Esther Payne :bisexual_flag: and 1 other boosted
Exilian
@Exilian@indiepocalypse.social  ·  activity timestamp 2 days ago
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Zane Selvans
@ZaneSelvans@social.coop  ·  activity timestamp 2 days ago
Exilian
@Exilian@indiepocalypse.social  ·  activity timestamp 2 days ago
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Coding Medieval Worlds 6: Manuscripts and Mechanics A workshop for historians & game developers: 20-22 Feb, 2026 A core challenge of making more interesting medieval worlds in game formats is sharing and building the different processes needed to create them. Historians and game developers have different ways of representing, exploring and constructing the material we get from medieval sources. How, then, should we approach this, and how can we share and synthesise our different methods? How do we take the particular affordances of games and engines and how do we develop mechanics and systems to best present historically inspired material in them? Coding Medieval Worlds 6 is a workshop and discussion forum for sharing developers’ and historians’ perspectives and finding solutions to these shared problems! When: 20th-22nd Feb 2026 Where: Wherever you can connect to a video call! How to participate: Email exilian@exilian.co.uk or james.baillie@oeaw.ac.at by December 31st with your name and a sentence or two on your background and interest. We have a limit of around 40 people, half spaces for developers and half for academics (independent scholars, early career researchers, and hobbyist & indie developers are all welcome). We examine all applications and ensure places are available for scholars & developers from diverse & marginalised backgrounds. Do get in touch with any enquiries at the above email addresses.
Ian Cylkowski Photography
@IanCykowski@photog.social  ·  activity timestamp 3 days ago
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
Ben Waber
@bwaber@hci.social  ·  activity timestamp 3 days ago
Ian Cylkowski Photography
@IanCykowski@photog.social  ·  activity timestamp 3 days ago
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A wide view of the Iron Bridge shows its red iron arches rising above dense autumn vegetation, with golden and green shrubs filling the riverside slope beneath it. The stone abutments frame the ironwork as it spans the River Severn, while a few pedestrians walk across the top against a backdrop of wooded hills in full autumn colour. A weathered stone wall runs along the left edge of the scene, and the sky above is overcast, giving the landscape a soft, muted light.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A view of the Iron Bridge shows its red cast iron ribs arching gracefully over the River Severn, framed by dense autumn foliage in shades of green, gold and deep red. The river runs quietly beneath the structure, reflecting patches of sky and scattered leaves. A narrow riverside path curves below the right side of the bridge, bordered by shrubs and a metal handrail. A person stands on the bridge, small against the ornate latticework and stone abutments. Low cloud and soft light give the scene a calm and misty atmosphere.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A lone person stands on top of a jagged outcrop of grey rock at Cranberry Rock on the Stiperstones, looking out over a broad rural landscape under a heavy sky. The crags rise sharply from heather moorland that fills the foreground with russet and earthy tones. Beyond the main ridge, rolling hills and patchwork fields stretch into the distance with muted autumn colours. Low cloud and soft, diffused light give the scene a moody and atmospheric feel.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
A rugged foreground of pale, lichen-streaked quartzite blocks rises out of heather and low scrub, their fractured surfaces catching the cool light under a brooding sky. Clumps of rusty brown and copper-tinted heather sit in the gaps between the rocks, adding warmth to an otherwise muted palette. The landscape rolls gently away towards a line of jagged tors in the distance, leading the eye towards Manstone Rock and the Devil’s Chair. The scene feels exposed and windswept, with wide moorland stretching out beneath heavy clouds that hint at changing weather.
Global Museum
@globalmuseum@mastodon.online  ·  activity timestamp 3 days ago
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