Huh, thought I'd lost SSH access.
Anything interesting happen since *checks* 2019?
Lately I've been mixing music at home with entry-level DJ gear.
Here a recent session, rendered in a low bitrate
(inspired by tilde.club and
It's 27 minutes long, with a total size of 4.7 MB,
which fits on just four floppy disks.
Twitter is a complementary medium to blogging […] it’s not
By the fourteenth century, Romance dialects belonged
to two broad categories. Those in which “yes” was pronounced
oc—mostly south of the Loire River—were called langues
d’oc (oc languages). Those in which speakers said oïl
for “yes”—in the north—were called langues d’oïl, a term which
came to be used interchangeably with Françoys. Oïl and oc
are both derivatives of the Latin hoc (this, that), which at the
time was used to say yes. In the south they simply chopped off the
h. In the north, for some reason, hoc was reduced to a
simple o, and qualifiers were added—o-je, o-nos,
o-vos for “yes for me,” “yes for us” and “yes for you.” This was
complicated, so speakers eventually settled for the neutral
o-il—“yes for that.”
Jack Vance (in The Languages of Pao) posited a language without
verbs. For instance, “There are two matters I wish to discuss with
you” comes out something like “Statement-of-importance–
in-a-state-of-readiness– two; ear– of [place name]
– in-a-state-of-readiness; mouth– of this person here–
in-a-state-of-volition.” Vance may be in a state of pulling our legs.
An empty space is marked off with plain wood and plain walls, so that
the light drawn into it forms dim shadows within emptiness. There is
nothing more. And yet, when we gaze into the darkness that gathers behind
the crossbeam, around the flower vase, beneath the shelves, though we know
perfectly well it is mere shadow, we are overcome with the feeling that in
this small corner of the atmosphere there reigns complete and utter
silence; that here in the darkness immutable tranquility holds sway. […]
And even we as children would feel an inexpressible chill as we peered
into the depths of an alcove to which the sunlight had never penetrated.
Where lies the key to this mystery? Ultimately it is the magic of shadows.
Were the shadows to be banished from its corners, the alcove would in that
instant revert to mere void.
This was the genius of our ancestors, that by cutting off the light from
this empty space they imparted to the world of shadows that formed there
a quality of mystery and depth superior to that of any wall painting or
Boost your search engine results using pop culture references while
simultaneously increasing your chances of being tracked by the NSA with
trigger words.JESSICA ALBA FBI CONSPIRACY
It can be really healthy to reboot every now and then. This is why
people write many books instead of one big book. It is actively against
the interests of large for-profit networks to let you reboot.
The Day of the Technopath (1989):
This documentary is particularly interesting because very common
problems today are discussed at their infancy: organized crime first
experimenting with cybercrime, threats to critical infrastructure,
computer espionage by foreign nation states as well as cyber warfare.
Jobs at Bandcamp:
There is no Bandcamp office. Our team is sprinkled throughout the world
[…] If you do not have a strong social structure outside of work then
employment at Bandcamp will likely lead to obesity, heart disease, and an
early death. We’re hiring!
Instances of subliminal messages:
In the British alternative comedy show The Young Ones, a number
of subliminal images were present […] a gull coming into land, a tree frog
jumping through the air, a man gurning, and the end credits of the film
Carry On Cowboy.
A quote from 33⅓: Selected Ambient Works Volume II (2014) by
Marc Weidenbaum, on Aphex Twin’s
Perhaps, though, the record did seem more beatless at the time of its
initial conception. Perhaps the world is quieter now in some respects.
Electric cars motor by with no engine sound. Solid state drives in
computers and portable tablets have virtually eliminated the hard-drive
whir that for many years served as digital music's equivalent to the
surface noise of vinyl and cassettes. There is ever more abundant use of
headphones, isolating listeners from the world around them. Sound design is
increasingly a considered—that is restrained—component of product design,
so the sounds we do experience in consumer goods—from alarm clocks to
microwaves—are more tasteful. Movies and TV shows now feature the so-termed
“underscoring” techniques pioneered by the likes of Lisa Gerrard (Whale
Rider, Gladiator), Clint Mansell (Requiem for a Dream,
Black Swan), and Cliff Martinez (sex, lies, and videotape;
Solaris), rather than the foregrounded, melodramatic orchestral
techniques of an earlier generation, or the synthesized renditions of those
orchestral techniques that served as a bridge from orchestra to our present
era of ambient movie scoring. Perhaps we only can hear the beats inherent
in Selected Ambient Works Volume II two decades after the fact
because those elements are, in cultural terms, louder now. Or perhaps it
all depends on what the meaning of “beat” is.