Web artisan, freelance
Bruxelles
Joined January 2011
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📺 TF1 indique à l'AFP que l'entretien avec Jean-Luc Mélenchon avait été annulé en « fin de semaine » dernière. De sources internes à la chaîne, le candidat LFI avait prévenu de sa non-venue dès jeudi dernier. Soit trois jours avant l'entretien avec Édouard Philippe. #Médias
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Julien Wadin retweeted
OMG 😱 All those trees were « unstable »?! I’d really would like to see that analysis @FlorenceFrelinx, and I assume a lot of people want the same.
bruzz.be/actua/biodiversitei…
Julien Wadin retweeted
Les attaques de ces derniers jours sur les systèmes Danfoss m'ont ramené à un sujet que je rabâche en conférence, et qui reste une de mes thèses : le risque accepté.
Un risque cyber est un risque business, là-dessus je n'ai aucun doute. Sauf que dans les faits, on l'accepte comme un risque mineur, à peu près avec le sérieux qu'on met à choisir la plante de la réception.
L'exercice que je propose à chaque fois : imaginer qu'on gère les risques d'un bâtiment comme on gère les risques cyber.
Pas d'extincteurs ? Bon, pas grave, on n'a pas le budget, on verra en 2027. Pas de porte coupe-feu entre le 3e et le 7e étage, avec le risque que des gens meurent brûlés ? Risque accepté, documenté, signé. Le juridique et la direction ont validé des pertes jusqu'à 10 millions d'euros, victimes comprises. Les issues de secours, l'écart est connu, il est dans le plan d'action, sous réserve d'arbitrage. La ventilation, on regardera le jour où quelqu'un fera un malaise.
Personne ne signerait ça pour un immeuble. Et le jour où le feu prend, on connaît la suite : réunion générale, la faute à « l'existant », des retours d'expérience promis, puis on passe à l'acceptation suivante.
En cyber, c'est l'histoire de nos vies. Des risques connus et documentés, à fort impact, acceptés parce que les traiter abîmerait le trimestre. Et pour boucher les trous, de la conformité de façade et des plans d'action qu'on écrit en croisant les doigts.
Je suis le premier à dire que la sécurité ne doit pas bloquer le business. Mais entre ne pas être bloqué et ne rien bloquer, il y a deux mondes.
Julien Wadin retweeted
Qui avait la responsabilité de faire la mise à jour du firmware Danfoss ?
En théorie, trois acteurs pouvaient la faire. Danfoss, qui a développé le firmware R4.3.1 et qui dispose potentiellement d’un accès à distance aux contrôleurs via sa plateforme cloud Alsense. Le sous-traitant frigoriste (Axima et d’autres) qui a installé le contrôleur, qui détient les identifiants d’accès, qui connaît le système et qui le maintient dans le cadre d’un contrat de service. Et le directeur du magasin, qui est propriétaire ou locataire de l’équipement.
En pratique, aucun des trois n’avait de raison suffisante de le faire. Le directeur du magasin ne sait même pas ce qu’est un firmware, et son contrôleur frigorifique n’est pas dans le périmètre de son service informatique. Le frigoriste a un contrat de maintenance qui couvre le fonctionnement du froid : les températures, les cycles de dégivrage, les pannes mécaniques. Il n’a pas, sauf clause spécifique, de mandat pour la cybersécurité de l’équipement, et une mise à jour firmware comporte un risque de dysfonctionnement qui le rendrait responsable d’une interruption de la chaîne du froid. Appliquer un patch dont personne ne lui demande l’application, et qui pourrait causer un problème dont il serait tenu pour responsable, ce n’est pas de la négligence, c’est un calcul rationnel. Quant à Danfoss, l’entreprise a publié le correctif, émis un avis de sécurité, et recommandé la mise à jour. Elle a fait ce que le cadre actuel lui demande de faire.
Chaque acteur a fait ce qui était raisonnable dans son périmètre. Personne n’a commis de faute caractérisée. Et le résultat, c’est des millions d’euros de marchandise détruite dans trois pays.
Même en aviation, les mises à jour logicielles sont un casse-tête. The Air Current révélait le 3 octobre que les compagnies aériennes américaines refusent d’installer la dernière version du logiciel de gestion de vol du 737 Max parce qu’elle introduit de nouveaux bugs. United Airlines a même rétrogradé vers la version précédente. Mais la différence, c’est qu’en aviation, la FAA prépare une consigne de navigabilité obligatoire pour forcer la mise à jour, avec un délai de conformité pouvant aller jusqu’à 54 mois. Le mécanisme est lent, imparfait, contesté. Mais il existe. Au bout du processus, la mise à jour sera obligatoire, et si une compagnie ne l’applique pas, l’avion ne vole plus.
Pour Danfoss, le firmware R4.3.1 était disponible depuis 2025. Aucun délai de conformité n’a jamais commencé à courir, parce qu’aucune autorité n’a jamais eu le pouvoir d’en fixer un.
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Why U.S. airlines balked at adopting Boeing’s latest 737 Max software versions - theaircurrent.com/aviation-s… via @theaircurrent
Julien Wadin retweeted
When we started responding to Russia’s operation against our data centers, and when our strikes reached Yandex’s data centers, it suddenly became a little easier to breathe on many social media platforms. A lot of people noticed it. There was less hate, less division, and fewer provocations.
Because there were fewer bots. And it’s pretty clear where those bots were coming from – if they disappeared when Yandex went offline. This proves, again and again, that Europe is not the source of the problems. Europe is not the one making everything more difficult.
Most importantly, we need people in America, every morning, when the day in Europe is already moving toward evening, to really see what is happening. To see the truth.
From a speech at the Warsaw Security Forum. (3/3)
Julien Wadin retweeted
If confirmed, this is telling: Russian data centres get hit, and online activity around AfD suddenly plummets. 📉
So much talk about German patriotism… then the connection from Russia goes down. 🤔🇷🇺
Julien Wadin retweeted
Ukraine hits another Yandex data center in Russia and Cloudflare data shows Russian bot traffic dropping dramatically. Might have an impact right before the November elections.
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«Mais Jordan, pourquoi tu dis tout le temps ‘chartre’ au lieu de ‘charte’ ?».
Comment Bardella a aussi été trahi par ses fautes d'orthographe. Les coulisses de l'enquête de Mediapart ➡️info.mediapart.fr/optiext/op…
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Julien Wadin retweeted
Le riche mariage du fils de Donald Trump aux Bahamas a été financé en secret par un oligarque russe proche de Vladimir Poutine. Révélation d’une enquête de @propublica.
propublica.org/article/donal…
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I made an ad for GPT Image 2.5, full prompt below.
It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it.
Seedance 2.5 on @higgsfield.
Seedance 2.5 Prompt:
[GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect.
[CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed.
[ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other.
[CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation.
[SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun.
0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet.
3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her.
7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts.
11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak.
15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers.
18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft.
21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles.
24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information.
27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her.
28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind.
[SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head.
[HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.
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