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GIMP is Free and Libre Open Source Software, but none of it is possible without the people who create with and contribute to it. Our project maintainer Jehan wanted to interview the volunteers who make GIMP what it is, and share their stories so you can learn more about the awesome people behind GIMP!

Early interviews from co-maintainer Michael Natterer and Michael Schumacher were published shortly after the first Wilber Week. The remaining interviews from this event, about Simon Budig and Øyvind Kolås were published years later as a revival of the series. While these interviews are a bit old and reference outdated versions and features of GIMP, we believe they still have value and show the evolution of our community.

This next interview is the first one recorded at the 2017 Libre Graphics Meeting in Rio de Janeiro, Brazil. The subject is Nara Oliveira, co-founder of Estudio Gunga. She is a Brazilian artist and advocate who uses free software exclusively to develop professional works in many fields, including design, illustration, and animation.

This interview took place over April 21 - 23, 2017. In addition to Jehan and Nara, Simon Budig, and Aryeom Han were also involved and asked questions.

Nara Oliveira, CC-BY-SA

Jehan: Hello Nara. Can you introduce yourself to the people?

Nara: My name is Nara Oliveira. I am a Brazilian designer. I am from Brasília, the capital. The city name is Taguatinga. I study design and today I work with free software. I have my own company with some partners and we work in audio, video, design, and animation.

Jehan: What is the name of your company?

Nara: Gunga. Gunga is an instrument from Capoeira. We have the berimbau with the “calabash”, I think – it’s an instrument from Capoeira.

Jehan: Okay. From what we understood, you mainly use free software

Nara: Yes.

Jehan: Mainly, or only?

Nara: Only.

Jehan: And which ones in particular?

Nara: I use GIMP, Inkscape, MyPaint, sometimes Krita – I’ve tried it – Scribus, FontForge, FontMatrix, and others like everybody uses.

Jehan: Do you use Linux?

Nara: Yes, Arch Linux.

Jehan: So full free software from start to end! Okay, and why do you do this?

Nara: When I heard about free software and Linux, I was working in a cultural space. I was working with theater and with drawing, and we already have that culture of sharing things and sharing knowledge. So when I met these guys in free software, they told me about what GNU and Linux were and the philosophy – and when I heard about it I fell in love with it. Because I already think that way, and so free software is applying what I think is right onto software and onto technology. So for me it just makes sense.

So I started to use this software. In the beginning it was difficult to make the transition, but with some time I got into it.

Jehan: So you made a transition from proprietary software?

Nara: Yes, from proprietary software to Linux.

Farid: When was this?

Nara: When? Ah, let me count…

[group laughter]

I was not finished studying then, so like around 2006 or 2007 I started. I really started to use Linux and everything for working in 2008, for everything.

Jehan: So you studied design in university?

Nara: Yes, in university.

Jehan: With proprietary software?

Nara: Yes, with proprietary software only. But my university was not so focused on software. In five years of studying, we only had one class about software. And as the class went on, everyone already knows how to use it! So it’s like a class that has to be on the curriculum, but it’s not like you have to use – it’s more like conceptual.

Estudio Gunga Presentations and Workshops, by Nara Oliveira, CC-BY-SA - 2025

Simon: Something I do a lot is that - I’m a software developer mainly, so I do a lot of my own tool development. Like I have a specific problem and I know there is an algorithm in my mind that I know would solve the problem (or might solve the problem), so I start implementing my own tools for very specific, very weird tasks, because I can’t do it with GIMP.

Nara: I would like to do that!

Simon: So this is what I wanted to ask – do you have programming experience? Do you have an idea of what it means to develop software?

Nara: No, but I think I have an idea – but I do not develop programs. I’ve studied a little, but it’s not like I can do something. I can see the code lines and know more or less what’s happening, but I can’t write lines by myself.

Jehan: You’ve told me that sometimes you will see some scripts and guess what it can be, and change the numbers…

Nara: Yeah, but more in insights and not in the programming itself.

Jehan: Since we’re doing this interview for gimp.org, what can you tell us about GIMP? How do you like it? How do you hate it? Tell us everything!

Nara: [Laughing] The first thing is, I like GIMP. I use it a lot. My work and style is more vector, but I use GIMP a lot and I like it.

When I made the transition to free software, until today one thing I didn’t like is that you don’t see the effects. You have do something, turn back, “Oh no!” - I have to change two, three points here, then I have to undo and do it again and come back. For me, it’s one of the things that makes the work not fluid.

I’m so happy to see GEGL on-canvas effects.

[Editor’s note: This feature was already implemented in the development version of GIMP 2.10, officially released about a year after this interview.]

Jehan: So, some other comments on GIMP?

Nara: Yeah, I really like it but, for example, I have some problems with my tablet. When I bought my first tablet, it simply didn’t work on GIMP. And I think it’s because of that, I use MyPaint. Because I have to work, and I have to work right now and the pressure doesn’t work, so what can I do with my tablet – so I found MyPaint, and I started to work with MyPaint, and it’s because of that I use it. Not because I think it’s more powerful than GIMP – it’s just because of that. At the time I liked it, and today I still use it.

[Editor’s note: GIMP 3.0 improved many issues with tablet support that were mentioned here.]

Jehan: So MyPaint is your main software?

Nara: For drawing, yeah. Because I am a designer, but I’m an illustrator too. So for illustration I use MyPaint, just for that. For small drawings, I use vectors in Inkscape, and so on.

I use GIMP more for photos, for editing, composing, correcting photos.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: Yesterday when we spoke, you had this nice example of a job you did with Scribus. Like your first job with free software, I think?

Nara: No, my first book.

Jehan: Ah, your first book, not your first job with free software. Could you tell it again, now that we’re recording?

Nara: I was called on to make a big book, like three hundred pages. There was little time to do it, like three, two weeks. I am from Brasília, and they said you have to do it here with us to get it quicker. I traveled to Bahia to do it, and when I arrived there, there were two other designers. It was funny because I worked in Scribus, one worked in Corel Draw, and the other one in InDesign. So you had three designers, three different software.

Jehan: And three different operating systems.

Nara: Yeah, and three different operating systems, and we had to do one book, the same book!

So we met each other and said “Okay, let’s do it!”. We separated the book into pages, so I would do the first one to 100, the other designer would do 101 to 200, and so on. And we together figured out how the design of the book would be, and the rules to make each part feel like the same book.

So we started, and just like that, I finished first! I was worried, because I had not used Linux for too long, and if there was something wrong in the software or in the distribution, I would not know how to fix it. One of the designers had Mac and the other had Windows and I was so worried.

But it went well and I finished first – and it was very encouraging for me. It’s just a tool you know? I can do it, he can do it, she can do it – everyone can make it, so I was very happy. Because in the beginning I was worried about everything going wrong, and that there would be problems when I saved the PDF and printed it, but it was all okay.

The book was about experiences with, we call it here “apprentice to Griô”. It’s from the French language, because it came from Africa but a country that speaks French.

It’s like an old master who teaches the people around them, the community, something – knowledge about herbs, which can be medicinal herbs, or teaches about techniques about how to construct instruments, or make music, or dancing – like masters of Brazil, of all Brazil. So it’s because of that it’s a big book!

Years later, in the north of Brazil, when the waters came and filled the houses in the city – a flood. I was seeing that on the TV there was an old lady with her flooded house beside her, everything destroyed. And she had that book in her hand. She was crying because her house was destroyed, but she had the book, and she was happy she still had the book even though she didn’t have her house anymore.

So it was a meaningful project, and it was the beginning of my using Scribus.

Jehan: Are there things sometimes you feel you are not able to do with free software? You already answered this yesterday, so I’m just asking again to hear you saying it.

Nara: When I see art – art is everything, design is everywhere – I can’t see something and think about “I can’t it do with free software”. I can do it – maybe I can’t do it because of my creativity or because I don’t think about it, but technically I can do it, you know. We have the tools to do it. We have other ways, but we have the tools I think – in my area of design.

Simon: What would interest me is, you mention that you use quite a lot of different tools, like GIMP, Inkscape, Blender, Scribus -

Nara: Blender not yet, though I started animating in the timeline. In the movie that we showed, the first one that was in 2D, I animated parts of that.

Simon: But there are a lot of different tools that you and your colleagues use. When you start a project, do you pick one of the tools and stick to it, or is more like you start using one tool then transfer the result to a different tool?

Nara: Yes, it was like each tool was like a room of a house. I live in the house, there’s a lot of rooms, and sometimes I’m in the living room, other times I’m in the bed room, other times I go to the kitchen. It’s like I have a bottle, and I take the bottle here and there.

I don’t choose the software. I plan the project, I think about it, and think “How am I going to make this?” So I will start drawing in MyPaint. But I need it to be a vector, so I save it, open in Inkscape and add a vector. But ah, I need an image in the background. So I open the image in GIMP, I work with the image there, then import into Inkscape, okay. But oh, now I have to print it. So I save what I can save in vector I save in vector, and what I can’t save, I export. And I go to GIMP, transform it and edit it, and I take everything, go to Scribus, put them together, and make a PDF. More or less like this. I’m always going back and forth between the programs.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

I think it’s very complicated, but for me it’s very simple. But when I teach things like that it sounds very complicated.

Jehan: Do you have any questions, Aryeom?

Aryeom: I feel like I am in her head. I totally understand – I work the same way. Maybe later if I have any questions I’ll ask.

Nara: I learned everything by myself. So I don’t like tutorials, you know?

Aryeom: You don’t like tutorials?

Nara: Yeah, I don’t have the mind to read or watch them. I learn all by myself. I think my way of working is just my way, because I learn by myself. And sometimes I get in touch with people who use the software too, I like to watch them because people do things very different that I do, and things more easily. And sometimes I teach the software to someone, and in two weeks or three, I go to see what the people are doing. “Oh my God, I’d never think of that way!”. It’s very fun because of this.

I don’t like to do workshops because of that. I think my style of work is very crazy. But we can talk about it!

Jehan: So right now you have a big animation project. So maybe can you speak about it?

Nara: Well, Farid is the director. He writes the script. I am the art director, but I also help him with the script and doing all the storyboards. I do it in MyPaint. I was a little worried because I’ve never done a storyboard before. So I study a little, see other’s storyboards, and make it for the animation. And we are talking with people who want to work with us on the animation – and I was happy because people always say “You have a beautiful storyboard!”. I was worried about that.

I think we are, I don’t know, opening ways. Because we are not a 3D studio but we want to do 3D animation, so we have to contact on a lot of other people in Brazil and Latin America, and even in Europe. It’s been like a dream to make it. And we want to make it very fine, very good, because today if you are seeing bad 3D, then you don’t watch it. Because you have Pixar, you have Disney, you have a lot of others. I don’t think that we’ll be like Pixar, but we have to do something very good and great to be seen, you know? I think this is our goal. We want to make something very nice, very good that everyone wants to see.

We’re telling Brazilian history of Quilombo, when there was slavery. Some slaves ran away and made a tribe, a community of their own and lived there. And these communities survive until today. And some of them have a lot of different cultures. It’s like they’re isolated. And the story is about one of these communities. In Brazil the agriculture is taking the lands of these people, because they have a paper that says “We own these lands”, but actually these peoples have been there for 300, 400 years.

So we are telling the story of a girl who lived in a community like this. And they’re being pressured to go out and leave their lands. The story is a fiction, but it’s based on real facts. This is the history. It’s going to be like 10 minutes, it’s a short one, but it’s a real movie and after it’s finished, we want to continue it. Make like episodes or a long movie – it’s just like a pilot. But we need the pilot to get a bigger step.

Aryeom: I feel so moved, because our ZeMarmot project is also like this.

Nara: Here in Brazil there’s a law, I’m not quite sure, that for free television and private television, 50% of programs have to be Brazilian programs. Because it’s all foreign programs, so the government says that 50% have to be produced here in Brazil. So I have a lot of opportunities in that way for animated series.

Jehan: So you plan to distribute on TV.

Nara: Yeah.

Aryeom: Why did you choose 3D? Why not 2D?

Nara: Because we love it! We really love 3D, we’re really passionate. We started using Blender, even for 2D, but we want to go to 3D you know. We have some experiences, and we like the visuals of the movie – we actually don’t work with 3D, but we want to. A lot of people do that – I think 2D is less expensive and -

Jehan & Aryeom [in unison and laughing]: I don’t think it’s less expensive!

Nara: No? We like 3D. We want to make it – it’s so popular for the kids, for everyone. We want this movie not to go to the festivals and stay there. A lot of good films here are made this way. The very good films go to the festivals, earn their prizes, and no one’s ever seen the movie. “Oh you’ve seen that movie? No!”. It will never go to the cinemas.

We want it to have the chance to become popular, you know, a lot of people really watching it. And 3D has this affection, people really like these.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: I know you said you also appreciate Creative Common licenses and stuff like that, so is this movie going to be under such a license?

Nara: Yes, it’s going to be an open movie! You can take the characters and make another animation by yourself. If you want to take everything, the characters, the background, everything, and animate another story, you can do this.

Jehan: Which license?

Nara: We haven’t thought about it yet, but the kind of license where you can make anything.

Simon: You said 3D. I sometimes have the impression that 3D in some way is more limited in what you can do artistically compared to 2D.

Nara: Yes, it is.

Simon: So this is not a factor for you?

Nara: No. Because in 3D, it’s like you said. If you’re doing a 2D animation, I don’t know, you can do a lot of types of techniques. Like it can be black & white, it can be color, or so many types – it’s like art in stop motion. 3D is different – you have a character, and you have the scenery, and the scenery is just the scenary. You can make some tricks with lighting and shading and colors, but it stops there. It’s an artistic limitation, I agree with that.

Aryeom: In your team, no one had any experience making 3D animations?

Nara: I animate, but I know how to take the characters and make them move. But I’m not an expert. Farid knows that too and know how to make a 2D animation in Blender. But 3D is a new challenge for us.

Jehan: I think also the question was, you are a designer so you usually work in 2D. So we would expect something who draws would want this drawing to come to life, than just doing the drawing and give it to someone else to make the actual final thing.

Nara: I have difficulties with this. I get tired of drawing very quickly. I can’t imagine myself drawing the same character more than, I don’t know, 10 times. I think I would die if I did that.

Aryeom: Haha, I’m dying!

Nara: It’s like my style. This book was difficult to me, because I had to draw the characters the same. They have to look the same every time I draw it. I don’t like that. I like to do one drawing and it’s over. They have to repeat and be the same. I like the work, but the process of doing the same thing is difficult for me.

Jehan: So you prefer to just draw something and let someone else repeat it again and again.

Nara: Yes, like the computer!

Aryeom: To make a series, an episodic drama, it’s easier to make in 3D. For long form, it’s good I think.

Jehan: Yes, for long form, but for short movies it takes longer due to preparations.

Nara: So it’s not my kind of thing.

[Nara hands out a book]

Nara: It’s by a friend of mine who wrote the story and he asked me to make the drawings. I don’t do a lot of kid stuff, but I like it. And it invites kids to draw at the end of it. It talks about what city do kids want to live in, and what city we want for ourselves. We have a lot of problems in the cities here, and I like the idea of book, to let kids dream about the city because we want that dream to come true.

Aryeom: What about Gunga’s future?

Nara: Ehh, I expect in the future that we have more people working with us. And we have more companies work with us with free software, you know. I’d like to get larger but not too larger. Because I want my life too!

Aryeom: Wise!

Nara: But I’m happy now because last year two new people joined the studio, and it’s a lot more fun to work with more people. We exchange experiences, and I think I want to grow in that way, to get a little bigger and get more partners. And work with more cinemas! It’s more difficult because it’s expensive to work with cinemas, working with animations. We like to do more for ourselves. We make a lot of productions, videos for other companies, for the government, so we’d like to do more for ourselves – like our stories, less for them, more for us.

Estudio Gunga Projects and Film Fests, by Nara Oliveira, CC-BY-SA - 2025

Jehan: Okay, maybe the last question unless someone has something. Do you have any requests for GIMP developers? Other than on-canvas preview because we already have it!

Nara: I will see the new version you talked about after this.

No, I’m okay. I think I’ve used it for such a long time that I’m so adjusted to it. In the beginning I had a lot of issues – if you gave me a paper then I would fill it with “I want this, I want that! Why do I have this? I can’t believe it!”

But today it is so natural to me that I had to think about it before coming here, because I’ll be meeting people that I want to talk about it with. And I think well, there are little things I want to change in the software. But I think that I have this because I’ve been using it for so long. People are always comparing it with propriety software, and I don’t compare it anymore because it’s been such a long time since I’ve opened something like Photoshop.

So, I’ll think about it.

Jehan: But in the end it just works!_

Nara: Yeah. I’ve written some*, but not for GIMP, for Inkscape, Scribus…

[Editor’s note: Jehan misheard the word “some” here as “song”]

Jehan: Ah! A song for everyone but us?

Nara: I used an earlier version of Inkscape which had a lot of bugs. They just changed it and so I have just bugs for Inkscape. Bugs are bugs.

Jehan: Ah, it’s bugs, not a song!

Nara: Yes, for Inkscape. For Scribus, I have some issues with development.

Aryeom: So you have bugs for them, but you have requests for us. So it’s good!

Jehan: Ah, okay. I thought you’d wrote a song.

Nara: No no – I know my letters are beautiful but it’s not a song.

And I’m happy to meet you! Very happy. I don’t go to a lot of events like here in Brazil. I don’t have a lot of time to do that. And it’s like an investment to travel here because it’s very expensive and the country is too big, haha. So my involvement with free software is like in my community. On our street where we work, a lot of people use Linux because of us. It’s like a center, you know? Time to time, someone goes there, “Oh, I bought a new notebook, I want to install Linux, let’s do it together”.

I think my part in this is more local than global – in the community. I feel better like this. Real connection, offline. I’m not so close to the development here and the other artists. And most of them, they’re just show artists. They don’t really work with design, they don’t really live from this, you know? I tend to know people who live from free software. Most of them are professionals, who are really good at one software, but they don’t put food on the table with it. It’s a little different. I learn from them, but I want to know people who have real issues.

Because when you don’t work with it, you just experiment, you make your own goals. Like “I’m going to make this girl have make-up on her face”, and then you do that. When you work, another person puts a goal on you. Like, “Make this girl have a guitar”, and you have to find a way to do that. And the process when you make a goal versus when another person makes a goal you have to achieve, it’s very different when you’re working with the software. Because you have to go somewhere you’ve never went before. And it makes you use the software in a different way.

You understand what I’m saying? Because when I see the workshops, people are very good at doing something they always do. I want to see people doing very good things they’ve never done before. These things show the real potential of the software.

Jehan: And the potential of the artist.

Nara: Yes, and the potential of the artist. Because you can show me, Inkscape or GIMP is doing this new thing. But maybe I’m not going to use it just because it’s in the software. I’m only will use it if I need it. So, there are a lot of people who are experts in the tools and what the tools can do – to make it, you have to use all the tools combined. It’s different, it’s another level.

Jehan: Well, I think that’s a good interview. Thank you Nara!

Nara: Thank you!

Estudio Gunga

This year was the fourth year in a row that a bunch of display driver and compositor developers met for the Display Next Hackfest, to discuss, present, and tackle issues related to displays, GPUs, and compositors. Thanks to Collabora (Robert Mader and Mark Fillion specifically) for continuing this tradition!

(Check out the 2025 edition)

This time we met in Nice, France, after Embedded Recipes and right next to the PipeWire and libcamera hackfests. I took the opportunity to have a chat with the PipeWire developers about Flatpak, Portals, and the direction we would like to take in regard to video and audio access. Arun Raghavan has a nice summary if you’re interested.

That also brings me to another point: I have mostly stopped working on compositor and color-related areas. It’s not because I lost interest, but rather that I took over Flatpak and Portals maintenance. That by itself was taking a big chunk of time, but then LLMs became good at finding security vulnerabilities and now this takes more time than I have.

Before the hackfest, I sat down for one week and hacked on Mutter (the GNOME Shell compositor) to create a prototype with all the changes I wanted to do but never found the time for:

• dropping colord
• configuring ICC profiles and white point via the display config
• splitting our color transformation code to provide a color pipeline
• offloading color transforms to the KMS color pipeline
• achieving color-accurate white point adjustment and night light

With the prototype done, I made my way to Nice, taking a sleeper train from Paris and waking up to the Côte d’Azur in the morning. Then I met with Robert in the botanic garden, where he used his deep cross-stack offloading knowledge to test a bunch of video playback scenarios.

Over the hackfest days we found some glitches in the AMD driver, which were promptly fixed by Harry Wentland. We also had some discussions on strategies to do KMS color pipeline offloading, which prompted some changes in the prototype, and now have something we can start upstreaming.

For the KMS color pipeline, we got a new fixed matrix operation for YCbCr to RGB conversion, and new named curves for important video playback cases. We talked about control over the color format on the cable (which has been merged by now), as well as control over the minimum BPC.

Another thing that we all got annoyed by was all the funky colors our in-kernel console became when our offloading worked a bit too well. We’ve wanted a reset mechanism for KMS for a few years now anyway, so we decided to prototype it and test it on Smithay. Proper patches are now on the mailing list thanks to Maxime Ripard.

Mario Limonciello managed to push out patches for backlight support via KMS before the hackfest – another thing we’ve wanted for years. We tested them on Mutter, and KWin added support for it as well.

Xaver Hugl showed that we can easily support AMD FreeSync Premium Pro, the worst name for a feature that is essentially Source-Based Tone Mapping (SBTM). We also got good news regarding SBTM on HDMI. In general, it looks like we might finally get HDR that isn’t entirely awful.

DisplayID, the replacement for EDID, is going to become much more prevalent, and we discussed how we’re going to roll out support in the kernel and in libdisplay-info.

We once again managed to put enough wayland developers in a room for a bigger protocol change to get merged. This time it was multi device dmabuf feedback which made Victoria Brekenfeld happy.

There was a lot more happening — check out Xaver’s and Louis Chauvet’s blog posts.

Even though I wasn’t as prepared as the previous times, it was very productive and there was more actual hacking this year. I also enjoyed meeting everyone again a lot, hanging out in the water while watching the 1% take off in their private jets, struggling to find an adequate Döner, and eating lots of pizza.

Until next time!

alternative_right shares a report from 404 Media: A software developer made a Chrome and Firefox extension called Knockoff that automatically hides, grays out, or filters products from sketchy brands on Amazon, which highlights just how many shady brands are on the platform and how commonly they show up on searches for basic items. In just a few minutes of using the extension, Knockoff dimmed product listings for screwdrivers made by "SUNHZMCKP," spoons made by "SACATR," and a lamp made by "ROTTOGOON." In a tweet announcing the extension, developer Josh Pigford wrote "Sorry to brands like WNPETHOME, EHEYCIGA, YXYL, LU&MN, JOYIN, TOMY, GODONLIF, YOOJEE, LINGTENG, LANEIGE, VISCOO, BIODANCE, COOFANDY, BALENNZ, TOSY, and LUENX." The extension can also hide all sponsored product listings. The extension quickly went viral as a much-needed filter for people who still use Amazon and, for those who don't use Amazon because of its horrendous labor practices and other concerns, it is evidence of what an incredible wasteland the platform has become.

Read more of this story at Slashdot.

Testing new article creation

• Up too early, mail chew, plugged at stats generation. Encouraging scripting call with Stephan and others.
• Sync with Gokay, Tracie, Anna & Laser, then Tobias & Thorsten, Alex & Victor, Anna & Timur then snatched lunch.
• Published the next strip: An interview with Brigit - who wants everyone to be happy
• COOL TC meeting, some hacking, chat with Dave, admin.

Europe's General Court dismissed Apple's challenge to the EU's designation of its App Stores and iOS as "gatekeepers" under the Digital Markets Act. The ruling means Apple remains subject to DMA obligations requiring it to allow alternative app stores, support interoperability with rival services, and avoid favoring its own services over competitors. MacRumors reports: Apple took its case to Luxembourg's General Court in 2024 after the European Commission designated its five App Stores -- on the iPhone, iPad, Mac, Apple TV, and Apple Watch -- as a single core platform service under the Digital Markets Act (DMA), a label that brings with it a set of strict obligations. Designated "gatekeepers" are prohibited from favoring their own services over those of rivals, and are prevented from combining personal data across different services. They also have to give users the option to use alternative app stores. Apple also challenged the EU's designation of iOS as a gateway platform, a status that requires the operating system allows rival services to interoperate with it. The company also disputed the classification of iMessage as a number-independent interpersonal communications service, or NIICS, which would subject the app to EU telecoms rules. But the General Court said Apple's actions regarding the iMessage service are inadmissible.

Read more of this story at Slashdot.

BrianFagioli writes: Valve has released Proton 11.0-1, a major update to its Windows compatibility layer for Linux that makes more games playable while fixing a long list of bugs affecting existing titles. The release restores compatibility for many EA games after a recent EA App update, moves classics like Resident Evil (1996), Resident Evil 2 (1998), Dino Crisis, and SHOGUN: Total War from Proton Experimental into the stable release, and adds support for games including Gothic 1 Classic, X-Plane 12, Breath of Fire IV, and Deadly Premonition. Valve also fixed crashes in HELLDIVERS 2, restored No Man's Sky VR support, improved Steam Overlay compatibility with EA games, addressed KDE and GNOME desktop issues, and rebased Proton on Wine 11.0 with updated graphics components. The full list of changes can be found here.

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GNOME’s Code of Conduct is our community’s shared standard of behavior for participants in GNOME. This is the Code of Conduct Committee’s periodic summary report of its activities from October 2025 to June 2026.

The current members of the CoC Committee are:

• Anisa Kuci
• Carlos Garnacho
• Christopher Davis
• Federico Mena Quintero
• Michael Downey
• Rosanna Yuen

All the members of the CoC Committee have completed Code of Conduct Incident Response training provided by Otter Tech, and are professionally trained to handle incident reports in GNOME community events.

The committee has an email address that can be used to send reports: conduct@gnome.org as well as a website for report submission.

Reports

Since October 2025, the committee has received reports on a total of 17 possible incidents. Several of these were not actionable; all the incidents listed here were resolved during the reporting period. There is currently a total of 7 incidents in process.

• We were made aware of concerns regarding online comments made on social media by a GNOME Foundation member. Upon review, we found these comments to fall outside the scope of the Code of Conduct in this instance.
• Report about messages sent to a Telegram channel. Contacted the reported person about the inappropriate nature of the messages.
• Report about unfriendliness to newcomers in a localisation team. Asked the team lead to write down documentation on their procedures.
• Question about clarification on the CoC’s text; replied suitably since the question was not actually about the CoC’s contents.
• Tech support request; redirected to discourse.gnome.org.
• Malicious question; closed without reply.
• Report about homophobia; removed privileges for the reported person.
• Report about a Mastodon post which was subsequently removed. Reminded the reported person that Mastodon posts in the context of GNOME are also under the scope of the Code of Conduct.
• Report about two Mastodon posts which were subsequently removed. Reminded the reported people that Mastodon posts in the context of GNOME are also under the scope of the Code of Conduct.
• Report about a TWIG submission, not actionable as there is no violation of the CoC.
• Report unrelated to GNOME; notified the reporter and closed as non-actionable.
• Report about an interaction in gitlab.gnome.org. Reminded the reported person about how to politely deal with disagreement.
• Tech support request; already solved.
• Report about suspicious activity in Matrix; not actionable other than to keep an eye out for the reported person.
• Report about a person exhibiting bad behavior outside of the scope of the CoC. We will keep an eye on it.

Meetings of the CoC committee

The CoC committee has two meetings each month for general updates, and weekly ad-hoc meetings when they receive reports. There are also in-person meetings during GNOME events.

Ways to contact the CoC committee

• https://conduct.gnome.org – contains the GNOME Code of Conduct and a reporting form.
• conduct@gnome.org – incident reports, questions, etc.

The website repository, and the Code of Conduct itself and the committee’s procedures, are kept at https://gitlab.gnome.org/Teams/Conduct/gnome-code-of-conduct

The Code of Conduct Committee is happy to receive questions about the CoC itself and its procedures, and we will gladly assist you. Please use the communications channels listed above.

An anonymous reader quotes a report from the New York Times: An Australian beach community was confused -- and later delighted -- by the discovery of six metallic-looking spheres that washed ashore last week. The mystery, and the ensuing attention, prompted a bunch of alien jokes from local residents and businesses. But Australia's space agency put the speculation to rest on Monday, saying that the spheres appeared to be rocket debris that had recently re-entered the atmosphere from orbit. The objects were found on Forrest Beach in the northeastern state of Queensland over the weekend, the state's fire department said. Residents described them as being about twice the size of a basketball. "The recovered objects appear to be pressure vessels from a space launch vehicle," the Australian Space Agency said in a statement, adding that they were "consistent with debris from a foreign rocket body." The agency said that it had identified the likely source of the objects, without providing further details, and was working with international authorities to confirm the vehicle from which the debris originated.

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Version:next-20260708 (linux-next) Released:2026-07-08

Linux runs a huge portion of today's infrastructure because it gives administrators an unusual amount of control over the system. That control extends to networking, where almost every aspect of packet flow, routing, filtering, and interface behavior can be customized. The trade-off is that very little of that hardening happens automatically. A fresh installation is usually built to communicate, not to isolate.

Linux runs a huge portion of today's infrastructure because it gives administrators an unusual amount of control over the system. That control extends to networking, where almost every aspect of packet flow, routing, filtering, and interface behavior can be customized. The trade-off is that very little of that hardening happens automatically. A fresh installation is usually built to communicate, not to isolate.

New Zealand startup Zenno Astronautics has completed the first orbital test of its "Supertorquer," a shoebox-sized superconducting magnet system that uses solar power and Earth's magnetic field to help control a satellite without fuel. The company says the technology could eventually support fuel-free satellite maneuvers, docking, deep-space trajectory changes, and even magnetic radiation shielding for astronauts. Space Magazine reports: The tests began shortly after Mira's launch in November last year aboard the SpaceX Transporter 12 mission and saw the shoebox-size device perform with flying colors, Zenno Astronautics CEO and founder Max Arshavsky, told Space.com. "It's a technology that allows a spacecraft to not tumble violently in space and point in the right direction," Arshavsky said. "The unit has multiple super-conducting magnets that are positioned in different axes. When we power up the magnets, they generate a magnetic field, which interacts with Earth's magnetic field, and because we can control the magnetic field on the satellite, we can control the way in which it turns with respect to Earth." Superconducting magnets are made of coils of superconducting wire that have zero electrical resistance and can therefore conduct much larger currents than normal wires. That larger current translates into a greater magnetic force. There is, however, a catch: Superconducting materials need to be cooled to extremely low temperatures to gain their wonder properties. [...] The unit housing the superconducting magnets is wrapped in layers of insulation and fitted with a heat pump that removes all the excess heat from the system. Every time the satellite needs a push, the superconducting coils power up, drawing energy from a battery charged by the satellite's solar panels. "It's converting solar energy straight into useful work," Arshavsky said. "Energy is the one thing that is abundant in space, and you can use it to energize the magnet to create a magnetic acceleration device. It gives you acceleration without fuel." In the future, Zenno Astronautics plans to launch larger systems that could enable spacecraft to dock in space or conduct close proximity operations using just the power of their solar-powered superconducting magnets. Arshavsky envisions powerful magnets that could, in the future, propel spacecraft on missions to the moon and Mars using only solar power.

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Japan's Hayabusa2 probe captured rare close-up images of near-Earth asteroid Torifune, revealing a snowman-like shape made of two joined lobes. Phys.org reports: The fridge-sized Hayabusa2 skimmed asteroid Torifune on Sunday in a mission that demonstrated the ability to deflect a potentially dangerous space rock away from Earth. A new image released by the Japan Aerospace Exploration Agency (JAXA) on Monday could aid such efforts, as researchers say near-Earth asteroids vary in their size, shape and surface characteristics. "The moment I actually saw this image and the scientific data -- it really gave me goosebumps," JAXA scientist Yuya Mimasu told reporters, adding the asteroid "personally looked like a snowman." The black-and-white image, captured by a telescopic camera, showed what appeared to be two round objects joined together. "You can actually see the rocks... I really hadn't expected to be able to take a photo like this, so I'm absolutely over the moon," he said. [...] Moving at a speed of more than 18,000 kilometers (11,185 miles) per hour, the probe was due to fly within 800 meters (2,625 feet) of the asteroid, but JAXA said it would analyze the distance later. If confirmed, the mission would be one of the closest flybys of a near-Earth asteroid ever. JAXA also said Monday it succeeded in acquiring data from three other devices that can measure the distance from the asteroid and examine the existence of water.

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An anonymous reader quotes a report from Wired: Meta launched its inaugural AI image model from the Meta Superintelligence Labs on Tuesday, its effort to compete with the likes of OpenAI's GPT Images 2.0 and Google's Nano Banana 2 in the AI image generation race. The new model, called Muse Image, rolled out with deep integrations woven into the Instagram app. As part of this update, public Instagram profiles are now automatically opted into being fodder for generative AI remixes. All someone has to do is tag your account's profile in a prompt -- if it's public -- and they can use Meta AI to generate an image using your likeness. Meta positions this feature as a cheeky way to personalize generations with images of real people. "Whether you want to design a custom event invitation, mock up a collaborative creative concept, or generate a personalized graphic, tagging a username lets Meta AI use public photos to build a visual that's ready to post," reads one of Meta's announcement blogs about the new AI tool. [...] Instagram's help center site includes more details about how this feature will impact users, saying that "people may be able to create content with your Instagram content using AI features at Meta" if you leave your account public and on the default settings. (A previously archived version of this page from 2025 does not include similar, AI-focused language.) Instagram users who want to stop others from using their public posts for AI images (without switching your account to private) must manually disable the options under the app's "Sharing and reuse" settings. However, turning off the setting only blocks future AI generations; any AI images already created from their content will remain. Meta also says users will not be notified when others create AI-generated content using their posts.

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Doom developer id Software is reportedly laying off about half its staff as part of Microsoft's broader Xbox cuts. The reported layoffs potentially affects around 90 employees. Engadget reports: While neither Microsoft nor id Software have formally acknowledged the layoffs, one former member of the studio's staff, Michael Maynard, has echoed the 50 percent figure on LinkedIn. According to at least one of Game Developer's sources, that could translate to around 90 job cuts, though it's so far unclear what departments at id Software have been hit hardest. [...] Bloomberg reported yesterday that as part of the "reset" at Xbox, ZeniMax Media, the parent company of id Software, will be focusing on its biggest franchises -- like The Elder Scrolls, Fallout, Wolfenstein and Doom -- going forward. It's possible that motivated the cuts to id Software, but the developer at least outwardly appears to be already heavily focused on Doom. The studio launched Doom: The Dark Ages in 2025 and an expansion to the game on July 7, 2026. Whatever the reason, the cuts at Xbox aren't over: While Microsoft eliminated 1,600 roles alongside the announcement that Xbox is restructuring, it still plans to lay off another 1,600 employees over the coming months.

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Microsoft will turn on Windows settings backup and restore by default for eligible Windows 11 business devices outside the EU, starting with Windows 11 26H2. The Register reports: Now dubbed "Windows settings backup and restore," the service backs up a device's settings and a list of installed Microsoft Store apps, which can then be restored to a new device. Microsoft gave a use case for the technology: "Imagine a lost laptop, a hardware refresh, or an unexpected reset. These are some of the moments when your users need backup most. And that's rarely when anyone wants to discover that backup was never turned on." However, some organizations might not want it on. Perhaps those with strict privacy or data sovereignty requirements, or those regulated by the EU Digital Markets Act (DMA), for whom the default-on behavior won't apply. Windows 11 25H2 and earlier are also excluded, as is any device with a backup policy that explicitly disables the setting. Everything else running Windows 11 26H1 will get switched on after a feature update, and the same applies to 26H2, currently with Windows Insiders in the Experimental channel. Administrators might reasonably be wary of this being opt-out rather than opt-in. Backups are useful, but Microsoft is clear that this is not a comprehensive backup solution, calling it only "one step in a broader Windows resiliency effort." The implications still need consideration. An opt-out setting that quietly ships settings data off-device is exactly the sort of thing that adds to administrators' workloads rather than lightening them.

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Samsung's chip division is projected to earn more in 2026 than it made across its previous 40 years in semiconductors, driven by soaring AI-fueled demand for memory and storage. The company's latest quarterly operating profit reportedly topped Nvidia's, making Samsung the world's most profitable tech company for the period. Tom's Hardware reports: Brokerage consensus puts Samsung's full-year 2026 operating profit near 300 trillion won ($196 billion), and its second-quarter figure at about 84.6 trillion won ($55.1 billion). Samsung easily beat the consensus with $58.5 billion when it posted preliminary results on July 7, overtaking Nvidia's most recent quarterly operating profit of $53.54 billion and becoming the most profitable technology company in the world for the period, on the back of AI-driven memory demand. Samsung's DS division booked 53.7 trillion won ($35.1 billion) of the company's 57.2 trillion won in total operating profit during the first quarter of 2026, roughly 94% of the total, which is why the division's projection sits so close to Samsung's full-year consensus. "This year's profit will exceed the cumulative profit generated over the past 40 years since we entered the semiconductor business," Kim Yong-Kwan told staff, scoping the claim to the chip business rather than the wider conglomerate. Further reading: Samsung Chip Workers To Get $340,000 Average Bonus In AI Boom

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The FCC plans to roll back broadband label rules that require ISPs to itemize all passthrough fees. Under the proposal, providers could instead list a single "up to" amount for location-based charges. It would also allow ISPs to link to pricing labels rather than display them prominently, while eliminating machine-readable pricing files. Ars Technica reports: ISPs routinely advertise prices much lower than those actually charged to consumers on their monthly bills. One method of raising monthly bill prices above advertised rates is to tack on fees that, ISPs claim, are used to offset charges imposed by local governments. ISPs would be well within their rights to advertise accurate monthly prices and charge those exact prices on monthly bills. But because ISPs rarely do that, the FCC has required them to make specific price disclosures to consumers for the past decade. The Biden-era FCC updated the broadband-label rules to require that ISPs "itemize on the label (PDF) all discretionary monthly fees that the provider passes through to the consumer." The change drew protest from Comcast and other ISPs that complained bitterly about the complexity of listing all the hidden fees they had chosen to charge. Under Chairman Brendan Carr, the Trump FCC has steadily whittled away at requirements imposed under Democrats. An order (PDF) released in draft form last week would eliminate the requirement to itemize passthrough fees and let ISPs list them in a single "up to" amount. The "up to" amount can include both government fees and fees charged by non-government entities such as owners of utility poles. "Rather than continuing to require providers to itemize 'passthrough fees' that can vary by location, we allow providers to display such fees in the aggregate, either as a maximum or 'up to' amount for the total fees applicable in any location where the service plan is offered, or as the exact total of such fees assessed in a particular location," the FCC draft order said. The order to be voted on later this month includes a few other changes that will please ISPs and their lobby groups. ISPs will be allowed to provide links to price labels instead of displaying the full labels prominently on ordering pages and account portals, and will be allowed to stop making the price-label information available in machine-readable spreadsheets. The FCC is also relaxing the requirement that price information be available over the phone. The FCC said the change will "allow phone sales representatives to present label information conversationally, as a summary of key label fields, rather than require verbatim recitation." The changes have been in the works since October 2025, when the FCC issued a Notice of Proposed Rulemaking to let the public submit comments on the proposals. The outcome of that process is the draft order, which will be voted on at the FCC's July 22 meeting and take effect 30 days after it is published in the Federal Register. There are many types of passthrough fees that ISPs will be able to stop listing individually and roll into the "up to" amount. The FCC defined the fees as follows, saying they include just about anything that isn't a tax [...]. Another planned change will eliminate a requirement that providers archive all labels for at least two years after a service plan is no longer available. The Utility Reform Network, an advocacy group, told the FCC that the archived labels provide crucial data about how prices and services change over time, and that machine-readable labels are important for affordability research and information accessibility.

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An anonymous reader quotes a report from Reuters: Chinese startup DeepSeek is developing its own AI chip, according to three people familiar with the matter, a push that could reduce its reliance on Nvidia and Huawei chips, which it has depended on to train and run its globally popular models. The chip is designed for inference -- the stage of AI computing in which a trained model generates responses for users -- rather than for training new models, the sources said. If successful, DeepSeek's expansion into semiconductor development would mark a major strategic shift for a company widely hailed in China as the country's AI champion, potentially adding to challenges faced by Chinese tech giant Huawei.

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