• "I am here for you freelancers where every day is a new war; I am here for you day-jobbers where it’s all the same old battle and then family at night and you’re too tired to work on the story and all you want to do is watch TV. I see you and I want you to know that you’re okay. That we all fight this battle in different ways, and I know you’re doing the best you can. Living is hard. Creating is harder. I am here for you on the weeks you write zero words and the weeks you only write 500 and the weeks it all flows out of you like salt water and you’ve written 10,000. I see you when you look back over it and wonder if any of it is any damn good at all. Keep it. It’s good. Keep going. You can edit when you are done." There is no expiration date. This was good.
  • I quite enjoyed this, if only because I started out quite defensive and concerned it was going in one direction, but it then went on and reminded me of many useful and valid points. (I think prior art – part of the "Scholarship" aspect – is a highly important part of any work, and find the lack of interest in it frequently frustrating. At the same time, sometimes it feels like academics do their best to hide that work, which is challenging for the civilian).
  • "Nymphaea is one in a set of 7 works made under the title Ethereal Information. These works are Pure data patches, and they are generative sound works functioning by the rules of partially fixed algorithms. Each of the patches leaves the space for user’s input that will influence certain aspects of the work. Patches can be used under the Creative Commons Attribution license, as part of other works, in installations, galleries, public spaces or wherever you find them suitable."

    Music as software. I'm listening to it now; not as an MP3, but as a PureData patch. Very good.

  • "The School of Noise runs workshops for young people and adults encouraging the exploration of noise, sound and music. Our aim is to provide creative and imaginative activities using sound in accessible, fun and educational ways.

    Using a wide variety of analogue and digital equipment our activities include; sculpting sounds using small modular synthesisers, composing original experimental sound art, circuit bending, field recording, coding and programming, building cardboard record players, conducting orchestras of fruit and vegetables, creating and recording Foley sounds, preparing pianos, soundwalks, learning about acoustic ecology plus more."

    Brilliant.