Ominous, Headroom, Stats

From the past week

I do this manually each Saturday, usually in the morning over coffee: collating most of the tweets I made the past week at, which I think of as my public notebook. Some tweets pop up sooner in expanded form or otherwise on I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself. And sometimes I tweak them a bit, given the additional space. And sometimes I re-order them just a bit.

▰ Most of the time a TV caption reads “ominous music,” I’m like, “That’s the backing track for when I’m reading a novel on the couch.”

▰ I knew the Outside Lands festival is coming when I saw a giant tractor trailer hauling giant stacks of giant gates.

▰ Recent readymade poetry from Wikipedia’s list of notable deaths:

Japanese mass murderer
Israeli mysticist
American bassist
Burmese politician and rapper

▰ This week’s Disquiet Junto project, the 552nd consecutive one, draws inspiration from a conversation about radio between John Cage and Morton Feldman that Tobias Reber (of Musikfestival Bern) and I were discussing (coincidentally one that Damon Krukowski recently wrote about).

▰ The word “blindsight” finally appears in Peter Watts’ novel of that name about 45% of the way through, sort of how the term “termination shock” appears roughly 50% of the way through Neal Stephenson’s novel of that name. I’ve seen other examples, but that’s the one on my mind. (The essential sentence “Time’s a goon, right?” is the first appearance of “goon” in Jennifer Egan’s A Visit from the Goon Squad. I think that’s roughly 45% of the way through, though my Kindle-math is failing me at the moment due to stuff at the end of the book. Been a long day.)

▰ In an industry-first innovation, the new Max Headroom TV series will be produced entirely as a discontinuous suite of blipverts.

▰ Pioneering statistical data analysis takeaways of BBS discussions by people talking about recording their own electronic music:

1% gear someone made
2% money someone was(n’t) paid
7% music someone made
15% gear someone used
25% gear someone wants
50% pictures of gear

▰ My Instagram feed is filled with flyers, mostly hand-drawn, for concerts that list the date but not the year and the address but not the city.

(I’m guessing this is not some next-generation UX testing and, instead, merely a personalized reflection of my past browsing.)

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