Theatre of noise 
Presentation tips
Presentations are an important aspect of delivering your ideas to a group, whether you work in business, at a design firm, or on a community project. Besides this you might be a student or, like me, a lecturer. Each year I present dozens of times: in class, at conferences, in arts contexts. Here follow seventeen pointers that I have compiled over many years. Read on to learn two secrets. Shhhh! Creating the presentation 1. Readable text Ensure that your text is readable, even for viewers at the back of the room. Break large blocks of text down into smaller bullet points. You can expand on these while speaking. Some presenters have a talent for extemporising but it might help to prepare separate notes to read for each slide. Use more than one slide to cover a topic as necessary. Use an entire slide for any important graphics, with a short caption to act as prompt.2. Visual designIt is always appealing to have a well-designed overhead, but don't overdo your page with graphical frills that detract from the content. Legibility is the goal. Applications like PowerPoint allow you to integrate transitions and animations with your slides. Forget it. Visual effects quickly become boring and detract from the material. Focus on the material not the frills. 3. Giving credit How you give credit varies with your context. For an academic paper, it is appropriate to use citations in your overhead material and provide a reference list at the end. You don't need to read that list (obviously) but it will be there for the Q&A period. You also don't need to read every citation. Having these on screen is enough. Do not copy material from other sources without attribution. That is plagiarism. Learn how to access creative commons material and how rights work. In today's world it's easy just to pillage websites. Be a better person. If you use images as a major part of your work, seek permission from the artist / photographer. If they are being used only as illustration, at least provide a credit slide. As an teacher, researcher, or student, somewhat different rules apply. So long as you credit sources it is often appropriate to use them in an educational context, even without permission.Learn the difference between references and credits. References are for academic sources. Credits are for media assets you used. 4. So-called AI AI steals from content creators, misleads about veracity, promulgates a hyper-capitalist narrative, and consumes the world's resources. Just don't. If I attend a presentation I want to hear you speak and see your work. Not the output of a large grey prediction engine.And don't think we won't notice. Text generators are boring and obvious. Preparing for a presentation 5. RehearsalYou must rehearse your presentation by reading out loud. This is non-negotiable. Text that looks OK on the page does not always sound right when spoken. Rehearsing makes it obvious where the text flows and where it doesn’t. Even for a written paper, I practice by reading aloud. This is my "secret weapon" for better writing! 6. Time limit Time goes by quicker than expected when delivering a presentation. Ten minutes sounds like a lot, but if you are not organised it will not be enough. You need to carefully choose your topics and emphasis. Cover the introduction and context quickly to get to the heart of your talk. Time your practice runs and be sure you can finish within 90% of the allotted interval. 7. File formats It doesn't matter what application you used to create your presentation. Bring a PDF to the gig. If you need media clips, bring these as separate files. Name and organise files so you are not struggling to find your work. Presentation files might not run properly on the presentation computer. Embedded videos and sounds might fail. Don't rely on Pages, PowerPoint, or any other proprietary format. I can't tell you how many times I watches someone flail around trying to fix a technical problem. Use standard file formats and standard codecs for videos. Never expect to run content from the internet. We don't want to watch whatever ads or political content YouTube inserts into the flow.Test everything on a second computer. Your main device may have customised settings that you long forgot about. 8. Disk formats Operating systems use different native file systems. Any external media (USB stick, hard drive) that you wish to share across different computers should be formatted as exFAT for maximum compatibility with Mac, Windows, and Linux. 9. Backups Bring your presentation on a USB stick. Don't forget the adapter so you can use USB-A or USB-C ports. Have a safe copy backed up in a convenient place online. For years I printed out my talk on paper. Now I ensure that my presentation is available on my phone. Should all else fail, I can present verbally.10. Sound-checkTreat your talk as a gig... because it is. Arrive in the presentation room ahead of time, so that you can ready your work and sort out any unexpected glitches. There should be time allocated to this in the schedule of the event. But if not, arrange with the organisers to set up during lunch, a coffee break, whenever. Delivering the presentation 11. Address Not everyone has the same outgoing personality, but you should aim to clearly and confidently address your audience. Speak to the audience, not the screen or your computer. Vary your stance. Move around a bit. Speak up. You may not be confident, so fake it. After a while fake confidence becomes real confidence. That's the second secret. Model the person you want to be, then fake it. 12. Introduction Start by briefly introducing yourself. The audience should know your name and topic, possibly your affiliation. Do not present your biography. Your audience can read this for themselves from the conference materials, your website, socials, etc. I once heard a 15 minute presentation where the first 13 minutes was the presenter bigging themselves up. Then they had two minutes to present. Yikes! 13. Languages Presentations are often given in an international context with speakers (and listeners) fluent in different languages. Read at a steady pace with pauses for listener comprehension. If your first language is not the same as the dominant language at the event, take into account your abilities. If your accent is thick you may want more slides than usual so people can follow and understand the written text.14. Acoustics Take into account the acoustics of the room. A larger hall will be more reverberant, so people near the back will have a harder time comprehending. If half the seats are empty, you can ask people to move closer. Take charge of the space. Use a microphone if it is provided. But learn how to use a microphone! Some models are designed for direct address (speaking as closely as possible into them) while others prefer some distance. Figure this out during the sound-check. Have someone sit at the back and ask them if your speech is clear.Don't crank up the volume too high as this leads to feedback. So many times I have heard talks where the sound was breaking up into irritating little squeals. Sometimes you will have control over this, other times you will need to request the organiser to fix the levels. If the microphone is fixed in one place and you wander around, be aware that you might not be heard! 15. Playing media When playing sound or video content, stay quiet. Do not attempt to speak over the media clip unless you are well rehearsed in this process. So many times I see people mouthing words while completely drowned out by background music. The sad thing is, this happens even at conferences full of (supposed) sound professionals! 16. Keep to your time I don't care how interesting you think you are, keep to the time limit and respect the organisers and other presenters. When you are given a one-minute warning, start wrapping up. Don't start a whole new topic. You are not the most important person in the room. 17. Learning from mistakes After you are finished, make notes that will help you improve for next time. Jot down any comments or questions you received that deserve follow-up. Get contact details from colleagues... or get fans to follow your socials. Build a community of practice. Conclusions Comment below if you have additional advice.
This is a summary of sources for electret microphones in May 2026. These mics are a great choice for stereo and binaural recording where tiny size is the over-riding concern. Paired with a small audio recorder, these make a compact setup for field recording and other tasks. Please check out the Field Recording Gear page for other useful resources. Introduction These electret condensers require a small voltage (up to 5V) in order to function. So your recorder will need a stereo minijack input with plug-in power (PIP) capability. Not all models offer this voltage even if they have the correct input socket, so please read the spec sheet. You can also use an adapter (LOM model shown in the photo above) to power from standard 24 or 48 V phantom XLR sockets. Don't buy a dumb splitter because these will not have a transformer to lower the voltage to a safe range for your mics. The most popular capsule used by microphone builders is the Primo EM172-Z1. It has also been confirmed that the Sony PCM-M10 uses a variant for its internal mics. Capsule specifications are as follows: maximum input: 119 dB SPL self-noise: 14 dBA sensitivity: -28 dB at 1kHz (±3 dB, 0dB=1V/Pa) polar pattern: omnidirectional For some applications a cardioid pattern might be better and retailers might also sell these variants. Current models Here's the full list of available electrets at retail. If you know of any others, put them in the comments. Uši from LOM (Bratislava, Slovakia) @ €135 Earsight Standard V2 from Immersive Soundscapes (Nantes, France) @ €123 Clippy from Micbooster / FEL Communications (Surrey, UK) @ £75Available in Europe at Veldshop (Netherlands) @ €118 SO.1 from Sonorous Objects (New York, USA) @ €190 micverve YH713 (Shenzhen, China) @ $72All of these manufacturers use the Primo EM172-Z1 except for Earsight who use the AOM-5024L-HD-R with these specs: max input: 110 dB SPL self-noise: 14 dBA sensitivity: -24 dB at 1kHz (±3 dB) In the past I have endorsed Audiotalaia (Valencia, Spain) who no longer offer microphones. I continue to endorse LOM (Bratislava, Slovakia) who offer superior build quality but are often out of stock since they produce in small batches. So likely you will simply buy the product that is a) available and b) located closest to you. This is because today's shipping rates (and import duties) will swamp any difference in retail pricing. And what about far more expensive products from the likes of DPA? You might wish to start with my Valentine's Day tests. Links on the the Field Recording Gear page. Conclusions I am back to writing about field recording gear because there's so much misinformation on social media. Besides, I plan on increasing the amount of field recording over the next 12 months. Who knows what I might cover next! Here's a photo of my two trusty recorders for your interest. Both are defunct and rather decrepit. But both work very well with the mics listed above.
Field Recorders in 2026
Well, it's been a good long while since my last field recorder update and a few things have changed. So here I am once again, at your service, summarising the 23 available models that sell for under €1500. Read on for the PDF download and my commentary. Updated 11 May 2026 to include the Deity PR-4. And then again add additional power options for each recorder. What's Changed? Back when I started writing about field recorders there was a profusion of small, high-quality models on the market. Some of these have attained near mythic status (Sony D100 anyone?). But all are long gone. Marantz, Sony, Olympus, and other companies have exited this space. Their units haven't been sold for a decade and those that remain are decrepit. Case in point: Both my Olympus LS-10 and LS-11 have seen hard work and neither operate correctly. A channel is gone on one, markings completely rubbed off the other, controls non-responsive. So I dug out my near pristine Sony M-10 and -- guess what? -- it no longer recognises any SD card. Turns out that's a common problem. You don't need to actually use the darned thing for it to fail. Sigh. Two other recorders were already past their prime when I purchased them, an act committed so that I'd have context for the many articles I've published here (see my Field Recording landing page). Then followed a period dominated by low-end models from Zoom. The experience was one of plastic bodies, broken sockets, snapped controls, and mediocre recording quality. The last couple of years have brought significant advances in inexpensive field recorders. First, independent video has become a big thing. The form factor of these models suits camera mounting or even desktop operation, automated mixing makes the process easy, and timecode is a nice bonus. But the ergonomics are often poor for outdoor use. Who need knobs and dials when a touchscreen will do. Right? Right? The second trend is towards better pre-amps. Now this was a surprise! Zoom uses their F-series preamps in some of their H series recorders. Advertising now actually mentions equivalent noise figures. Amazing! Available Audio Field Recorders In the past I have included defunct models in my summary charts but I am finally abandoning that position. As already mentioned, old units are now so old that they will likely be unreliable. I am also omitting units that cost more than €1500, record only in mono, or which are designed exclusively for videography, live streaming, etc. I have sorted the table two ways. First by volume (cubic cm) divided into the categories Bulky, Handheld, and Pocket. Second, into subjective categories: Choice, Compromise, and Casual. If your choices are different to mine that is cool. We have different goals and constraints. I do not mean to be prescriptive here but am only offering guidance. Finally, it must be declared that these evaluations are based on reading the literature, third-party accounts, etc. and not on real-world usage of all 23 models. that would be impossible! Nonetheless, this summary will save you chasing down every last detail from user manuals. Download the PDF and have at it! Category = Casual In this class I put the recorders with only passable noise levels and compromises in build. If you are recording a band rehearsal, interview, or other loud source then any of these recorders will sound just fine. But for quiet field recordings? These are not recommended. Zoom is the main player hear, flooding the market with a confusing array of H series recorders. The latest models with the "essential" suffix have been upgraded to 32-bit recording and downgraded to micro-SD cards. Tascam remain a contender in this market and two lower-end models are included. I have not added the remaining Olympus recorders since they are primarily for dictation. Category = Compromised These products have low noise floors but questionable build or ergonomics. They are compromised for field recording in one way or another, at least compared to the Choice category. They may have issues like plastic builds, fiddly battery compartments, questionable ergonomics, etc. The Tascam DR-40XP is a third-generation unit, following the DR-40 and DR-40X. It has significantly improved microphone pre-amps, now claiming EIN -126 dBu. But unlike the two cheaper units from this manufacturer, this model inexplicably lacks a minijack microphone input, limiting its flexibility. The built-in mics swivel from XY to AB positions and the unit surprisingly supports MS decoding. The Tascam Portacapture series are "next generation" (meaning "this generation") units with colour touch screens and convenient preset configurations for common tasks. These two units are marketed towards app users who don't want to think about recording settings. Nonetheless features have not been compromised. The condenser microphones can be set for A-B or X-Y configuration as in their cheaper units. But here the capsules are larger (14.6 mm) and can be detached in the case of the X8. The recorders also operate as audio interfaces with the bonus ability to record over USB (an uncommon feature). The large feature set provides slate tones, BWF format, automatic marking (basic on time or levels), camera in/out with attenuation, pre-record buffer, dual recording, and so on. An optional Bluetooth dongle allows remote control from a mobile app. The unit has been well-supported through several firmware updates. But there's no way I want to use a touch screen in the field. So, yeah, compromised. The Zoom H5studio and H6studio are plastic hobgoblins studded with inputs and (thankfully) real knobs. They use the same pre-amps as the F series, so no worries there. But unless Zoom's range of snap-on microphones excites you, I see no advantage to these bulky recorders. Though I have generally excluded units made for video from this roundup, the Zoom M4 snuck into my list. Though shaped like a microphone it has flexibility given the two XLR inputs. But it is over-large compared to other choices.The Tascam FR-AV2 and Zoom F3 are stereo designed for video applications. I include them on the list because their extremely small size may suit drop rigs. Category = Choice Depending on your criteria, these are the best choices in my humble and not-as-informed-as-an-ideal-world-would-permit opinion. Certainly no-one is going to object to Sound Devices, since they are one of the premium brands. However, the Mix Pre series are not to be confused with the industrial build of the 700 and higher series of professional recorders. They were introduced to compete on the "low end" after the Zoom F series shook up the market by undercutting the competition on price-per-feature. The Zoom F6 and F8n Pro remain the best choices from this manufacturer. The Zoom F6 offers six inputs versus four on the Mix Pre 6, while being less than half the price. The unit is compact and well laid out. What I love is that Zoom haven't forgotten 24-bit recording in all the 32 hype. In that "lower" mode the look-ahead buffer allows for smart limiting... and this works well for occasional peaks. The F6 is also a popular choice for Ambisonic recording with A-to-B format decoding. But the one killer feature of the Zoom F8n Pro is dual disk recording, which guards against corruption and other surprises. You can even dual record with different formats on each SD card. Oh yeah, they are full-sized SDs, not those annoying micro things. But I do miss the lack of plug-in-power inputs on these units. I have electrets and wish to use them! By the way, I own the original Zoom F8, which is pretty much identical to the F8 Pro except no 32-bit recording. Check out the Field Recording landing page for several articles on that recorder. Finally there are two units that I would love to trial. The Tascam FR-AV4 has trim knobs, guard rails, and a rectangular form factor made for a gig bag. The video focus is still obvious, given the timecode support and HDMI sync capabilities. However this unit is larger and heavier than an F6 while also costing 50% more. The Deity PR-4 is the first recorder from a brand known for their microphones. Due out in July 2026 (postponed from May) it has some unique features. First, the internal 64 GB SSD drive acts as redundancy for the SD card. The built-in NP-F550 battery can be recharged through USB or Hirose connectors. The PR-4 not only supports timecode over cable but generates same and can distribute wirelessly. The accessories package includes a custom bag and cage with mount slots for an ORTF mic layout. Now that is clever! Deity have also teased a prototype PR-6 unit with 4 XLR inputs. We shall wait and see! A word to my readers Are you employed by a device manufacturer? Can I offer a word of advice on a new form factor recorder? Instead of wide, make it deep, designed to sit vertically in a shoulder bag. Then all the cabling (XLR inputs, headphone output, power) could be on one side of the unit. In total, this form factor would be more compact than current options, which are nice until one considers the volume of cabling necessary on three sides of the recorder.There would be challenges here in the control interface, since the surface area would be reduced. But multifunction encoders and remote control apps (for detailed functions) could solve the ergonomic challenges. It's an interesting design problem! Also, take a tip from Deity and include a high-capacity standard-format battery inside the unit. That is a game-changer idea. Conclusion This site has no sponsors, no advertising, no kickbacks, no Amazon affiliate links, and no Patreon. I do all this because I enjoy helping you make an informed decision. I welcome comments and corrections.
An introduction to my music recommendations
After my last article it struck me that I don't post music recommendations on this blog. Instead they've all been dumped on Facebook where they become part of that mushy landscape, receding into the past almost immediately, never to be seen again. Given that I take quite a lot of time to listen and advise, this seems somehow inappropriate. Music does not have an expiry date. I am going to change that by going back through my archive. Because my previous advice was never constrained by what was recently recorded or released. I come across music at hazard and do not have the journalistic need to promote only the new. I am also considering compiling together the hundreds of reviews I've posted on other websites, written under an anonymised name. It seems a shame that they go to waste. But the amount of work to convert the files is concerning. Considering that it's only, you know, my opinion. Perhaps no-one cares. And I don't do this for my ego. A good review? But if you are like me, you love a good review. What this means is that you trust the personality of the writer enough to take a chance on their recommendations. Not that you always agree with them, because such is impossible. Something I feel lacking in this 21st century is the ability to find good reviewers. Basically, they all suck. Because they have no personality I can discern. Instead, they are driven by imperatives I don't find interesting: the need to be current, the need to be cool, and the need to write 1000 words when 20 will do. OK, perhaps that was always the way, back when I read New Musical Express and Melody Maker, and sometimes (ugh) Sounds. But in those days it was obvious. There was less artifice. Or, perhaps, just as much artifice but shared as an understanding between writer and reader. There is no shared anything any more, because all relationships are transactional and fragmented. Why listen to me? Well, if you are already here on my blog and have read this far, the question has been answered. The scope of music I have heard and enjoyed is enormous. I have no artificial barriers to "taste" or any other such discriminant. I might cover just about any genre, from anywhere. About the only thing that consistently doesn't interest me is over-produced pop. But no-one needs reviews of that anyway. Apparently it is ubiquitous. Instead I will focus on delightful surprises that upset the norm... and which hopefully you've never heard of. My reviews will be short. I have nothing to prove, no deadlines to meet, no money to make from word counts. I don't listen to the radio; I don't watch TV; I never see an advert. I live in a self-curated media bubble that allows me to stay aware of the world, but on my own terms. I am as free from commercial influence as possible. In part this is because I can't function as an artist otherwise. In part because my environmental sensitivities dictate this course of action. So if I do recommend an album that is hyped in all the media channels I won't know this. It might happen! Why Bandcamp? I will focus on Bandcamp for several reasons. First, Bandcamp is easy to link to. And you can listen for free, so there are no barriers to checking out new music. Second, they provide the phenomenon known as Bandcamp Fridays when they give up their profit margin. So all the money goes to the artists. I honestly don't know why they continue to do this, but I continue to exploit the possibilities. Throughout the month I wish list albums I am interested in. Then I buy them all on one day. Third, most alternatives to Bandcamp are streaming companies. Their exploitation of musicians is hundreds of times worse than the old megacorps that people used to hate. I took all my music off streaming years ago and use no apps. I don't find it difficult to download files and then transfer them to whatever device I might need for listening. That is absolutely the least one should do for musicians and composers. Fourth, Bandcamp provides music in uncompressed audio (FLAC) at a quality that is indistinguishable from the original masters. You lose nothing. Most streaming services use formats that suck the music dead.(And, no, this is not an argument for the snake-oil that is "high resolution" music.) About fixed media I avoid fixed media as much as possible. Vinyl, aluminum, and plastic all contribute to the destruction of the environment and tamper with the sound in some way. If you wish to collect records on 12" discs of discarded polyvinyl chloride that is your business. But you are supporting the oil industry (where do you think PVC comes from?) while needlessly compromising the sound. (Aside: As I write this as I am preparing some of my own music for cassette release because... well, it's complicated. The music is all about cassettes as a format in a historical context. So I am making an exception.) Likewise I won't hate you for buying vinyl (and you can do that on Bandcamp) so long as you are aware of your choices. But please don't try to convince an audio engineer that this delivery method is in any way superior to the master tapes/files. And did you know that every vinyl album has been through a digital stage for mastering? So there are no true analogue formats. OK now I am beginning a rant. See. I am a reviewer.
Recommendations for Bandcamp Friday (May 2026)
It's Bandcamp Friday, a day when all proceeds go to the artists. If you are like me, you bookmark your favourites through the preceding month and then make one grouped purchase to optimise the lives of artists. Read on for five recommendations. And please post your own, so I can prepare for next month. Una Oportunidad más de triunfar en la vida (2025) by Los Pirañas This is what a Colombian supergroup of "Avant-Latin experimentalists" sounds like when let loose to improvise in the studio. After only one week they emerged with this jazzy, trippy, groovy collection, a testament to their years of work together... since high-school in fact! It's "One More Chance To Succeed In Life". listen Nocturnal Consolations (2026) by Iztok Koren & Raphael RoginskiSlovenian Iztok Koren (banjo, gembri, balafon, kalimba, percussion, synthesizer) has played in noisecore and freak folk bands. Raphael Roginski is a guitarist and ethnomusicologist from Poland. Together they've created an album that sounds like an ambient folk group getting sucked through the latest Chase Bliss guitar pedal. It's a bit arbitrary but I like it. listen Environments 1 (1969) by Syntonic ResearchBack in 1969 this is how the world got introduced to field recordings, by way of the bizarrely titled "The Psychologically Ultimate Seashore". This is a computer-processed recording of Brighton Beach waves, released in anonymous corporate packaging. Nonetheless this appealed to the "tune in, drop out" desires of college students and was a massive hit... a decade before Eno's ambient series. At some point the catalogue (through 1979) was released on Bandcamp. So I am happy to replace a scratchy vinyl rip. listen The One and the Other (2021) by Lara Solnicki Trained in opera, Solnicki weaves a strange magic in this album of art songs and poetry, supported by some of Toronto's best jazz musicians. One might begin a description by imagining a much happier Scott Walker, fixated on walks to the laundromat instead of the deaths of fascist dictators. Well, that ruined the mood! Sorry. Anyway, I am a simple person. I see the name Hugh Marsh and I buy the record. This one I'll play on a Sunday morning as the light streams through the kitchen window. listen Your desire to hear the animals of the world is easily fulfilled by harkening critters (2024), four hours of field recordings from the likes of Artificial Memory Trace, Stéphane Marin, Cheryl Leonard, and Jonáš Gruska. From hammer-headed bats to pink river dolphins, these 33 tracks are perfect for creating your own sonic ecosystem. listen
Full flavour. Long aftertaste.
This article is a birthday gift to my dear friend Ed. He and I bonded during our university years over a strange shared love for instant ramen noodles. I say "strange" because this was back in the 1980s. To find said food you had to travel to the East end of town and visit the only Chinese grocer. Times have changed! And in more than one way. Though I still sometimes resort to ramen packs, I am no longer a starving student and my tastes have become more refined. Here I share a far superior instant noodle that you might be lucky enough to find locally. But first I need to sing the praises of the best damn (should that be "dan") noodle house I have found. Having recently missed out on a trip to China, I can only imagine that Noodle Alley in Manchester is the real thing. Though I didn't have a chance to talk to the chef (she was too busy in the kitchen) her husband told me that the dishes were unadulterated versions of what they serve in Chengdu. And since I am addicted to food bloggers from that part of the world I can only confirm that the food at least looks the part. On my visit I ordered the Su Jiao Mian, a generous portion of sesame noodle with minced pork and pickled vegetables. (Sorry for the phone photos but I'd left my camera in my hotel room. And for some reason Blogger blurs everything.) And the taste? Remarkable. Spicy, numbing, salty, slightly bitter... every flavour one could want in an integrated profile. With the peanut and sesame slick mouth feel. We can't expect to get the same out of a dried noodle packet but surprisingly we can get 50% of the way there. Recently I have discovered two products from Sichuan You Ni Yi Mian Food in Chengdu. (Their website is either down or being blocked.) These come either individually or in packs of five. But oddly these have slightly different contents since the individual packs come with a vegetarian meat substitute not present otherwise. In any case, we get the noodles themselves plus three flavour packs. In the case of the Congyou Banmian (Scallion Oil Noodles) there's dried chive, scallion oil, and the base flavour packet. But that was far from my favourite. The Jiaoma Banmian is the winner with its sesame paste and chilli combo. To prepare you simply boil the noodles for 6 to 8 minutes, according to the directions. For me five minutes was enough. Drain and add to the remaining contents in a bowl. Stir vigorously to coat the noodles. To make your repast more fulfilling, I suggest getting some Sichuan pickled vegetables... mustard is my favourite. This adds crunch and a bitter tang, while boosting the heat. The noodles themselves are far better than dried ramen. The large "8" on the front of the package indicates that they have been sun dried for eight hours. The rough cut edges ensure the sauce sticks and the bite has texture. It's my new lunchtime addiction until I return to Manchester. And if you know of anything equally amazing, do let me know below.Suggested listening: Songs of the Free by The Gang of Four. The article title is a translation of the packaging promotional text.
USA military interventions
It is with great sadness that my first post of a new year must once again contextualise violence in the world. Today I am seeing many social media posts blaming the current president, Trump, for the latest Usonian violence. This time it's a military incursion into Venezuela. Trump is a sociopathic puppet manipulated by darker forces... not even in the shadows but standing right there beside him. But in this case he is carrying on a long tradition of bullying by the USA. Here is a short list of military interventions by that state, omitting both World Wars and the slaughter of the native peoples of North America. Drug-running, assassination, overthrowing elected leaders, bombing of suburban homes, mass murder of civilians, support of dictators, arming of fanatics, chemical warfare... the USA is a world-leader in all of these. Afghanistan: 1979-92, 1998, 2001-2021 Albania: 1949-53 Angola: 1976-1992 Argentina: 1852-53, 1890, 1833, 1890 Bolivia: 1986-7 Bosnia: 1993-95 Brazil: 1961-64 British Guiana/Guyana: 1953-64 Cambodia: 1955-75 Canada: 1837 Caribbean (naval): 1806-10, 1814-25 Chile: 1891, 1964-73 China: 1843, 1856, 1859, 1866, 1894-95, 1900, 1911, 1922-34, 1945-49 Colombia: 1856, 1860, 1865-6, 1870, 1873, 1885, 1895, 1901-03 Congo: 1960, 1965 Costa Rica: 1921 Croatia: 1995 Cuba: 1822-25, 1898, 1906-09, 1912, 1917-33, 1961-62, etc. Dominican Republic: 1903-04, 1914, 1916-24, 1963-66 Ecuador: 1963 Egypt: 1882 El Salvador: 1932, 1981-92 Fiji: 1840-41, 1858 France: 1798-1800 Germany: 1950s Ghana: 1966 Greece: 1827, 1947-49, 1964-74 Grenada: 1979-84 Guam: 1898, 1903 Guatemala: 1920, 1953-54, 1966-67 Haiti: 1888, 1891, 1914-34, 1959, 1987-91, 1994-96, 2004 Hawaii: 1856, 1874, 1887, 1893, 1867 (Midway Island) Honduras: 1903, 1907, 1911, 1912, 1919, 1924-25, 1982-90, 2009 Indonesia: 1957-58, 1965 Iran: 1946, 1953, 1980, 1984, 1987-88 Iraq: 1990-2011 Italy: 1947-48 Ivory Coast: 1843 Japan: 1854, 1863-4, 1868 Korea: 1871, 1894-96, 1904-05, 1950-53 Laos: 1962, 1971-73 Lebanon: 1958, 1982-84 Liberia: 1990, 1997 Libya: 1801-1805 (Tripoli), 1815 (Algiers and Tripoli), 1981-89, 2011 Macedonia: 2001 Marquesas Island: 1813 Mexico: 1806 (Spanish Mexico), 1836, 1842, 1846-48, 1859, 1876, 1913-18 Middle East: 1956-58 Nicaragua: 1854, 1857, 1867, 1894, 1896, 1898, 1899, 1907, 1910, 1912-33, 1978-90 Oman: 1970 Pakistan: 2004-? Panama: 1902-3, 1908, 1912, 1918-20, 1921, 1925, 1958, 1964, 1989-90 Paraguay: 1859 Peru: 1835-36 Philippines: 1898-9, 1945-54, 1989 Portuguese West Africa: 1860 Puerto Rico: 1898, 1950 Russia: 1918-1922 Samoa: 1841, 1888-9, 1885, 1899 Somalia: 1992-94 South Korea: 1945-53 Spain: 1810-19 (Florida) Sudan: 1998 Sumatra: 1832, 1838 Syria: 2014-present Taiwan / Formosa: 1867 Turkey / Ottoman Empire: 1849, 1922 Uruguay: 1855, 1858, 1868, 1947 Venezuela: 2002, 2026 Vietnam: 1950-75 Yugoslavia: 1919, 1992-94, 1999 Zaire / The Congo 1960-65, 1996-97 Sources William Blum. 1999. "A Brief History of U.S. Interventions: 1945 to the Present," Z Magazine, June 1999. online Marc Becker. 2011. "History of U.S. Interventions in Latin America." online Global Policy Forum. 2005. "US Interventions: US Military and Clandestine Operations in Foreign Countries - 1798-Present," December 2005. online
The rights of nature: a rebuttal
Last year Brian Eno initiated a plan to treat Nature as a revenue partner on streaming music services such as Spotify and Apple Music [Savage 2024]. This grants Nature the same rights as, say, Taylor Swift and Kendrick Lamar. At that time I drafted a reply on social media. Here I expand the text in the context of the Slovenia 2025 meeting of the Central European Network for Sonic Ecologies (CENSE). Much more could yet be written from this brief outline, should time and health allow.The Rights of Nature movement has expanded in recent years with little regard to either efficacy or philosophical rigour. It is certainly appealing at first glance to think that granting Nature “equal rights” with humans might prevent further environmental damage [Tam 2020]. But articles such as those published by Earth.Org make naive assumptions, not the least of which is that granting a river (for example) rights would automatically enable it to compete legally with corporations. After all, it is people that must argue the case, and these representatives require money and power to be successful. Tam can point to a few positive outcomes but a more detailed examination of legal practicalities cast doubts on this being a viable approach [Sachs 2024].Rather than arguing from the standpoint of practicalities or politics, I will start with Heidegger’s essay “The Question Concerning Technology” (1954). Instrumentalising nature is part of the same impulse that allows us to treat the world as a “standing reserve” (Bestand). In technocratic society, entities are produced, stored, used up, and replaced as disposable objects. The standing reserve conceptualises the world (from a phenomenological standpoint) in terms of resources ready to be exploited. Far from contradicting this principle, granting Nature rights extends an anthropocentric framework to encompass the other-than-human. It is a paternalistic gesture to enfold Nature within human legal frameworks. In the specific case of music production, it’s revealing that Eno’s initiative targets platforms such as Spotify, since these have been designed for the express purpose of extracting every last ounce of excess value from artists. The fixation on revenue in the proposal does not break with the persistent impulse of commodification. But Heidegger warned us that it’s not only the object that is turned into standing reserve, but also the subject. Indeed, it’s clear that artists in the music industry are conceptualised as disposable resources. This is expressed in language itself, as soon as creativity is nominalised (consider the term “creatives”). Vital artistic process is turned into mere content (“deliverables”). Practitioners are labelled in terms of their product, mere “content creators”, an inversion of the actual lived experience. In practice, recording artists are treated as wage slaves by streaming “services”, given ridiculously low rates of compensation [Anon 2024].Needless to say, I strongly resist the impulse to corporatize every aspect of our lived environment. By accepting in advance that our fight will be on the terrain of The Law, we concede every battle to those vested interests who wield greater power. After all, the entire system has been structured to serve the Empire’s interests, extending extractive capitalism to the standing reserve of the colonies. We can instead take lessons from Native and Aboriginal groups who have insisted that their own governance structures not be subservient to colonial legal systems. This process requires an ontological rethink. Consider the concept of sovereignty, which is to say duty to a sovereign. This was originally used to establish hierarchical control mechanisms, while colonialists used this inclusion/exclusion dichotomy to deny rights to indigenous peoples. More recently, some of the oppressed have chosen to fight for their rights within this system of exploitation. But others have taken a more radical approach, redefining sovereignty to encompass a process of identity-formation and self-determination [Shrinkhal 2021].We can approach the Rights of Nature similarly. Rather than force the more-than-human to conform within anthropocentric structures, we can instead acknowledge the radical otherness of Nature. This provides figurative (and literal) ground on which we might stand to resist hegemonic forces. Nature is not a person, not a thing to be paid recompense. Nature has no rights, has no responsibilities, owns nothing. It is not so constrained by human ontologies. Rather, Nature is a wild field of potentialities which reveals itself to us in subtle phenomenal gestures. This is the true source of our duty of care.ReferencesAnon. 2024. “The streaming royalties controversy: why artists are still fighting for fair pay,” Music Industry Weekly [website], 10 September 2024. accessHeidegger, Martin. 1977. The Question Concerning Technology and Other Essays, trans. William Lovitt. London: Garland Publishing.Sachs, Noah M. 2024. “A wrong turn with the rights of nature movement,” The Georgetown Environmental Law Review 36.39, 39-84. accessSavage, Mark. 2024. “Nature officially becomes a musician, earning royalties for environmental causes,” BBC [website], 18 April 2024. accessShrinkhal, Rashwet. 2021. “Indigenous sovereignty and right to self-determination in international law: a critical appraisal,” AlterNative: An International Journal of Indigenous Peoples, 17.1, 71-82. accessTam, Claudia. 2020. “Should nature be given legal rights?,” Earth.org [website], 22 October 2020. accessNotesI have decided to capitalise “Nature” throughout this text, with the explicit recognition that this orthographic choice conforms with a practice of viewing Nature as a singular, unique entity, in much the same way as capitalising “God” implies agency and personhood. Though this is not my intent, I stand my ground on Nature capitalised as a more-than-human field of generative possibility, encompassing both biotic and abiotic flows. Aristotle’s physis is perhaps a more apt term.
Real Malaysian food at KTS Food & Bakery
Limerick's Wickham Way was once a disused driveway and warehouse area between two grungy city blocks. Now it's a semi-thriving food and culture spot. I say "semi" because the biggest problem with this assemblage is knowing when any of the stalls will be open. And while this small area can't compare with the sprawling markets of larger cities, it's got character. For one, it's enveloped by the grooving Downbeat Records with their giant reggae sound system. Though I'm not here to talk about where to buy your vinyl... this is where you buy your vinyl. If you are from out of town and want to find the place, search up "11 Wickham St." which seems to be the official address. Go on a weekend afternoon and it won't be closed. You can buy OK tacos (beef birria are the best option), terrible dosa, expensive Jamaican food, pastries and cakes from random tables, weak coffee from a friendly Brazilian and... the best Malay food on this island. KTS Food & Bakery is set up in a red shack plastered with menus. On my first visit I got a gigantic bowl of Penang Prawn Mee (€13) and made it about two-thirds the way through the noodles and broth. They do Chicken Hor Fun, Chicken Mee, Mee Goreng, Dry Noodle Dumplings... accompanied by char sui, crunchy pork, or duck as you like. And that's just the noodle selection. Today I tried the "national dish" Nasi Lemak in a Fried Chicken variant. How do they manage to deep-fry meat to a perfect crispness in this tiny shack? They are magicians. One crunchy thigh is served on rice, dressed with sliced cucumber, dried anchovies, fried peanuts, and half a boiled egg. The anchovy chili paste is ready to pour. If you don't like fishy/salty this is not the dish for you. I was satisfied for only €7 but big appetites should get a soup on the side. Oh yeah, this is a breakfast dish. Which only goes to show how well they eat in parts of Asia! I can recommend the roast duck on rice (€13) or noodles (€14) which has a sticky soy sauce glaze with that famous Chinese five spice flavour. On this occasion it came with a large serving of dumpling soup (€7 on its own) which was so good I lost the powers of speech. That's not a lie or an affectation. This whisper subtle broth with wonderful home-made dumplings will remind you of the best wonton soup you've ever eaten. Malaysian food tends to be subtle, more on the salty side, and rarely too spicy. (At least not how you will find it unless visiting certain regions of Malaysia itself.) It doesn't scream flavour but envelops you in comfort vibes. Though less than one year on this site, KTS have seven years cooking experience. I hope they never learn to compromise! I've checked with two Malay acquaintances and they vouch for the authenticity of the dishes. I very much appreciate that the soup gets served in real bowls, though not with real utensils unfortunately. Bring on the soup spoon and all will be well! As of yesterday KTS opened a second truck selling various dim sum, both soft and hard shells. Mostly pork filling, mind you. I brought some home as a midnight snack. Wait a moment, let me try... [Thirty seconds in the microwave and here's the perfect flaky pastry. Bursting with a sweet filling that just happens to be meat!] Back to the main review: This friendly couple roast their own duck. They make their own dumplings from scratch. They make lovely parcels and tom yum soup, butter rice, marmite chicken. Something for everyone who eats meat. Not for vegetarians. Hours: Friday 1-9pm, Saturday 11am-9pm, Sunday 2-6pm. Wheelchair accessible. Street and garage parking nearby. Delivery offered. Scoring:real soup bowl at a take-away +1friendly and prompt service +1authentic food without compromise +2value for money +1serenaded by funk from Downbeat Records +1great place to meet and chill +1struggle for outside seating -1 Total = 6
Food blogging begins!
Not that I have the time, but I've been encouraged to blog about food. Why? First, because it can be hard to find decent cuisine in Ireland. This island is not known as a hot-bed of delightful meals. Yes, we have the famous spice bag. Yes, we have fish and chips the size of your face. And the curiosity that is curry chips. But notice that all of those have something in common... often rather soggy, flavourless potatoes. This is the food that most people encounter. What else can we eat? In Limerick good things lie below the surface. We are not a city of tourists. So you need a local guide. And though I am still a "blow-in", in my 20+ years on location, I've seen the food scene transform. The second reason: reviews posted to Google Maps and similar apps are unbelievably stupid. McDonalds gets four stars when it should have zero. People reject dishes they simply don't understand, so a Szechuan dish is dissed as "too spicy". I'm not a snob but believe in critical thinking and active taste buds. Salt and fat are not the only flavours. White is not the only colour. I am honest enough to say "I don't know" when someone asks me where they can get a good steak. "Probably nowhere" is the honest answer. And you'll pay too much. Go to a butcher instead. So perhaps you can trust me... if we have similar tastes. Third reason: I have a growing number of friends and acquaintances that count on me for food advice. So this is for them, even if no-one else reads. Short posts on social media are quite insufficient. Sure I already have a food category on this blog, but that's been mostly about my own cooking. I will now endeavour a suite of reviews, knowing that this is a process fraught with difficulty. Sorry in advance if I offend you by dissing your favourite spot. A word about scoring Assigning numbers or stars on an arbitrary scale is no way to judge food. But some readers like a neat summary that can be digested (ahem) in a few seconds. For most of my lifetime I've adopted a system where I simply add or subtract points for notable features. This results in a number that can't necessarily be compared to other scores, but which nonetheless has some utility value.
Configuring a computer for gallery use
This article will explain how to set up a Windows 11 Pro computer for unattended operation, for example when running a gallery installation or kiosk. This article is a companion to Remote Computer Access. These articles do not assume that you are an expert, but do require you to be familiar with using Windows. If required, you can find more detailed tutorials online. My aim here is to be concise and precise since I have not yet found an overview of this kind. There are four main tasks: configure Windows for unattended use, create an account for remote access, set up automatic login, and configure Wi-Fi. A. Windows configuration Many of the tasks can be accomplished through Settings, which can be accessed several ways. For example, you can right-click the desktop and choose "Personalise". Or click on the gear icon that might appear on your toolbar or Windows menu. 1. System settings Click "System" in the left panel. a) Ensure your computer has a memorable name. This will be displayed at the top of the panel, but if you need to change it, scroll all the way to the bottom and choose "About". b) Choose "Sound" and ensure the default devices are correct. c) Choose "Notifications" and turn off everything. d) Choose "Power" and then "Screen, sleep, & hibernation time-outs." Set all these to "Never". Ensure "Energy saver" is "Off" because you don't want random parts of the computer falling asleep. 2. Personalisation settings Click "Personalisation" in the left panel. a) "Background" allows you to use a distinctive desktop image. For an installation I customise the desktop to display any required instructions or to highlight the icons that run the show. b) "Themes" is useful for two purposes. First, you can set a larger mouse cursor that's easier to find on the screen. This is especially useful under less than perfect viewing conditions. c) Second, click "Sounds" in order to see the following dialogue. Set the "Sound Scheme" to "No Sounds" and uncheck "Play Windows Start-up sound". This allows for silent operation. 3. Application settings It pays to only install crucial applications on your host computer in the first place. Nonetheless, some apps are required for administration that are not required when the computer is running an installation. Here's how to turn off all inessential programmes, so that they do not automatically start when your account is loaded. This provides more resources for your applications and avoids distractions that might occur. Click "Apps" in the left panel. Then choose the final option in the right panel, "Startup". Now you can pick and choose. Additionally, it is a good policy to manually launch every application that normally reminds you about updates and find out how to turn off those reminders. This setting will be hidden in their configuration settings. Ditto for application in your status bar. 4. Windows updatesIt's important to turn off automatic updates to Windows, so the computer will not be plagued with reminders and pop-up prompts. For this we use the Services interface. Tap the Win key or otherwise view the Start menu. Type "services" and when this displays in the right-hand panel, click "Run as administrator". Scroll down to "Windows Update" and double-click this entry. Change the "Startup type" pulldown menu to "Disabled". Click "OK" and close the dialogue. B. Adding a remote User The above tasks will have been accomplished using your main User account, which has Administrator permissions for full local access. But it's important to have a more restricted account ready for remote access. In the same Settings panel we used above, choose the "Accounts" tab in the left panel. In the right panel, scroll down to "Other users". You will see that Microsoft has thoughtfully provided a Kiosk mode. This allows you to set up an account that will run one and only one application when it launches, denying access to all other functionality. This might work for you, but other times it is too limiting. An installation might have multiple applications or require occasional access to system settings. The alternative is to manage an account manually, thankfully not too complex a task. Click "Add account". Now we enter the world of corporate assumptions, namely that we have a Microsoft account that we wish to use globally. Avoid this requirement by answering "I don't have this person's sign-in information" and then "Add a user without a Microsoft account".Now we can fill in the name of this User account along with the password and a number of silly reminder prompts. These are irrelevant to remote access. We then return to the Settings window where we have additional options for this account. By default the new account has been set up with the account type "Standard User", which limits access to systems changes. The only other option is an "Administrator" account, which has full access. If you are familiar with other operating systems, this will seem overly simplistic. But know that Windows has, in fact, a granular system of access permissions, hidden away in esoteric applications. Thankfully these are not required today! C. Automating log-in The next task is to automate the login process, so that when the host computer is turned on, it will automatically choose "remote" from the available users and log us in with the password. Naturally this process compromises security. But it makes sense for a host that is on-site, under lock and key.Download the Autologon utility here, install, and run. You will be greeted by the simplest of dialogues. Your username should be "remote" or whatever else you chose in task B. Domain is the name of the host computer set in task A. Then, supply the password.D. Wi-Fi accessAssuming that you will require remote access, the final task is to ensure the host computer can connect to the local Wi-Fi. Get the required password and ensure that this network is the default and set to automatic login.ConclusionCongratulations, you are done! Once complete you have a computer set up for automated use on site. it will need only occasional maintenance henceforth. For example, before each installation I log into the main administrator account and apply and security and Windows updates. You may now wish to read my article on Remote Computer Access.
Remote computer access
I regularly create gallery installations where audiovisual material is run on a computer that a) might difficult to physically access, and b) must be run with the minimum of technical knowledge. In these cases it is much easier to administer the functionality using a second remote computer. First, read Configuring a Computer for Gallery Use, which explains how to set up the host computer. Then return here. JustificationWhy is this information useful? There are two reasons why you might wish to access a computer remotely. First, because the “host” computer, the machine running the installation, might be hidden away in a plinth or behind an access panel. My most recent pieces have been driven by a small form factor computer (SFF), only slightly larger than 12 by 11 by 4 cm. This is compact enough to fit on the VESA mount of a monitor, or be hidden almost anywhere. In many cases I prefer to run this computer “headless”, that is, without a keyboard or mouse. because these are far bulkier than the computer itself. The cabling and need for a work surface complicates the physical installation. Indeed, for an installation producing only sound, even the video monitor might be surplus to requirements. The “client” computer is the one you use to access the host, likely a laptop. Subsequently, during the course of the exhibition, invigilators can use their own computers to maintain the installation. Again, without requiring physical access to the host. This makes the whole process so much easier. And anything you can do to help gallery staff, you really should be doing! I take ease-of-use into account when coding my applications. If volume controls and a mute function are provided within the app itself, users won't require to make system changes. In this day and age not everyone knows the basics of computer use. Keep it as simple as possible! Microsoft and corporate solutionsMost internet resources (such as this one) explain how to configure Windows Desktop Services (WDS), a corporate solution for virtualisation and remote access. Additionally, there are third party solutions used in the corporate world (for example AnyDesk and TeamViewer). But these enterprise products tend to be sophisticated, complicated, and expensive. Microsoft also documents Windows Remote Desktop (WRD), a "lightweight" solution that allows you to access a computer running Windows 11 Pro from a different Windows or Mac computer (also supporting mobile devices). But this has additional complexities undocumented on the simplistic how-to page. For example you will need to change user group permissions using esoteric tools that can have detrimental effects is mistakes are made. After much bother I was successful in getting Remote Desktop to function, only to encounter a show-stopper problem. This software allows you to choose between local or remote sound devices and also peripherals such as printers. But configuration for attached video devices (screens and projectors) is sadly lacking. This means that while running Remote Desktop all visual output goes to the client computer only. This is obviously unsuitable for any installation where you need to tune video output from the host in that physical environment. Chrome Remote Desktop Thankfully Google has provided software that fits our needs perfectly. Chrome Remote Desktop (CRD) works directly in the Chrome browser as an extension. This also supports Mac and Linux systems, which is fantastic. First, set up the host. Choose "Remote Access" in the left panel, then "Set up remote access". Download and install the software when prompted. Then provide the name of the computer, which should be the same as the Windows computer name for consistency. Finally a numerical password is requested. You can then exit the software. There is a second option worth mentioning. "Remote Support", generates an ID string that is valid for a limited period of time. This is useful if you need technical help on your computer and wish to give someone else temporary access, so they can guide you through a process. But with the option we have chosen the host does not even need to be logged in. The computer merely needs to be powered on and it can be remotely controlled. Now, on the client computer you should also download and install Chrome Remote Desktop. Under Remote Access you should see your host computer listed. Click this and enter the password. This computer will henceforth be available here immediately. Final wordPerhaps it goes without saying, but both computers need to be on the same local network to communicate. Neither WRD nor CRD support Bluetooth. You will need to ensure a good WiFi connection, which can be difficult in a large space or a building with solid walls. A cabled connection (Ethernet) also works, but sacrifices convenience. However, if you can walk up to the host with a laptop, connecting with a cable might be an easy solution. The problem here is that Ethernet ports are increasingly not found on portable computers!It is also possible to communicate over an internet connection between any two connected computers. This requires port forwarding or a VPN, advanced topics that I leave you to discover. Software such as AnyViewer claims to make this process trivial, but I have yet to experiment with such commercial applications.
On democracy (from 2019)
As I wrote in 2019... I am very sorry for my friends in Brazil. It is hard not to despair. The source of the problem is easy to understand but hard to fix. A democracy only works in a small state. Because people inevitably vote for their own interests and those of the people around them, the community they can see. Unless they are particularly knowledgeable, they will be unaware of how their vote might impact someone living in very different circumstances. The larger the territory over which their vote matters, the more likely it is to conflict with the interests of someone else. So a vote in Salvador effects Manaus, and a vote in Porte Alegre effects Belem. Democracy cannot work in a large, disparate country. The centralised and amalgamated power base naturally changes to become a dictatorship (either in name or functionally). And it is also easier to control by vested interests like transnationals and the military. Then a very few people control the fate of the very many. Federations like the USA, Germany, Brasil, Russia, etc. can only work as loose federations. As one "united state" with centralised government, they become autocratic. We can see the same in the EU as a whole. As a loose federation, it can be fine, making trade agreements and establishing common standards for human rights, etc. But as soon as power is centralised too much, it inevitably becomes undemocratic, no matter what the electoral system. The only answer is to break up all large states. This is called anarchy and has a bad name. Because the vested powers (including those of hyper-capitalism) know it is their end. If Brazil was a loose federation of 20 states, each with their own governments, it would be harder for fascism to take root. People are less likely to vote for hate when their own neighbours are the target. It's also much harder for a politician to lie about circumstances when they are visible outside your own door. And even if a smaller state did tip to authoritarianism, countervailing tendencies would soon limit its damage. That state would be isolated (economically and politically) and the voters would feel these hardships. And in response to prompting... OK, now I understand more where you are coming from. Thanks for explaining. Let me address your points. 1. The easiest way to govern is a dictatorship. So anything that moves us towards the other pole is good, IMO. Government and decision-making should never be easy. Consensus takes more energy to achieve and is all the better for it. 2. Some people will always be especially committed to political process, for whatever the reason. And others will not, and hence might be seen as being disenfranchised. But this effect is far less in a consensual system that what we have now. Truly the entire populations of many so-called democracies (UK, USA, Canada, Russia) are currently disenfranchised. 3. Your implication that [consensual government] can never work is wrong. You are extrapolating from your own experience. I need only point to the native nations of North America who successfully existed for thousands of years. Along the way there were conflicts and minor ecological damage. But this was tiny compared with what democracy has done... millions of dead, 60% of all species wiped out (today's headline), etc. There is simply no comparison. 4. Volunteer organisations need not have a "recurring self-destruct pattern". My experience is that this does not come from within, if they are properly constituted. That is, with the proper checks and balances that all political systems need. However, many such groups are set up with too much idealism and not enough structure. Where I have seen such groups fail is when fascistic individuals are able to assume control based on this lack of controls. I've been there and, yes, it hurts like hell when that happens. 5. Large states are always dysfunctional. The centralization of power creates a concomitant lack of empathy to local situations. Citizens are estranged from the politicians and from each other. Non-egalitarian interests can take hold, because there are only a limited number of decision points where they need apply force. None of this can happen (or nowhere near as easily) in a system of distributed and shifting power. Of course there is no perfect system. But it makes no sense to continue in an obviously broken regime that is demonstrably vulnerable to fascism in most every aspect.
Jobs I have done
Here are all the jobs I have had, but only including those for which I received compensation or official designation. Sometimes I even managed a working wage. This is why I've had a hard time being middle class. Though my "standing" has supported that label, the amount of labour I've performed merely to survive has me thinking that I am "working". During public education:DishwasherNewspaper delivery boyGrocery store clerkChinese take-away clerkBus-boyDuring higher education:Psychology test subject (briefly)Applied Mathematics research assistant (one summer)Physics lab assistant (another summer)Accounting clerk (a final summer)Mathematics tutorDriver (for a car dealership)Concert photographerNewspaper reporter (entertainment)After graduation:SecretaryReceiving and shipping clerkRadio producer and DJPrint designerFront of house (theatre)Corporate trainerTheatre sound designerLive mix engineerNewsletter coordinatorParty Riding Officer (for the Green Party)Record store clerk (at Sam the Record Man)Database programmerChief Technology OfficerArt gallery invigilatorProofreaderConcert curatorMax/MSP trainerMedia coderBook editor and designerJournal editorCurrently:Record label ownerUniversity lecturerDirector Editorial Board memberMusician and performerMusic producerEvent photographerFestival organiserOriginally posted to Facebook September 2020, updated February 2025.
L'esprit de l'escalier
Being a collection of nonsense culled from everyday experience.Fields have eyes but woods have ears.As metaphors go, it doesn't hold a candle to the light fantastic at the end of the tunnel.I may not be able to describe the processes in the heart of the sun, but I can still be warmed in its light.Everything is a cynosure if you look the other way.Save the rain florists!Error statement: Expected unqualified id before if.I save my egg collection in a special albumen.Cause of death? Life.Retort: I bet I could fix you with one line of code.T-Shirt Idea: Excellent Shirt of the Wolf: +2 Movement, +2 CharismaI was looking for a good alias and found Nyquist.GOAL: To make music under the sign that erases it.I've got a rootkit in my brain!The sun plays havoc with our glorified calculators.Our house still rocks as earwitness to the thunder.Today I venture under this sign: The Three Of Crows.And fireland was ablaze.Game idea: Several individuals, whose origins are mysterious and purpose unknown, engage in unauthorised activities inside the demilitarised zone. No wait, that's been done. And it wasn't a game.