics pipeline, based on Qt RHI, which supports OpenGL, Vulkan, Metal and Direct3D. We will in particular discuss the real-time compute-shader-based geometry pipeline which enables handling tens of millions of particles at interactive frame rates. We will also present the plug-in system, which allows to create from the same code, audio, data, texture and geometry plug-ins for ossia, as well as for alternative software such as Max/MSP and TouchDesigner. In particular, we will focus on AI-based plug-ins which leverage onnxruntime and TensorRT for real-time inference of AI models such as GANs or diffusion models, without requiring complex Python-based runtime dependencies. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/CSR9QJ/ Fri, 24 Apr 2026 10:10:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110666-eng-FLOSS_real-time_visuals_for_media_arts_with_ossia_score_opus.opus?1777131931 2c5212c2-202e-5fea-8799-3ff7c6e7c2cb 2026-04-24T10:10:00+02:00 Jean-Michaël Celerier No CSR9QJ, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 This {presentation/workshop} will introduce ossia score to the audience. It is a free and open-source desktop software, running on Linux (including Raspberry Pi), FreeBSD, macOS and Windows, and has been used in artworks showcased in high-profile venues such as Ars Electronica, Nemo Biennale, Venice Architecture Biennale and others. Originally centered on pure show control and music, recent versions have focused more and more on providing a state-of-the-art real-time pipeline for live visual arts. Combining timelines and patch-based metaphors, it now allows visual artists, VJs, installation and performance artists, to freely combine shaders, geometry processing, audio-reactive behaviours and generative AI in a performant, GPU-only rendering pipeline, while being compatible with industry standards in show control, media processing and A/V formats: OSC, DMX, MIDI, Spout, Syphon, NDI and many others. It also enables more advanced users to live-code any kind of shaders on the fly. This presentation will give a quick overview of the general features and concept of the software, and will then delve more in depth in the graphics pipeline, based on Qt RHI, which supports OpenGL, Vulkan, Metal and Direct3D. We will in particular discuss the real-time compute-shader-based geometry pipeline which enables handling tens of millions of particles at interactive frame rates. We will also present the plug-in system, which allows to create from the same code, audio, data, texture and geometry plug-ins for ossia, as well as for alternative software such as Max/MSP and TouchDesigner. In particular, we will focus on AI-based plug-ins which leverage onnxruntime and TensorRT for real-time inference of AI models such as GANs or diffusion models, without requiring complex Python-based runtime dependencies. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/CSR9QJ/ 00:23:35 https://media.ccc.de/v/lgm-2026-110685-learnings-from-our-first-3d-game-in-godot We are motionensemble, a small independent Animation Studio which mainly makes short explainers and shortfilms for small NGOs. In late 2025 we made our very first game. We chose the Godot (open source Game-) Engine because it had to run in a browser but we also wanted to utilize our favorite 3D tool in the process: Blender. We would like to share our experience about the process: What it was like making our first game. How easy / hard it was to adapt to the new tool and… give some broad overview how godot can be used to make pretty much anything: 2D / 3D Apps, Games, simple websites and even interactive books to learn something etc. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/TEGTWF/ Sat, 25 Apr 2026 11:25:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110685-eng-Learnings_from_Our_first_3D_Game_in_Godot_opus.opus?1777130311 e946585d-bfdc-5f7f-a037-9828848bd358 2026-04-25T11:25:00+02:00 Alexander Lehmann No TEGTWF, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 We are motionensemble, a small independent Animation Studio which mainly makes short explainers and shortfilms for small NGOs. In late 2025 we made our very first game. We chose the Godot (open source Game-) Engine because it had to run in a browser but we also wanted to utilize our favorite 3D tool in the process: Blender. We would like to share our experience about the process: What it was like making our first game. How easy / hard it was to adapt to the new tool and… give some broad overview how godot can be used to make pretty much anything: 2D / 3D Apps, Games, simple websites and even interactive books to learn something etc. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/TEGTWF/ 00:29:31 https://media.ccc.de/v/lgm-2026-110687-the-power-of-node-driven-2d-workflows We’ve released PixiEditor 2.0 about half a year ago, it’s a node driven 2D editor capable of raster editing, animations and native vector editing. I’d be more than happy to give a presentation about it, how node driven workflow can change thinking when creating graphics and incoming (or released by then) node-based brush engine. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/BMZ9YW/ Sat, 25 Apr 2026 15:55:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110687-eng-The_Power_of_Node_Driven_2D_Workflows_opus.opus?1777131697 788c4182-1ac1-59c8-840c-9cc3e0b610d8 2026-04-25T15:55:00+02:00 Krzysztof Krysiński No BMZ9YW, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 We’ve released PixiEditor 2.0 about half a year ago, it’s a node driven 2D editor capable of raster editing, animations and native vector editing. I’d be more than happy to give a presentation about it, how node driven workflow can change thinking when creating graphics and incoming (or released by then) node-based brush engine. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/BMZ9YW/ 00:18:35 https://media.ccc.de/v/lgm-2026-110688-libre-graphics-meeting-2027 We find out more about the next editions of the LGM 2027, in Linz, Austria, and 2028, wherever it might be. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/TSHCEZ/ Sat, 25 Apr 2026 16:50:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110688-eng-Libre_Graphics_Meeting_2027_opus.opus?1777132667 f9b31014-e3eb-5e36-ab7e-b04669dae73c 2026-04-25T16:50:00+02:00 LGM Community No TSHCEZ, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 We find out more about the next editions of the LGM 2027, in Linz, Austria, and 2028, wherever it might be. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/TSHCEZ/ 00:22:28 https://media.ccc.de/v/lgm-2026-110682-headless-hydra-live-coding-on-improbable-devices Live coding is an artistic practice that creates sound or video by editing source code in real time, often from scratch. Originating in TOPLAP, it has over two decades evolved a distinctive aesthetic and nurtured a diverse and inclusive community. Live coding has a strong open-source ethic and has produced a wealth of frameworks and tools for creative expression. One of these is Hydra, a browser-based visual live coding environment created by Olivia Jack. Its Javascript syntax is inspired by analog video synthesis, and it compiles to WebGL under the hood. Computation has become largely centralized in the hands of a few megacorporations aligned with authoritarianism. As a practice that fosters individual expression, creativity and sharing, live coding is a form of resistance in this context. In that way it is a soul sister of permacomputing, which is about resilience and regenerativity inspired by permaculture. Headless Hydra is an open-source tool for live coding on permacomputing devices. I created Headless Hydra, which is still evolving, as a bare-metal version of Olivia Jack’s environment with no WebGL. The animations are rendered on low-end devices like a 2016 Samsung phone running PostmarketOS, or a second-hand Raspberry Pi connected to a color TV. The tool itself is a dependency-less Go program started from the command line in an SSH session, on a system with no X11. Join me on this crossover experiment between live coding and permacomputing! The presentation features a smartphone running Linux, and a Raspberry Pi connected to a CRT television. Together we will reclaim the means of computation, and have a rebellious amount of fun along the way. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/3DT9YL/ Sat, 25 Apr 2026 10:10:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110682-eng-Headless_Hydra_Live_coding_on_improbable_devices_opus.opus?1777124020 66fa83e2-5d1d-5684-8cc4-da115cc29d38 2026-04-25T10:10:00+02:00 Gábor L Ugray No 3DT9YL, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 Live coding is an artistic practice that creates sound or video by editing source code in real time, often from scratch. Originating in TOPLAP, it has over two decades evolved a distinctive aesthetic and nurtured a diverse and inclusive community. Live coding has a strong open-source ethic and has produced a wealth of frameworks and tools for creative expression. One of these is Hydra, a browser-based visual live coding environment created by Olivia Jack. Its Javascript syntax is inspired by analog video synthesis, and it compiles to WebGL under the hood. Computation has become largely centralized in the hands of a few megacorporations aligned with authoritarianism. As a practice that fosters individual expression, creativity and sharing, live coding is a form of resistance in this context. In that way it is a soul sister of permacomputing, which is about resilience and regenerativity inspired by permaculture. Headless Hydra is an open-source tool for live coding on permacomputing devices. I created Headless Hydra, which is still evolving, as a bare-metal version of Olivia Jack’s environment with no WebGL. The animations are rendered on low-end devices like a 2016 Samsung phone running PostmarketOS, or a second-hand Raspberry Pi connected to a color TV. The tool itself is a dependency-less Go program started from the command line in an SSH session, on a system with no X11. Join me on this crossover experiment between live coding and permacomputing! The presentation features a smartphone running Linux, and a Raspberry Pi connected to a CRT television. Together we will reclaim the means of computation, and have a rebellious amount of fun along the way. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/3DT9YL/ 00:23:16 https://media.ccc.de/v/lgm-2026-110686-upstage The last year has been another busy time for UpStage: we have secured a new hosting sponsorship with Prodigi.nz, and our development team is investigating AI tools. Lead developer Gloria W. will explain how training Cursor on the UpStage code has allowed us to create new features and find difficult bugs in record time. These improvements and new features will be rolled into future versions of UpStage, after we stabilise our new deployment environment. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/Y8R77T/ Sat, 25 Apr 2026 15:30:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110686-eng-UpStage_opus.opus?1777130220 f3f80a7d-ba22-572b-baf3-c7328f69197b 2026-04-25T15:30:00+02:00 Helen Varley Jamieson No Y8R77T, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 The last year has been another busy time for UpStage: we have secured a new hosting sponsorship with Prodigi.nz, and our development team is investigating AI tools. Lead developer Gloria W. will explain how training Cursor on the UpStage code has allowed us to create new features and find difficult bugs in record time. These improvements and new features will be rolled into future versions of UpStage, after we stabilise our new deployment environment. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/Y8R77T/ 00:23:17 https://media.ccc.de/v/lgm-2026-110677-tixl-skill-quest Presenting and discussing TiXL’s new interactive learning tour. We broke down the entire knowledge you need to know into linked non-linear learning paths that guide users through a serious of interactive puzzles. Starting with very basics of the using user interface, to buildings node graphs but learning and mastering advanced topics like render pipelines and shaders. About TiXL TiXL is an MIT-licensed tool for real-time graphics and VJing, built entirely by a community of artists and devs—no corporate backing. We’ve grown a lot lately, with our Discord hitting 2,500 members and our GitHub reaching 4k stars. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/SNDEP3/ Fri, 24 Apr 2026 17:25:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110677-eng-Tixl_Skill_Quest_opus.opus?1777125774 03763016-115d-503b-adec-13dccf226704 2026-04-24T17:25:00+02:00 Thomas Mann No SNDEP3, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 Presenting and discussing TiXL’s new interactive learning tour. We broke down the entire knowledge you need to know into linked non-linear learning paths that guide users through a serious of interactive puzzles. Starting with very basics of the using user interface, to buildings node graphs but learning and mastering advanced topics like render pipelines and shaders. About TiXL TiXL is an MIT-licensed tool for real-time graphics and VJing, built entirely by a community of artists and devs—no corporate backing. We’ve grown a lot lately, with our Discord hitting 2,500 members and our GitHub reaching 4k stars. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/SNDEP3/ 00:27:08 https://media.ccc.de/v/lgm-2026-110684-imposition-methods-for-bookbinding Bookbinding involves cutting, folding, and stacking pages to create a single stack of papers, bound in various ways. This talk will discuss ways to do these things with open source software, particularly interfaces designed for this purpose such as some new things in Laidout. With almost everything becoming digital, also discussed will be some ways to impose material onto a few digital end points. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/WMKRMB/ Sat, 25 Apr 2026 11:00:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110684-eng-Imposition_methods_for_bookbinding_opus.opus?1777124883 a7c3f80d-ec99-5173-804d-bc82fe0558d3 2026-04-25T11:00:00+02:00 Tom Lechner No WMKRMB, 2026, lgm2026, Zollhof, lgm2026-eng, Day 4 Bookbinding involves cutting, folding, and stacking pages to create a single stack of papers, bound in various ways. This talk will discuss ways to do these things with open source software, particularly interfaces designed for this purpose such as some new things in Laidout. With almost everything becoming digital, also discussed will be some ways to impose material onto a few digital end points. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/WMKRMB/ 00:22:12 https://media.ccc.de/v/lgm-2026-110665-phosphor-for-tectonic-typefaces Phosphor is a humble text-based tool/workflow for creating fonts. It offers an alternative approach to type design compared to traditional GUI and WYSIWYG vector font editors. In Phosphor, glyphs are represented in text, similar to ASCII art, and are accompanied by metadata stored in a YAML frontmatter. These textual glyph representations are converted into SVG using custom Python scripts and then assembled into a vector font via the FontForge scripting interpreter. From a single textual glyph representation, multiple vector glyph variants can be generated. Conceptually inspired by tectonic crafts such as cross-stitch, bricklaying, and mosaics, representing glyphs in text imposes constraints while facilitating collaboration and version control. At the same time, script-based conversion to vector glyphs enables algorithmic manipulation, allowing users to extend the tool beyond its original scope. Phosphor proposes text as both a design medium and a means of collaboration. In this presentation, we will demonstrate how Phosphor works through a live demo and explore its features, possibilities, and limitations. We’ll also consider how Phosphor relates to similar projects and tools, as representing glyphs in text or manipulating them algorithmically is far from a new idea. Finally, we will look at specific examples of projects created with Phosphor, and how this tool/workflow reconfigures type design while fostering collaboration and experimentation. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/WKJAMR/ Wed, 22 Apr 2026 17:40:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110665-eng-Phosphor_for_Tectonic_Typefaces_opus.opus?1777041571 9e93effc-6deb-5bef-a24d-972cddae149a 2026-04-22T17:40:00+02:00 Émile Greis No WKJAMR, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 Phosphor is a humble text-based tool/workflow for creating fonts. It offers an alternative approach to type design compared to traditional GUI and WYSIWYG vector font editors. In Phosphor, glyphs are represented in text, similar to ASCII art, and are accompanied by metadata stored in a YAML frontmatter. These textual glyph representations are converted into SVG using custom Python scripts and then assembled into a vector font via the FontForge scripting interpreter. From a single textual glyph representation, multiple vector glyph variants can be generated. Conceptually inspired by tectonic crafts such as cross-stitch, bricklaying, and mosaics, representing glyphs in text imposes constraints while facilitating collaboration and version control. At the same time, script-based conversion to vector glyphs enables algorithmic manipulation, allowing users to extend the tool beyond its original scope. Phosphor proposes text as both a design medium and a means of collaboration. In this presentation, we will demonstrate how Phosphor works through a live demo and explore its features, possibilities, and limitations. We’ll also consider how Phosphor relates to similar projects and tools, as representing glyphs in text or manipulating them algorithmically is far from a new idea. Finally, we will look at specific examples of projects created with Phosphor, and how this tool/workflow reconfigures type design while fostering collaboration and experimentation. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/WKJAMR/ 00:20:39 https://media.ccc.de/v/lgm-2026-110675-lightning-talks-friday Five 10 minute slots for lightning talks. Sign-up on location! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/HPU8QF/ Fri, 24 Apr 2026 15:30:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110675-eng-Lightning_Talks_Friday_opus.opus?1777045970 086bda42-8984-5766-841e-7b45ec9a8c25 2026-04-24T15:30:00+02:00 LGM Community No HPU8QF, 2026, lgm2026, LGM-community, Zollhof, lgm2026-eng, Day 3 Five 10 minute slots for lightning talks. Sign-up on location! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/HPU8QF/ 01:01:04 https://media.ccc.de/v/lgm-2026-110668-expanding-processing-s-future-with-a-rust-rendering-engine Processing is one of the most influential approaches to creative coding and computer science education. Since its first release in 2001, it has popularized methodologies centered on visual feedback, iterative experimentation, and immediate creative expression—making programming accessible to students, artists, and designers who might not see themselves as “coders.” After 25 years the technological landscape has expectedly completely shifted. We live in a world of graphics APIs designed around modern GPU hardware design and new use cases like GPGPU. LLVM has enabled many programming languages to run on many architectures, and WASM means your compiled code can run in the browser. Come to this technical talk to learn about how we are solving many longstanding technical challenges with an elegant architectural decision. Find out how our desire to bring modern rendering into Processing meaningfully expanded the potentialities of our project by tapping into the rich Rust ecosystem, and the Bevy game engine. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GVYNF9/ Fri, 24 Apr 2026 11:00:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110668-eng-Expanding_Processings_Future_With_a_Rust_Rendering_Engine_opus.opus?1777034134 edcf7c88-0358-5bb1-a2ec-6a4c30d3c16e 2026-04-24T11:00:00+02:00 Moon Davé No GVYNF9, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 Processing is one of the most influential approaches to creative coding and computer science education. Since its first release in 2001, it has popularized methodologies centered on visual feedback, iterative experimentation, and immediate creative expression—making programming accessible to students, artists, and designers who might not see themselves as “coders.” After 25 years the technological landscape has expectedly completely shifted. We live in a world of graphics APIs designed around modern GPU hardware design and new use cases like GPGPU. LLVM has enabled many programming languages to run on many architectures, and WASM means your compiled code can run in the browser. Come to this technical talk to learn about how we are solving many longstanding technical challenges with an elegant architectural decision. Find out how our desire to bring modern rendering into Processing meaningfully expanded the potentialities of our project by tapping into the rich Rust ecosystem, and the Bevy game engine. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GVYNF9/ 00:24:33 https://media.ccc.de/v/lgm-2026-110667-counterpunch-font-editor-faster-safer-complex-script-design A web-based font editor that reduces development time and QA overhead for complex-script projects. Combining a composition-first (ccmp) workflow with real-time HarfBuzz shaping and automatic OpenType feature generation, the editor lets designers edit base glyphs and combining marks once and see derived shapes update immediately. That single-source approach cuts the exponential QA burden of pre-composed derivatives and prevents many production errors while still allowing export of pre-composed fonts for compatibility. #Highlights * ccmp-first composition replaces thousands of manual derivatives with a single source of truth. * Real-time HarfBuzz validation makes production-accurate shaping visible during edits. * Automatic feature generation, Python scripting, and an AI assistant enable batch ops without hand-writing feature code. * Language packs and flexible glyph filters speed review and QA for specific scripts. #Impact Faster delivery, fewer regressions, smaller web fonts, and lower technical barriers for designers working with Indic, Arabic, Vietnamese and other complex scripts. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GXFEUT/ Fri, 24 Apr 2026 10:35:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110667-eng-Counterpunch_Font_Editor_Faster_Safer_Complex-Script_Design_opus.opus?1777024850 04b04cb2-7f6e-599f-8eec-72ecfc766870 2026-04-24T10:35:00+02:00 Yanone No GXFEUT, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 A web-based font editor that reduces development time and QA overhead for complex-script projects. Combining a composition-first (ccmp) workflow with real-time HarfBuzz shaping and automatic OpenType feature generation, the editor lets designers edit base glyphs and combining marks once and see derived shapes update immediately. That single-source approach cuts the exponential QA burden of pre-composed derivatives and prevents many production errors while still allowing export of pre-composed fonts for compatibility. #Highlights * ccmp-first composition replaces thousands of manual derivatives with a single source of truth. * Real-time HarfBuzz validation makes production-accurate shaping visible during edits. * Automatic feature generation, Python scripting, and an AI assistant enable batch ops without hand-writing feature code. * Language packs and flexible glyph filters speed review and QA for specific scripts. #Impact Faster delivery, fewer regressions, smaller web fonts, and lower technical barriers for designers working with Indic, Arabic, Vietnamese and other complex scripts. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GXFEUT/ 00:23:55 https://media.ccc.de/v/lgm-2026-110676-liblast-3d-asset-pipeline The Liblast 3D asset pipeline is a workflow and template for developing and (re-)using 3D game assets. The pipeline stems from identifying worrying trends in 3D game asset life cycles. Chase of highest fidelity has been driving game production cost, team size and completion time up, while driving all the other qualities down. This has been excelently put by Isaque Sanches in his 2022 presentation “The Case Against Visual Fidelity.” Ongoing issues: High memory/bandwidth: assets require a lot of storage to produce and reproduce. Simply put model and texture project and shipping file sizes are out of control Artists burn a lot of time on repetitive, automatable tasks. Most work done on 3D assets is not that creative, and can be separated and automated, freeing artist time to be better spent than fixing blemishes in baked normal maps. Copy-paste effect: with traditional pipelines, each asset instance has exactly the the same wear and dirt patterns. This kind of visual repeating pattern is what humans are really good at picking up, and it breaks immersion. Iterating or changing art direction is extremely costly. Simply changing a single detail on a “hero” asset model could require updating (sculpted) highpoly, lowpoly models, updating rigging, re-baking high poly maps, re-generating painted textures, re-painting/drawing parts of textures, updating mesh and texture data in game engine and consequently game builds Scaling fidelity of assets down to accomodate low-performance hardware is very limited. Minimum system requirements are cutting off a large part of the population Our pipeline aims to remedy a lot of the above, making decent visuals cheaper to produce, ship, update, easier to iterate on, pivot art direction and to scale fidelity up or down based on available system performance, broadening your game audience while holistically reducing asset cost. The asset production cost is higher upfront, but after a baseline for your art direction is down, making new assets is becoming much cheaper while fidelity and stylistic coherence remain high. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/LABVSB/ Fri, 24 Apr 2026 17:00:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110676-eng-Liblast_3D_asset_pipeline_opus.opus?1777047118 b0535c05-6d2e-5b9c-8dc1-5a7e743a492e 2026-04-24T17:00:00+02:00 Tobiasz ‘unfa’ Karoń No LABVSB, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 The Liblast 3D asset pipeline is a workflow and template for developing and (re-)using 3D game assets. The pipeline stems from identifying worrying trends in 3D game asset life cycles. Chase of highest fidelity has been driving game production cost, team size and completion time up, while driving all the other qualities down. This has been excelently put by Isaque Sanches in his 2022 presentation “The Case Against Visual Fidelity.” Ongoing issues: High memory/bandwidth: assets require a lot of storage to produce and reproduce. Simply put model and texture project and shipping file sizes are out of control Artists burn a lot of time on repetitive, automatable tasks. Most work done on 3D assets is not that creative, and can be separated and automated, freeing artist time to be better spent than fixing blemishes in baked normal maps. Copy-paste effect: with traditional pipelines, each asset instance has exactly the the same wear and dirt patterns. This kind of visual repeating pattern is what humans are really good at picking up, and it breaks immersion. Iterating or changing art direction is extremely costly. Simply changing a single detail on a “hero” asset model could require updating (sculpted) highpoly, lowpoly models, updating rigging, re-baking high poly maps, re-generating painted textures, re-painting/drawing parts of textures, updating mesh and texture data in game engine and consequently game builds Scaling fidelity of assets down to accomodate low-performance hardware is very limited. Minimum system requirements are cutting off a large part of the population Our pipeline aims to remedy a lot of the above, making decent visuals cheaper to produce, ship, update, easier to iterate on, pivot art direction and to scale fidelity up or down based on available system performance, broadening your game audience while holistically reducing asset cost. The asset production cost is higher upfront, but after a baseline for your art direction is down, making new assets is becoming much cheaper while fidelity and stylistic coherence remain high. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/LABVSB/ 00:23:26 https://media.ccc.de/v/lgm-2026-110669-rewiring-the-video-editor-timeline-as-a-node This talk presents a UX/UI design study for how a node-based video editor might look like. We will look at how traditional video editing functions from a UX/UI perspective and also see how various node-based creative software approach node-based constructions. Then we propose various ideas on how a video editor that is node based could be made. We look at how data can be organized in time using nodes via different methods of editing. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GT933L/ Fri, 24 Apr 2026 11:25:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110669-eng-ReWiring_the_Video_Editor_-_Timeline_as_a_Node_opus.opus?1777034795 a571d493-432b-5c23-9333-62a22f384748 2026-04-24T11:25:00+02:00 MABarbe No GT933L, 2026, lgm2026, Zollhof, lgm2026-eng, Day 3 This talk presents a UX/UI design study for how a node-based video editor might look like. We will look at how traditional video editing functions from a UX/UI perspective and also see how various node-based creative software approach node-based constructions. Then we propose various ideas on how a video editor that is node based could be made. We look at how data can be organized in time using nodes via different methods of editing. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/GT933L/ 00:25:04 https://media.ccc.de/v/lgm-2026-110672-lightning-talk-thursday A general session dedicated to the self-organization of the LGM community. Libre Graphics Meeting 2026 in Nuremberg invites designers, developers, artists, and activists to RE:WIRE the tools, infrastructures, and communities of Free/Libre graphics: reconnecting broken circuits between code and craft, reconfiguring workflows beyond proprietary platforms, and weaving new, resilient networks of collaboration that re-route power, knowledge, and imagination. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/CRDQHB/ Thu, 23 Apr 2026 15:50:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110672-eng-Lightning_Talk_Thursday_opus.opus?1776967368 45aeac76-59be-52a6-86f8-bf187bedfe54 2026-04-23T15:50:00+02:00 LGM Community No CRDQHB, 2026, lgm2026, LGM-community, Zollhof, lgm2026-eng, Day 2 A general session dedicated to the self-organization of the LGM community. Libre Graphics Meeting 2026 in Nuremberg invites designers, developers, artists, and activists to RE:WIRE the tools, infrastructures, and communities of Free/Libre graphics: reconnecting broken circuits between code and craft, reconfiguring workflows beyond proprietary platforms, and weaving new, resilient networks of collaboration that re-route power, knowledge, and imagination. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/CRDQHB/ 00:56:02 https://media.ccc.de/v/lgm-2026-110673-live-coding-for-artists-and-designers Our favorite Free/Libre and Open Source tools for graphics provide numerous features that facilitate our creative work. But what if the idea we have in mind is too hard to achieve in a reasonable amount of time? Possible solutions include kindly asking the developers or trying to implement them ourselves. What if our needs are too niche? What if we are looking for a feature to be used just once? Command line tools like ImageMagick or FFmpeg can help in some situations, but designing via CLI-arguments is not precisely ergonomic. In this live-coding talk I want to demonstrate how to write simple tools using OPENRNDR to generate and transform bitmap, vector, 3D mesh and video files that can be further edited in design tools typically discussed at the LGM. OPENRNDR is a Kotlin-based Free/Libre Open Source framework for creative coding. It provides a wide range of algorithms and tools to work with contours, images, GPU filters and more, and can help automating repetitive or algorithmic tasks in media production. Let’s rewire our existing tools by quickly prototyping new ones! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/NFLWJZ/ Thu, 23 Apr 2026 17:20:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110673-eng-Live_Coding_for_Artists_and_Designers_opus.opus?1776964972 32b777d9-ecb3-57fd-bb32-e20cca11090d 2026-04-23T17:20:00+02:00 Abe Pazos Solatie No NFLWJZ, 2026, lgm2026, Zollhof, lgm2026-eng, Day 2 Our favorite Free/Libre and Open Source tools for graphics provide numerous features that facilitate our creative work. But what if the idea we have in mind is too hard to achieve in a reasonable amount of time? Possible solutions include kindly asking the developers or trying to implement them ourselves. What if our needs are too niche? What if we are looking for a feature to be used just once? Command line tools like ImageMagick or FFmpeg can help in some situations, but designing via CLI-arguments is not precisely ergonomic. In this live-coding talk I want to demonstrate how to write simple tools using OPENRNDR to generate and transform bitmap, vector, 3D mesh and video files that can be further edited in design tools typically discussed at the LGM. OPENRNDR is a Kotlin-based Free/Libre Open Source framework for creative coding. It provides a wide range of algorithms and tools to work with contours, images, GPU filters and more, and can help automating repetitive or algorithmic tasks in media production. Let’s rewire our existing tools by quickly prototyping new ones! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/NFLWJZ/ 00:22:46 https://media.ccc.de/v/lgm-2026-110663-ctx-vector-desktop-rasterizing-as-late-as-possible What becomes possible with a graphics stack/compositor that works with vectors, rather than pixels? - and what does it take to make it possible? Helping figuring out this - is a goal of the ctx terminal emulator with its vector graphics extension. The terminal is the main driver and testing ground for development of ctx. A low resource vector graphics library with event handling abstractions on top of a vector protocol with a performant software renderer. There is low level integrations ranging from microcontroller displays through linux framebuffer and SDL3 as well as interactive vector graphics user interfaces over full duplex text connections. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/XLDYWQ/ Wed, 22 Apr 2026 16:50:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110663-eng-ctx_vector_desktop_-_rasterizing_as_late_as_possible_opus.opus?1776967471 07e0708d-6f5c-5972-95fd-a8cf4a140f9a 2026-04-22T16:50:00+02:00 Øyvind Kolås No XLDYWQ, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 What becomes possible with a graphics stack/compositor that works with vectors, rather than pixels? - and what does it take to make it possible? Helping figuring out this - is a goal of the ctx terminal emulator with its vector graphics extension. The terminal is the main driver and testing ground for development of ctx. A low resource vector graphics library with event handling abstractions on top of a vector protocol with a performant software renderer. There is low level integrations ranging from microcontroller displays through linux framebuffer and SDL3 as well as interactive vector graphics user interfaces over full duplex text connections. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/XLDYWQ/ 00:23:30 https://media.ccc.de/v/lgm-2026-110664-beginner-friendly-shader-programming-in-p5-js-v2 For over a decade, p5.js has helped learners to make algorithmic art on the web. p5.js is community-driven, prioritizes access and inclusion, and makes coding beginner-friendly by requiring as little prior knowledge as possible to get hands-on, while supporting continued learning. How can a beginner-friendly shader programming API address the challenges that learners face? The parallel computation model of GPUs differs from the sequential model of CPUs, and is shaped by historical development of graphics APIs under fast-changing hardware constraints. Programming shaders relies on knowledge about graphics pipelines, target platforms, and sometimes historical quirks. We set out to design a shader creative coding experience for scaffolded learning. We present p5.strands, which allows getting started with shaders using the familiar syntactic and conceptual vocabulary of p5.js sketches. It can be used in p5.js v2 sketches, and works by transpiling JavaScript to GLSL. A p5.strands shader does not explicitly specify a full rendering pipeline. Instead, it describes modifications to a default shader. A shader author is not required to understand how every shape is positioned on the screen, or how all lighting is calculated. The code below shows a shader adding a per-pixel noise texture: function noiseTexture() { pixelInputs.begin(); pixelInputs.color.rgb *= noise(pixelInputs.texCoord * 5); pixelInputs.end(); } material = buildMaterialShader(noiseTexture); shader(material); sphere(50); Writing shaders is possible without reference to vertex or fragment shaders, uniforms, attributes, GLSL data types, or GLSL itself. These concepts are intentionally introduced incrementally. Uniforms, for example, can be introduced when an effect needs additional information, but they are not required to get started. We rely on community feedback to test assumptions and focus development efforts. This presentation introduces both the API design so far, the process to get there, and next steps for this beginner-friendly shader programming project. Also see the related p5.strands Hybrid Hackathon. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/VECVVA/ Wed, 22 Apr 2026 17:15:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110664-eng-Beginner-Friendly_Shader_Programming_in_p5js_v2_opus.opus?1776968019 4ac0ffae-6f56-5334-a3db-d488fe925387 2026-04-22T17:15:00+02:00 Dave Pagurek, Luke Plowden, Perminder Singh, Kenneth Lim, Kit Kuksenok No VECVVA, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 For over a decade, p5.js has helped learners to make algorithmic art on the web. p5.js is community-driven, prioritizes access and inclusion, and makes coding beginner-friendly by requiring as little prior knowledge as possible to get hands-on, while supporting continued learning. How can a beginner-friendly shader programming API address the challenges that learners face? The parallel computation model of GPUs differs from the sequential model of CPUs, and is shaped by historical development of graphics APIs under fast-changing hardware constraints. Programming shaders relies on knowledge about graphics pipelines, target platforms, and sometimes historical quirks. We set out to design a shader creative coding experience for scaffolded learning. We present p5.strands, which allows getting started with shaders using the familiar syntactic and conceptual vocabulary of p5.js sketches. It can be used in p5.js v2 sketches, and works by transpiling JavaScript to GLSL. A p5.strands shader does not explicitly specify a full rendering pipeline. Instead, it describes modifications to a default shader. A shader author is not required to understand how every shape is positioned on the screen, or how all lighting is calculated. The code below shows a shader adding a per-pixel noise texture: function noiseTexture() { pixelInputs.begin(); pixelInputs.color.rgb *= noise(pixelInputs.texCoord * 5); pixelInputs.end(); } material = buildMaterialShader(noiseTexture); shader(material); sphere(50); Writing shaders is possible without reference to vertex or fragment shaders, uniforms, attributes, GLSL data types, or GLSL itself. These concepts are intentionally introduced incrementally. Uniforms, for example, can be introduced when an effect needs additional information, but they are not required to get started. We rely on community feedback to test assumptions and focus development efforts. This presentation introduces both the API design so far, the process to get there, and next steps for this beginner-friendly shader programming project. Also see the related p5.strands Hybrid Hackathon. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/VECVVA/ 00:23:17 https://media.ccc.de/v/lgm-2026-110674-gimp-a-community-free-software GIMP is Free Software. Most people present at Libre Graphics know as much. But it is more: GIMP is also a Community. For me this aspect has about as much importance as the licensing part. In this talk, I will be diving further into what that means, how that works and why this matters. Doing so, I will also discuss a bit the past few years of the project, clarify our current vision and forecast the (very positive) future of this project. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/BGMJCT/ Thu, 23 Apr 2026 17:45:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110674-eng-GIMP_a_Community_Free_Software_opus.opus?1776965075 a64606b4-35a8-5170-b256-22bdecea1901 2026-04-23T17:45:00+02:00 Jehan No BGMJCT, 2026, lgm2026, Zollhof, lgm2026-eng, Day 2 GIMP is Free Software. Most people present at Libre Graphics know as much. But it is more: GIMP is also a Community. For me this aspect has about as much importance as the licensing part. In this talk, I will be diving further into what that means, how that works and why this matters. Doing so, I will also discuss a bit the past few years of the project, clarify our current vision and forecast the (very positive) future of this project. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/BGMJCT/ 00:29:19 https://media.ccc.de/v/lgm-2026-110659-state-of-libre-graphics An update from the many projects of our community. Please submit your slides as Pull Requests to https://github.com/libregraphicsmeeting/state-of-lg-2025 details to the format and process are in the README of the repository. If you have trouble contributing this way, feel free to contact us directly: libregraphicsmeeting@strong-type.systems. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/3338PZ/ Wed, 22 Apr 2026 14:15:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110659-eng-State_of_Libre_Graphics_opus.opus?1776871711 df773f2b-324f-5009-a2ee-1399a71bd529 2026-04-22T14:15:00+02:00 MABarbe No 3338PZ, 2026, lgm2026, LGM-community, Zollhof, lgm2026-eng, Day 1 An update from the many projects of our community. Please submit your slides as Pull Requests to https://github.com/libregraphicsmeeting/state-of-lg-2025 details to the format and process are in the README of the repository. If you have trouble contributing this way, feel free to contact us directly: libregraphicsmeeting@strong-type.systems. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/3338PZ/ 00:41:48 https://media.ccc.de/v/lgm-2026-110662-the-elephant-in-the-room-who-owns-the-image What does generative neural networks and selfies taken by macaque monkeys have in common? Recent debacle around AI has brought discussions around intellectual property and the ownership of works. The problem however might be deeper than we think: rooted around our assumptions about what an idea is and how it comes to being. So how do we sustain creativity and what does that mean for our community? What are the answers, if any? Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/9A8AHS/ Wed, 22 Apr 2026 16:25:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110662-eng-The_elephant_in_the_room_who_owns_the_image_opus.opus?1776874823 72e1481b-1b17-5d41-bb30-76ca64ac2e05 2026-04-22T16:25:00+02:00 Eylul Dogruel No 9A8AHS, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 What does generative neural networks and selfies taken by macaque monkeys have in common? Recent debacle around AI has brought discussions around intellectual property and the ownership of works. The problem however might be deeper than we think: rooted around our assumptions about what an idea is and how it comes to being. So how do we sustain creativity and what does that mean for our community? What are the answers, if any? Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/9A8AHS/ 00:21:54 https://media.ccc.de/v/lgm-2026-110658-welcome Welcome to Nuremberg, welcome the Libre Graphics Meeting! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/K9WVEV/ Wed, 22 Apr 2026 13:45:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110658-eng-Welcome_opus.opus?1776870650 0c01af80-c0bf-5040-9525-d6c96858ad93 2026-04-22T13:45:00+02:00 Lasse Fister No K9WVEV, 2026, lgm2026, LGM-community, Zollhof, lgm2026-eng, Day 1 Welcome to Nuremberg, welcome the Libre Graphics Meeting! Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/K9WVEV/ 00:21:29 https://media.ccc.de/v/lgm-2026-110661-exploring-modern-ui-frameworks We recently felt the need to change the UI framework we use in Coollab. In this talk we are going to explore the reasons why we wanted to change, the options we considered, and their pros and cons on a variety of criteria (speed of development, performance, etc.). And explain why we ended up going with Tauri, a framework similar to a lightweight Electron, with Rust as a backend and web technologies as a frontend. Also see the related workshop Making real-time generative visuals with Coollab. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/FHMFGU/ Wed, 22 Apr 2026 15:30:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110661-eng-Exploring_modern_UI_frameworks_opus.opus?1776874248 759c4f42-67f9-5977-8dd5-a5bee50980fb 2026-04-22T15:30:00+02:00 Jules Fouchy No FHMFGU, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 We recently felt the need to change the UI framework we use in Coollab. In this talk we are going to explore the reasons why we wanted to change, the options we considered, and their pros and cons on a variety of criteria (speed of development, performance, etc.). And explain why we ended up going with Tauri, a framework similar to a lightweight Electron, with Rust as a backend and web technologies as a frontend. Also see the related workshop Making real-time generative visuals with Coollab. Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/FHMFGU/ 00:29:45 https://media.ccc.de/v/lgm-2026-110660-freeze-press Freeze+Press is a publishing platform and mailorder distribution. The project was initiated to create and distribute printed objects (books/posters/textile/ephemera) and provide access to their digital sources. Driven by curiosity for explorative approaches to contemporary printmaking and the necessary tools, knowledges and infrastructures, its activities also reflect an ongoing fascination for the interdependent existence of physical and digital objects and their genuine qualities. All design work is done exclusively with Free/Libre/Open Source software. After releases like the book ‘Conversations’ and ‘The Techno-Galactic Guide to Software Observation’ together with Constant from Brussels, the compendium ‘How I stopped to learn programming and love the Bash’ or the zine ‘Do (not) Repeat Yourself’ by Michael Murtaugh there are new projects in the pipeline. The presentation provides an update what was brewing behind the scenes and what’s up next. #Links freeze.sh Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/9RVALE/ Wed, 22 Apr 2026 15:05:00 +0200 https://cdn.media.ccc.de/conferences/lgm/2026/opus/lgm2026-110660-eng-Freeze_Press_opus.opus?1776872251 c2246e8e-ab1f-50d1-a525-6c9666c44faa 2026-04-22T15:05:00+02:00 Christoph Haag No 9RVALE, 2026, lgm2026, Zollhof, lgm2026-eng, Day 1 Freeze+Press is a publishing platform and mailorder distribution. The project was initiated to create and distribute printed objects (books/posters/textile/ephemera) and provide access to their digital sources. Driven by curiosity for explorative approaches to contemporary printmaking and the necessary tools, knowledges and infrastructures, its activities also reflect an ongoing fascination for the interdependent existence of physical and digital objects and their genuine qualities. All design work is done exclusively with Free/Libre/Open Source software. After releases like the book ‘Conversations’ and ‘The Techno-Galactic Guide to Software Observation’ together with Constant from Brussels, the compendium ‘How I stopped to learn programming and love the Bash’ or the zine ‘Do (not) Repeat Yourself’ by Michael Murtaugh there are new projects in the pipeline. The presentation provides an update what was brewing behind the scenes and what’s up next. #Links freeze.sh Licensed to the public under https://creativecommons.org/licenses/by/4.0/ about this event: https://pretalx.c3voc.de/lgm-2026/talk/9RVALE/ 00:54:58 media.ccc.de / RSS 0.3.2 CCC media team media@c3voc.de CCC media team No CCC Congress Hacking Security Netzpolitik A wide variety of video material distributed by the CCC. All content is taken from cdn.media.ccc.de and media.ccc.de A wide variety of video material distributed by the Chaos Computer Club. This feed contains all events from lgm2026 as opus