konsonant is my new app (for iOS and Mac) as well as a free mp3 release.

check it out at my site

Play with letters and sounds, build acoustic machines, control morphing clouds and experiment with the alphabet!

Enjoy the sounds and shapes of letters by line drawing, physics simulations or acoustic networks in the four sound games included in the app.

In her editorial introducing the issue, Jill Jones rightly points to the issue’s presumptive focus on electronica and electronic music, specifically “the ways musicians in various modes and guises have used electric technologies to generate sound.” The poetry in this issue runs the gamut from highly experimental works to extended meditations on musical memories and forms. It’s absorbing, intriguing and puzzling – and this is just as it should be.

The spoken word tracks selected by our audio editor Emilie Zoey Baker are similarly pre-occupied with the bleeps, hisses and clicks we associate nowadays with electronic music. From Philip Norton’s bizarro Yes I Dream of Electric Sheep to Sean M. Whelan and Isnod’s Dream Machines, the works selected here paint an aural kaleidoscope that fizzes and pops, echoing electronic art from the works of Phillip K. Dick through to Kraftwerk. Check out the individual tracks or stream the hour-plus mix of electronica as one. Headphones highly recommended!

When it comes to the selected works of multimedia or ‘electronic literature’, however, we are faced with a series of disruptions that more often than not question rather than reflect the theme of the issue. Benjamin Laird’s Sound-less-scape and nothing left in, for example, present the reader (viewer? player?) with opportunities for interaction but remain stubbornly mute, like a silent rave. Joshua Mei Ling Dubrau’s Et Tu demonstrates the jump-cut nature of screen-capture technology when applied to text, while Konrad McCarthy’s TV Life strips bare the artifice of the audio-visual in a montage of movements.

The publication of these pieces – some HTML-based, others video – inevitably raises the question of genre and form. Is this literature? Is it even e-literature? As Tim Wrights asks in his review of the Electronic Literature Collection Volume 2, ‘What literature today isn’t electronic?’ I’d like to think, instead, of overlapping spaces – some of which may be electronic, others organic. Beverliey Braune’s Supra-text Sequences essay offers one glimpse into such a world.

When it comes to the work of Jason Nelson, one might instead ask where the electronic world actually stops. I’m really excited to be able to publish three of Jason’s work in this issue, because in many respects his work attempts to break through the imposition imposed by the computer screen to offer a neural landscape that is deeply textured and interactive. Depth: Text and Playthings addresses this tension directly, by stating bluntly ‘Your screen is horribly flat’.

Elsewhere, Nelson’s work is playful and self-referential. Branching: branch branch is a work where the traditional branching structure of file folders clashes comically with a goofy soundtrack that is perhaps more amenable to a 1980s computer game. Meanwhile, With love, from a failed planet presents a phantasmagoria of late-capitalist logos. In addition to these pieces, I’m pleased to present an interview with Jason in which he reflects on his creative practices as an electronic literature artist.

Nelson’s work offers one possible ‘entry-point’ into the world of e-lit. The work of Mez Breeze offers another. Sally Evans’ essay entitled ‘The Anti-Logos Weapon’: Excesses of Meaning and Subjectivity in Mezangelle Poetry demonstrates that electronic literature can be just as much about ‘texts’ as traditional literature. Mez’s work is justifiably renowned in e-lit circles as innovative and highly complex. In an online world where more and more of us are exposed to the vagaries of computer code, Mezangelle chews up that code, parses it with human language and spits out art. Adam Fieled’s essay on Gertrude Stein’s Tender Buttons (a work that is itself highly amenable to remediation as a hypertext) shows that the worlds of literary practise and literary criticism remain inextricably entwined.

In terms of my own personal experience of electronic literature, Mez’s work was amongst the first that I viewed (scanned? played?). Over the course of this year, working as a post-doctoral researcher on the ELMCIP project, I’ve also been met a wide range of scholars and practitioners working in the field of e-lit. For this reason, I’ve included in this issue two interviews with my colleagues at Blekinge Tekniska Högskola in Karlskrona, Sweden. Both Talan Memmott and Maria Engberg have inspired me to re-think my attitudes to the digital realm.

This brings me back to the question of Cordite’s place within that realm. As Benjamin Laird demonstrates in his overview entitled Australian Literary Journals: Virtual and social, Cordite is by no means alone in its attempts to engage with online communities. In fact, pretty much every Australian literature journal is undergoing a process of morphing and reinvention. I’d like to think that, in the future, Cordite will evolve to include more works of electronic literature that actually engage with the medium in which the journal ‘lives’.

This is not to suggest that the thousand-odd poems we have published on the site over the past decade or not ‘alive’, or that text-based works are somehow inferior to HTML, Flash-based or interactive works. Nevertheless, I hope that these tiny steps we have taken towards the electr(on)ification of Cordite will inspire others to create engaging, accessible art that takes advantage of the multitude of possibilities made available when viewing (reading? parsing?) information using a networked computer.”

- David Prater, Cordite’s Managing Editor

After a long hiatus, here are two new digital stories from webyarns.com…

“Pangram (The Quick Brown Fox)” plays with the concept of a pangram and provides a hypothetical back-story to the most widely-known example of the form.

The second story, the “ABCs of UFOs,” is the purported website of a UFO investigation team. I hope (at a time when laughs are sorely needed) that you find it humorous. Explore and enjoy.

You can find both these stories, and others, at webyarns.com

Play-read or read-play, however you approach it and whoever you identify with, you’ll become entangled in a struggle for accurate recall, attention and the search for meaning. Inevitably, it’s a contrary game – there can be no winners.

I began creating Rememori about a year ago, when my father was in the later stages of Alzheimer’s Disease but still living at home, being cared for by my mother. I finished the work a few days ago, coincidentally just as my father moved from a hospital ward into a Nursing Care Home. On the face of it, the main reason why it’s taken so long to make is because I took time out to work on other projects. During that period my father had a third massive stroke and the prognosis didn’t look good. So for a while, I think I was reluctant to return to the piece. I’m glad I did. There can be no happy endings in situations like these but, now that we have him settled in our preferred Care Home, there’s a sense of respite. I think the work reflects that, certainly in the later stages of the game.

Although drawn from personal research and experience, Rememori is not factual nor biographical – it’s a playable poem or poetic game created in Flash. For facts that speak of a wider context, here’s a quote from the Alzheimer’s Disease International’s World Alzheimer Report 2009:

An estimated 35.6 million people worldwide will be living with dementia in 2010. This number is estimated to nearly double every 20 years, to 65.7 million in 2030, and 115.4 million in 2050. Much of the increase is clearly attributable to increases in the numbers of people with dementia in low and middle income countries.

Modified image of brain: source thanks to Wellcome Library, London.

Aleph Null is best viewed by the light of a full moon. Or near full moon. Same with the set of stills I made. I mean they do like a bit of darkness.

If you’re using a PC, I’d recommend Chrome to view Aleph Null. At least on my machine, Chrome provides the smoothest performance. Firefox provides a similarly high framerate, but is a bit jerky from time to time. Internet Explorer kind of sucks. On the Mac, Chrome, Firefox, and Safari seem to be fine.

Aleph Null is my first piece with the new HTML 5 canvas tag which requires no plugins and works in all modern browsers, including mobile phones. It’s exciting to have such a canvas to work/play with in a public technology that is not at the mercy of a corporation’s business plan or its continued existence. Such must be the future for net art; it isn’t feasible to rely on corporations to support tools indefinitely, whereas technologies developed in the public sphere stand more of a chance of at least achieving their logical growth and form from their potential.

Aleph Null is color music. Colors are tones. Notes are tones. Music is tones moving in time. This is color tones moving in time.

It takes practice to tease the really good stuff out of it. It’s like an instrument that way. Or a game in which the goal is to experience color music and create visuals you like. It’s like hunting the Snark, beauty or butterflies. Unlike most instruments, Aleph Null will play something whether a person is playing or not. But it benefits immensely by a human player. It knoweth not beauty, is but the instrument of thine own incandesence.

What good is a writer if he can’t destroy literature? And us… what good are we if we don’t help as much as we can in that destruction? – Julio Cortazar

Geoffrey Gatza, fearless director of BlazeVox, that “publisher of weird little books,” took the final proofs of Lurid Numbers to his printer on July 27, 2011. Lurid Numbers is a collection of more or less “codeworked” text – much like i did the weird motor drive, my 2007 book with BlazeVox – written through simple computer scripts and word processings, and through my own impulse, inquiry, and idiocy. The next day he came back with some odd news in the form of an email from the publisher:

—— Forwarded Message
From: <no_reply@createspace.com>
Date: Tue, 26 Jul 2011 12:02:16 -0700 (PDT)
To: Geoffrey Gatza <editor@blazevox.org>
Subject: Files for Lurid Numbers, 978-1609640705 require your
attention

The interior and cover files for Lurid Numbers, 978-1609640705 have been reviewed.The cover file meets our submission requirements; it is not necessary for you to make any revisions to this file or upload it again.The interior file does not meet our submission requirements for the reason(s) listed below. Please make any necessary adjustments to your interior file and upload it again by logging in to createspace.com.The interior file contains pages with unreadable text or “jibberish” which we are unable to move forward with as it may appear as a file error in manufacturing. Please submit a revised interior file for further review.

Best regards,
The CreateSpace Team

As we like to say in academia, the email was “interesting,” that is, it could be read as linked to a number of other cultural domains and protocols. The relation of the “interior” to the “cover” repeats and takes part in the history of the “book,” where the cover is the limit of the work of writing; the cover is the enclosure or partition, the  event and inscription of multiple institutions: of authorship (if the work is under a pseudonym or in some way unsigned, the copyright page still must contain an author’s name, even if it is “anonymous”), commerce (the name of the publisher, legal descriptions of rights and regulations, and so on), and archiving (library of congress number, date of publication, etc.). Along with this, the fact that the interior of the book was somehow rotten or broken seemed both a judgment and a simple fact of this book. It was even better that this was expressed iconographically in the cover, which did meet “submission requirements.” I saw the cover as a submission of the contents to a single image. The cover shows a butchered and already old, slightly rotted fish. The image is photoshopped, neon and definitely lurid. Geoffrey directed me to this image, and I loved the combination of the repulsive and slimy, the mundane and organic, with the software transformation that keeps it real but artificial as well. It did indeed seem to submit and capture the interior. And then: “the interior file contains pages with unreadable text” seems to me an almost ontological statement, one that rubs against the proximity between the written work and the human. We may submit, we may submit a cover – ourselves – that meets requirements (of culture, of others), but our interiors are often quite different, unreadable. I also appreciated the misspelling of gibberish, suggesting a virality of the unreadable text into the printer’s email. Finally: “we are unable to move forward [...] as it may appear as a file error in manufacturing” suggested to me an event or force of the work beyond the interior file, a hidden explosion breaking the apparatus that machined it, and seeping or flooding past the cover.

In short, I was pleased to become more than just another job for the printer, to become a new process and something beyond the routine. At the same time, I was concerned, wondering what would happen with my interior file, as it were. I found out five days later, on August 1, 2011, when Geoffrey informed me in an email that

they cannot print this book and there is nothing I can do about it. [...] this is something completely new and I have to say I am perplexed by the mechanizations of modern times. The printers are not opposed to you or your work, this is a situation of a printing process that is highly automated and this registers exactly like a printers error to their machine. It is not a human that we must cajole into agreeing that this is art, which was my first take on this, as with the printer who cannot spell. This is a matter of a quality control camera that will reject books that look like this. I talked with a lot of people in the company and even had my lawyer call them to see if great weight would move the immovable. But no, their system will literally stop when it would try to produce your work.

A writing that stops the computer system, the very system designed to print out writing: what more could I ask for? What more frustrating thing, as well, so close to the print out of the book, that fetish object that makes authors out of writers? I was judged by the computer to have written something, i.e. it did not deny that there was an input that it could judge, but it evaluated my writing as unprintable, as a writing that can only remain in the space of the computer, within the possibilities of software. My interior file was bummed out but also filled or luridly lit up with a deep pleasure.

The act of writing is related to the absence of the work, but is invested in the Work as book. The madness of writing – this insane game – is the relation of writing; a relation established not between the writing and production of the book but through the books production, between the act of writing and the absence of the work. [...] To write is to produce the absence of the work (worklessness, unworking, [désoeuvrement]). Or again: writing is the absence of the work as it produces itself through the work, traversing it throughout. Writing as unworking (in the active sense of the word) is the insane game, the indeterminacy that lies between reason and unreason. – Maurice Blanchot

BTW, the book is here: http://www.blazevox.org/index.php/Shop/Poetry/lurid-numbers-by-sandy-baldwin-244/

Some HTML 5 Works
by Jim Andrews
A review of four new HTML 5 works including an innovative, interactive music video by Montréal’s The Arcade Fire, 2011 winners of the Grammy for album of the year (The Suburbs).

Recursion and Human Thought: Why the Piraha Don’t Have Numbers
by Jim Andrews
The Piraha are a tribe of Brazilian aboriginals much discussed in linguistics because their language seems to provide evidence that one of the tenets of Noam Chomsky’s theory of language is wrong. Also, the Piraha lack almost all language for number. Yet, in this monlogue by Daniel L. Everett, who has lived among them for years, we see a case of the natives converting the missionary. About time! In an age where ‘Think different’ is a corporate slogan, the Piraha truly do think differently.

Vancouver Riot
by Jim Andrews
I recently moved to Vancouver. Just in time for the hockey riot. Which happened in my neighborhood. Mayhem dbCinemized.

Unashamed Oink Squirts
by Gregory Whitehead
An anagrammatical exploration of the nomological potential of D,o,m,i,n,i,q,u,e,S,t,r,a,u,s,s,K,a,h,n.

Apart from initiating very diverse and interesting theoretical debates, these events represented a great opportunity to discover new creative perspectives in the field digital art. In retrospect, what the guest artists seem to have in common is a view on digital technologies that no longer focuses on the novelty of the digital medium itself, but implies a practical meditation on how this novelty can be projected back on the “old technologies ” – mainly the book. And the results of such reflections are simply wonderful.

The Unwanted Guest

The first “discovery” was the series of digital stories for iPad, iPhone and iPod Touch by Jacqueline Rogers, which, according to the author, represent not only an attempt to recreate one of the most enduring literary genres by taking advantage of the technological developments, but also a means of exploring the possibilities of what might be termed a “new oral culture”. What distinguishes the digital story from the usual one is, first of all, its synaesthetic nature – the fact that it combines the written text with images and sound, enhancing thus the immersive character of its experience. In fact, the digital story seems to reunite two diverging forms of the genre: the written story and the oral one. The result is a mixture between the aural quality and the multiple authorship (the music, the illustrations and the audio rendition of the text are provided by professionals) that characterize the oral story and the (relative) stability that is specific to the written text. The trailers of the four charming stories that are available at present can be watched on http://www.moving-tales.com/

Le monde des montagnes

The presentation of some of the works belonging to the Swiss designer Camille Scherrer provided a second revelatory experience. Their common theme could be described as the integration of the book into the digital environment, but also the other way round – namely as the integration of digital effects into the book. The first piece to explore such an “expansion” of the book is entitled “Le monde des montagnes”. As the picture shows, it consists in a three-item assemblage: an illustrated book, a lamp (which actually hides a video camera) and a screen on which the images of the book provided by the camera are projected. As the reader leafs through the real book, its screen equivalent is enriched and animated by complementary images that are superimposed on the initially static text and illustrations. The effect of this resurrection of the book on the screen is simply magical. A similar principle informs some other works of the artist – “The Haunted Book” or “Louis Vuitton”. Some more stills and some videos of these works as well as information on some other projects can be found on the artist’s site http://www.chipchip.ch/

A third successful attempt to “revivify” the book belongs to Etienne Mineur and Bertrand Duplat, co-founders of “Les editions volumniques”, whose declared purpose is to treat paper books as digital platforms and research labs. The descriptions and the video presentations of their fascinating projects – such as The book that turns its own pages, The book that disappears, The book that wished to be a video game, The Night of the Living Dead Pixels, Kernel Panic and a few more can be found at http://www.volumique.com/en/

A different method of exploring the book in the digital age, as described by Alessandro Catania, would consist in using geo-localization technologies as a means of producing or enhancing literary experiences. One of the possible ways of putting such a project into practice would imply designing digital tourist guides that would offer the readers/tourists visual or textual literary information in connection with a certain location as they make their way through the city.

However, while the actual experiments flourish, their reception on both a theoretical and productive level seems to be lagging behind. What came as a surprise in the ensuing debates concerning the changes of the editorial world in light of the new technical possibilities was the absence of the product that would best profit from them – the digital literary work. The meeting of editors, sellers and producers of digital reading devices revealed that, despite the current development of literary experiments, the editorial world is still one-way oriented, envisaging its task as a transposition of the printed book to its digital equivalent and generally ignoring the possibility of producing works that take full advantage of the attributes of the new media. Under such circumstances, what the editing houses usually offer is a printed book accompanied by its electronic double, which, according to its traders, is of interest mostly to visually impaired people, for whom the main advantage of the new reading devices consists in the possibility of enlarging the text at will. Nevertheless, the question of e-literature publishing and distribution is not as straightforward as it might seem, for it can be a matter of debate if it is the book editor to whom such a task should be assigned. It is obvious that the editorial requirements of digital works are considerably different from those of books. Until such matters are approached in a more systematic manner, the solution of self-editing and publishing, adopted by some of the artists mentioned here, seems to make do.

On a recent trip to the University of Bergen, we had the opportunity to meet, discuss, and compare notes on some of our mutual interests in Internet art, specifically in a highly performative, “real-time,” spontaneous form of writing that seemed to run through our various projects. As we compared notes, we discovered an emerging genre, which we will begin to detail here. On the eve of another exciting improvisational collaborative project, Grace, Wit, & Charm, we offer some preliminary thoughts on this new form we call netprov.

Past Projects
Here are a few of our past projects with varying degrees of improvisation that nonetheless have given rise to our conceptualization of netprov.

Rob’s Projects
Chicago Soul Exchange, online marketplace for past lives (blog, collaborative, performed live over 1 week)
Friday’s Big Meeting, a chatroom novel (faux chatroom, released live over 1 week)
Blue Company, hand-illustrated email novel (e-mailed daily for 1 month, performed twice, 2001 and 2002), which inspired Scott Rettberg’s response/sequel Kind of Blue
Fall of the Site of Marsha, faux-vernacular webpage fiction

Mark’s Projects
The Ballad of WorkstudySeth, Twitter fiction provoked by workstudy students (Twitter & Facebook, during 3 months of 2009)
The LA Flood Project, a locative narrative and flood simulation (Google Map, YouTube on-going, and simulation tweeted during LA Times Festival of Books April 30-May 1, 2011)
The Loss Wikiless Timespedia, Wikinewspaper open to wikizen journalists everywhere (Mediawiki installation launched April 1, 2009).

Definition

Netprov = networked improv literature.

Netprov uses everyday social technology plus the ol’ tricks of literature, graphic design, and theater to create stories that unfold in realtime within public mediascapes.

Common characteristics:
Prose fiction — stories by and about people who don’t exist, done by writers emerging from the literary tradition of novels and short stories;

Real Time – texts are asserted, in the fiction, to have been written moments before publication;

Unity of Time –the fictional world and the reader’s world are contemporaneous;

Vernacular Media — projects are written in the popular everyday writing/reading media of the time, regardless of whether or not the medium is considered a “literary” medium;

Collaborative — often with groups of writers adopting and writing particular characters in whole or in part, composed of the assembled troop and reader-participants.

Interactive — reader comments and contributions can be included and can shape the story;

Live Theater — some netprov projects include performances where the online characters appear momentarily before an audience in a theater or other venue and advance the story;

Designed to be Read at Work — one never knows where one’s readers read, but an ideal of netprov is to seed the real world with imagination, to sneak fiction into a reader’s mindstream during the time devoted to “reality” rather than compartmentalized time set aside for “entertainment;”

Partially Pre-written and Partially Improvised — plots can be predetermined, some texts are pre-written and are published using electronic, timed-release technologies others are written moments before publication;

Inclusion of Current Events — which are woven into the story themes and enrich and often hijack them;

Satirical Approach — the urge to fictionalize everyday writing forms and to use for performance the millieus that purport themselves to be pure and transparent expressions of the self often grows out of the satirical impulse (a la A Modest Proposal);

Embedded Performance — the form gains its energy by performing in the streets of contemporary networked culture and ranges from clearly framed fictions, published in online journals, to more guerrilla styles of performance that might catch a reader unaware;

Designed for Incomplete Reading — it is not assumed readers will read every word or every episode; the strategy is to give readers a rewarding experience both if they read only a few messages and if they become devoted fans; the goal is to be skillful enough to entice readers into the depths;

Designed to be Remixed — netprov projects need not be closed fictional systems; netprov chunks can be designed as riffs to be remixed into readers’ own projects and culture blends.

We admit Netprov is somewhat of a misnomer, in that it refers not strictly to the pure, all improvised, Chicago-style theatrical Improv of Del Close and Charna Halpern, but as much to the actor-workshopped and written sketch comedy of groups like Second City, the Groundlings, and television shows like Saturday Night Live and MadTV. The value of the “-prov” suffix is that it gives the sense of a creative work “done before your very eyes,” it echoes the down-to-earth satire of theatrical Improv and sketch comedy, and prepares readers for projects that are experimental. It also stresses the real-time opportunities for readers to play along, to join in.

Netprov is often close to the roots of Improv, the Commedia del Arte, where an outline “scenario” is given to actors instead of specific lines.
For example: “Next Tuesday Shirley and Antoine will have a text-message hissy fit about the top story on that night’s CBS Nightly News that will result in Shirley leaving Antoine.” Apologies to Antoine if you’re reading this before Tuesday. Sorry dude. It was never going to last. Enjoy her while you can.

Whose Tweet is it anyway?
Twitter offers one of the most form-fitting media for netprov. First, unlike Facebook’s seeming insistence on authentication, tweets are a playful space where the snark reigns over sentimentality. Second, Twitter’s 140 characters have become a writing constraint played by millions, as much a writing challenge as the haiku or one-liner. Twitter also is home to many fictional characters, such as:

Fake Rahm Emanuel @MayorEmanuel by Dan Sinker
AdjunctHulk
SwearengenPHD

AdjunctHulk
HULK NOT HAVE MONEY FOR TV, SO HULK NOT KNOW WHO @SWEARENGENPHD @DEADBULLOCK AND @TATRIXIE IS.
4 May

Julie Levin Russo points us to the many fan communities tweeting the characters of Battlestar Gallactica or The Office.

What makes Twitter ripe for netprov is the flashmobby ability to create memes quickly that are easy for others to join in. A simple @ or # can bring their contributions into the stream. These memes can become nano-genres (for example, the recently trending: #icanttrustyouif or [corrected] Mark Sample’s fake digital humanities conference #MarksDH2010, born of his irritation that his Twitterfeed was filling up with a hashtag from a conference he was not attending.

Up next: Grace Wit & Charm

This Saturday begins a prime example of netprov, entitled Grace, Wit, & Charm. Merging Twitter with 2 live theater performances, reader-participants will be able to pose and answer challenges for the SmoothMooves corporation, which offers clients enhancements for their online avatars (grace), social media messages (wit), and online dating (charm). The project begins May 14 and runs until May 29. See two live performances in person at Teatro Zuccone (in Duluth, Minnesota) or online May 17 & 24. Twitter hashtag: #gwandc (use also #help if you’d like to pose a problem or challenge to the team). The team of employees will be answering challenges online throughout the two weeks and during the stage show. Visit the project website.

DREAMING METHODS–OPEN SOURCE PROJECT
by Andy Campbell
Dreaming Methods has three new projects available to experience – each one created without the use of Flash or any other browser plugin.

MAINLY THE MYSTERIES
by Gregory Whitehead
One of the great audio artists of our time was asked to write about what he still believes in, through all the riptides of the past decades.

THE CLUB
by Jim Andrews
Selected North American politicians, business men, and pyschopaths dbCinemized.

UNDERBELLY & SISTER STONE CARVER
by Christine Wilks
Christine on the relation of her piece Underbelly to where she’s from, and her sister’s stone carving.

UNICODE BY JORG PIRINGER
by Jim Andrews
A review of Jorg’s piece posted on netpoetic.

CITY BIRD BY MILLIE NISS
by Jim Andrews
A short review of the late Millie Niss’s new book of poems.

ANDREW TOPEL
by Jim Andrews
Some outstanding visual poetry by Andrew Topel.

IN THE SOUP WITH THE DIGITAL BOOK
by Paul Green
New contributor Paul Green, audio artist extrordinaire, wonders about the digital book.

RADIAUTEUR–NEW WEBZINE FOR RADIO ART
by Gregory Whitehead
Description of and call for works concerning a new online webzine for radio art.

MARIA ENGBERG REVIEWS FUNKHOUSER AND DRUCKER
by Jim Andrews
Thoughts on Engberg’s article recently published in EBR.

MOM’S MUSIC
by Jim Andrews
A last experience together of music.

SLIDVID 3.0
by Jim Andrews
A software project by Andrews.

THE CURSE OF THE ‘CODE BLUE’ MOTTO
by Jim Andrews
The motto of the Canadian national junior hockey team in 2011 was “Code Blue”. Who knew that their motto would prove ironic? After the final game, did whoever thought up the motto for the Canadian juniors glimpse, in a kind of literary horror, the final meaning the motto would have in history?