My world on the web
You need to create an xml file with a script from google spreadsheets. I use the code from these two topics:
Provocative, crisp and written from a practitioner’s perspective, the series starts a fresh conversation between past and present, and writer and reader. It sheds light on the craft of writing, and introduces some intriguing and talented authors and their work.
Writers on writers is a series of short books in which leading authors reflect on an Australian writer who has inspired and influenced them.
This was different from something like the Fontana Modern Masters series, which from my experience provided a structured ‘guide to intellectual currents’. Although like the Fontana series each book involves an engagement between the two authors, where this series differs is that each book is unique in voice and style. For example:
What is interesting about these books is that knowledge of either writer is not essential as each book offers its own insight.
Oceans Apart is the ninth and final studio album by The Go-Betweens, released in 2005. All the songs were written by Grant McLennan and Robert Forster. The album was recorded at the Good Luck Studios in London between November 2004 through to January 2005, except for “Boundary Rider” which was recorded at The White Room Recording Studio in Brisbane.
Despite the need to engage in rigorous processes to develop Learner Profiles for students, in mid December when HSC/VCE/SACE etc., and ATAR results are released, we will still see the media bombard us with league style comparisons of schools and their end of year results. There will also be many schools, promoting enviable ATAR results of students suited to an examination approach to learning. However, I remain positive that one day, and one day soon, each one of our students will leave each one of our schools with more than one number on one day and a certificate filled with only marks and bands. I look forward to the day, hopefully one day soon, where we will have a Learner Profile which showcases the very best of who a young adult is and what they can do so they can find their place of meaning in this rapidly changing world.
Bright Yellow Bright Orange is the eighth album by Australian indie rock group The Go-Betweens, released in February 2003 on the Trifekta Records label. It was nominated at the 2003 ARIA Music Awards for Best Adult Contemporary Album, but lost to John Farnham for The Last Time.
Bright Yellow Bright Orange is a perfect example of how guitar pop can sound when stripped of shallow musings and regurgitated anthemics.
The post-punk charge that found its way into some of the band’s early recordings is all but gone; the band focuses almost all of Bright Yellow Bright Orange (their eighth full-length) on their acoustic, folk-inflected side.
It may not be as quirky as the 1980βs but it is has an accentuated, intense beauty.
Quiet quitting is not a life philosophy or policy proposal that needs logical scrutiny. Itβs also not a political weapon to be wielded to prove how much more woke or conservative you are than everyone else. Itβs both more incoherent and essential than all of that. Figuring out how work fits into a life well lived is hard, but itβs an evolution that has to happen. Quiet quitting is the messy starting gun of a new generation embarking on this challenge. The specifics of what a young engineer says in his TikTok video might annoy or confuse many of us, but it shouldnβt. The content here isnβt that important. What matters is that Generation Z is waking up to the fact that the unnatural melding of self and work induced by an adolescence lived within online spaces isnβt sustainable. Theyβre finallyβthankfullyβready to ask what should come next.
I can absolutely appreciate the validity of the arguments the authors raised particularly the big one β for young people (and actually, many adults as well) the primary function of technology is entertainment so attempting to change this to a learning focus (and expecting it to easily translate) is far from ideal. Technology provides an endless menu of distractions. Even as Iβm writing this blog post, there are other tabs in my browser tempting me and my attention does flit from time to time. And thatβs on a task that was self-initiated.
The IndieWeb is a community of personal websites, connected by simple standards. These follow the principles of publishing content at your own domain name and owning your data.
Indiekit uses these standards to help you publish content to your own website and then share it on popular social networks.
David Shanske (david.shanske.com)Indieweb Post Kinds actually does a few different things. It creates a taxonomy to classify posts, similar to the old post formats options. This just allows for automatic creation of archives. I also use the selector to change the interface, but this could be done differently. It also uses Parse This to create rich embeds of linked content. But it adds the microformats for different types of Indieweb posts outside of the traditional content block using WordPress filters. That is something I never particularly liked, and wouldnβt mind replacing with something integrated into content.
For my two cents worth, I really like the idea of integrating the response box into the content.
Chris Aldrich (boffosocko.com)Below Iβve aggregated a list of some of the longer articles and material Iβve written about these topics. The completist can find and search my site for even more specific material with these tags:Β zettelkasten,Β commonplace books, andΒ note taking. Iβve also contributed a fair amount to the Wikipedia pages forΒ zettelkastenΒ andΒ commonplace books.
Wouter Groeneveld (brainbaking.com)The path to generalism is indeed more challenging, yet the reward at the end of the rainbow is genuine satisfaction.Β Generalists are much more creative. Generalists are more curious. Generalists as system-thinkers are better at solving high-level problems.
I love that the fediverse exists. And I have the utmost respect for the gargantuan effort thatβs going into it.
And yet, I am also very concerned17Β that the design decisions that have been made incentivise centralisation, not decentralisation. I implore us to acknowledge this, to mitigate the risks as best we can, to strive to learn from our mistakes, and to do even better going forward.
So to the ActivityPub and Mastodon folks, I say:
Consider me your canary in the coal mineβ¦
The big issue according to Balkan is the incentive to join an instance that seemingly absolves users of such problems, this however just kicks the can down the road. For Balkan, instances should be limited from getting too big and ideally we should all have our own instance linked to our own domain, the ultimate form of verification.
I have tinkered with using my site as an ‘instance of one‘. Although I liked the idea, I could not get it all to work how I would prefer, so I persisted with my POSSE approach. This also have meΒ thinking about Jim Groom’s reflection on life in the cloud. I guess the reality is that there is always a cost.
The Friends of Rachel Worth is the seventh album by Brisbane indie band The Go-Betweens, released 12 years after their sixth, 16 Lovers Lane. For this album, Robert Forster and Grant McLennan were joined by all members of American indie rock bands Sleater-Kinney and Quasi as well as new bassist Adele Pickvance. The album was recorded in Portland, Oregon at Jackpot! Recording Studio by Larry Crane.
McLennan said, “Rachel felt really natural β it wasn’t like Robert and I had separate managers or any of that industry bullshit. We’d always wanted to record in America, too, so that was a real dream. I think it has a really mysterious, otherworldly, ‘lost’ feel to it.”
The Friends of Rachel Worth comes off as a relic of another era. New generations of Aussie pop bands have emerged since those early days
I remember listening to an interview about David Byrne’s album with St. Vincent, in which he talked about thinking about first space the music would be performed when writing the music. This album feels like music written for smaller spaces. For me, this particularly comes through in the way that the vocals have been recorded, they always feel close. There is also something raw about the sound and feel that reminded me in part of their first album Send Me a Lullaby, but still the precision of their later work.
The result is an album that combines the rawness of early recordings with the spare and pristine emotion of the band’s later material
Although there are explorations and extension of their sound, with synths, strings and distortion, gone are the layers of production.
1899 is a multilingual German period mystery-science fiction television series created by Jantje Friese and Baran bo Odar. It premiered on Netflix on 17 November 2022. It received mostly positive critical reviews, with praise for its casting, directing, cinematography, and acting. The creators had ideas for two more seasons, but in January 2023, the show was cancelled.
Plans are a funny thing in the streaming business. Obscure shows like Squid Game can find their audience, become cultural juggernauts, and then get additional seasons. Others, like Warrior Nun, can also find rabid fans but just not enough of them to stay alive. As the streaming landscape expands, the possibility of any show surviving starts to feel like Squid Game itselfβand the thrum of βred light,β βgreen lightβ leaves everyone on their toes.
16 Lovers Lane is the sixth album by Australian indie rock group The Go-Betweens, released in 1988 by Beggars Banquet Records. Prior to the recording of the album, longtime bassist Robert Vickers left the band when the other group members decided to return to Australia after having spent several years in London, England; he was replaced by John Willsteed. The album was recorded at Studios 301 in Sydney, between Christmas 1987 and Autumn 1988.
16 Lovers Lane was the final release from the original version of the band. The Go-Betweens broke up in 1989 and would produce no other material until Grant McLennan and Robert Forster reformed the band, with a completely different line-up of personnel, in 2000.
I doubt that it is any surprise that 16 Lovers Lane is my favourite Go-Betweens album. It was meant to be there breakout with a big push from the record companies. I am not sure what makes the album click, maybe it is the influence of multi-instrumentalist Amanda Brown, the addition of John Willsteed on bass and guitar, the impact of big-name producer Mark Wallis, or the natural progression of time and technology? One thing that stands out to me is the consistent sound throughout. Gone is Tallulah’s experimentation with the funk grooves or distortion, this is instead replaced with the acoustic guitar that beds much of the album. Although it is heavily produced, leading to some songs being difficult to reproduce live, it still feels more subtle and subdued than say Spring Hill Fair. All in all, I feel that you can easily listen to their previous albums with an feeling that each provided its own piece of the puzzle to allow this album.
One thing to note is that a little bit like Before Hollywood, it is interesting listening to Streets of Your Town. Although it fits with the acoustic vibe of the album, it jumps out like a familiar landmark during a long drive. Even though the lyrical content is dark:
Don’t the sun look good today,
but the rain is on its way
Watch the butcher shine his knives,
and this town is full of battered wives
In some ways it almost feels too upbeat, neither fast nor slow, almost joyful compared to the rest of the album.
For me, one of the interesting things about the album is the legacy. I grew up seeing Cattle and Cane and Streets of Your Town late at night on Rage, however I never really knew anyone who actually listened to The Go-Betweens. It was not really until their second coming that I really went beyond the singles.
That Record Got Me High podcast explore some of the connections between Bob Dylan and The Velvet Underground.
SBS Classic Albums – 16 Lovers Lane provides some useful insight and context to the album and The Go-Betweens in general.
