famous last words

app.py

@@ -222,7 +222,7 @@ def preload_documents():
         .strip()
     )
 
-    documents["meta"] = {"now": now.strftime("%d %B %Y - %H:%M:%S"), "version": version}
+    documents["meta"] = {"now": now.strftime("%d %B %Y"), "version": version}
 
     for subdir in os.listdir(CONTENT_D):
         path = os.path.join(CONTENT_D, subdir)

src/assets/styles/layout.css

@@ -186,6 +186,11 @@ figcaption:before {
   align-items: flex-end;
 }
 
-.image-list img {
-  max-width: calc(100% - var(--footnote-w) + 2rem);
+.image-list figcaption {
+  max-width: var(--footnote-w);
+}
+
+.image-list img {
+  height: 50mm;
+  object-fit: cover;
 }

src/assets/styles/paged.css

@@ -72,7 +72,15 @@ body {
   background: yellow;
 
   @top-left {
-    content: "blank " counter(page);
+    content: none;
+  }
+
+  @top-right {
+    content: none;
+  }
+
+  @bottom-right {
+    content: none;
   }
 }
 
@@ -253,7 +261,11 @@ article>*:first-of-type:is(table) {
 }
 
 .fix-break-left {
-  break-after: right;
+  break-before: left;
+}
+
+.fix-break {
+  break-before: page;
 }
 
 h2:has( + p ), h3:has( + p ), h4:has( + p ), h5:has( + p ), h6:has( + p ) {

src/assets/styles/style.css

@@ -44,4 +44,3 @@ body {
     display: inline-block;
   }
 }
-

src/content/chapters/-1-intro.md

@@ -8,11 +8,11 @@ front: false
 >> The real long-term future of computing consists of figuring out how to make the best possible use we can out of the literal millions of devices which already exist.
 
 <cite>(Solderpunk, 2020, Cited in de Valk, 2022)
-<span style="display: none;">[@devalkSalvagedComputing]</span></cite>
+<span style="display: none;">[@devalkSalvagedComputing2024]</span></cite>
 
-Beware! If you’ve picked up this publication expecting to learn how to make a flawless, DAW-less, in tune and always working polysynth, think again. However, if you, like me, are interested in making screamy, dreamy, sound devices using an alternative resource: trash, you’ve come to the right place.
+Beware! If you’ve picked up this publication expecting to learn how to make a flawless, DAW-less, in tune and always working polysynth, think again. However, if you, like me, are interested in making screamy, dreamy, sound devices using components you can find *in the wild*, you've come to the right place.
 
-When I first read about salvage computing, I got very excited. Being part of the DIY Sound community, as a sound practitioner and hardware hacker, I’ve developed a growing discomfort with some aspects of the practice. Over the past few years, I’ve hosted workshops around circuit bending[^circuit-bending] and LOFI sound devices in and around Rotterdam. These workshops are meant as an accessible way to get people tinkering with electronics, through something infinitely playful: making instruments[^playful].
+When I first read about salvage computing, I got very excited. Being part of the DIY Sound community, as a sound practitioner and hardware hacker, I’ve developed a growing discomfort with some aspects of the practice. Within the DIY Sound community, DIWO workshops are a common way of sharing knowledge [@richardsDIYMakerCommunities2017], covering a wide range of topics, from the construction to bending and hacking and live coding. Over the past few years, I’ve hosted workshops around circuit bending[^circuit-bending] and LOFI sound devices in and around Rotterdam. These workshops are meant as an accessible way to get people tinkering with electronics, through something infinitely playful: making instruments[^playful].
 
 [^circuit-bending]: the practice around hacking discarded toys to find sonic potential through creating shorts, or sometimes literally bending the circuit.
 
@@ -20,7 +20,10 @@ When I first read about salvage computing, I got very excited. Being part of the
 
 In an ecosystem where a printer is only printing with a costly subscription [^printer-subscription], disruptive products become obsolete within a year[^AI-pin], fixing your own flat tires is outsourced [^swapfiets] and some smartphones literally have to be frozen to be able to replace the battery [^frozen], it’s clear we’re no longer in charge of our own devices. Warranty-void stickers and lengthy terms and conditions scare us into compliance.
 
-I’ve noticed how empowering these first-time soldering workshops can be in taking back this autonomy by making (or breaking) a circuit together. They are a shared attempt to uncover some of the black boxes in our own products [@hertzZombieMediaCircuit2012]. However, the toys and materials used in the workshops are single-use [^single-use] and, with ease, thrown out afterward. The carelessness notion creeps in that waste has no value, and is easily replaceable, and broke my heart a bit, one workshop at a time.
+First time soldering workshops can be very empowering in taking back this autonomy by making (or breaking) a circuit together[^exchange]. They are a shared attempt to uncover some of the black boxes in our own products [@hertzZombieMediaCircuit2012]. However, the toys and materials used in the workshops are single-use [^single-use] and, with ease, thrown out afterward. The carelessness notion creeps in that waste has no value, and is easily replaceable, and broke my heart a bit, one workshop at a time.
+
+[^exchange]: Especially during a [workshop in collaboration with the kunsthal](https://www.kunsthal.nl/nl/plan-je-bezoek/activiteiten/friday-night-live-operator/), where it was the first time making a circuit for many attendees. It was great to see how people without much electronics experience figured out circuit making and playing, together.
+
 
 [^printer-subscription]: HP’s “all-inclusive” printers can only be used with an active subscription [@hachmanNightmareRealHP2024].
 
@@ -34,48 +37,36 @@ I’ve noticed how empowering these first-time soldering workshops can be in tak
 
 This is where the field guide comes into play: Can we shift the practice of playful tinkering to acknowledge, rather than ignore, the waste streams they are part of? Limiting ourselves to only use salvaged components and discovering; is it possible to live off (create with) electronic components salvaged in the wild? And what would such a practice entail?
 
-Because salvage is not just about reusing materials; but about confronting the systems that create the waste in the first place. Not only the obsolete media but also the by-product of the entire production lifecycle of an electronic product; From the mining of minerals that make up the hardware to the inevitable disposal site [@gabrysSalvage2012]. Since the rate at which waste is collected and recycled isn't growing at the same pace as our collective buying and production, the landfills will continue to grow. Parikka even goes as far to say as that recycling is ultimately "trade-waste", where our abandoned devices are shipped across the ocean <ins>hier moet nog wat achter</ins>[@parikkaDustMatter2012].
+Because salvage is not just about reusing materials; but about confronting the systems that create the waste in the first place. Not only the obsolete media but also the by-product of the entire production lifecycle of an electronic product; From the mining of minerals that make up the hardware to the inevitable disposal site [@gabrysSalvage2012]. Since the rate at which waste is collected and recycled isn't growing at the same pace as our collective buying and production, the landfills will continue to grow. Parikka even goes as far to say as that recycling is ultimately "waste-trade", where our abandoned devices are shipped across the ocean [@parikkaDustMatter2012].
 
 ## Beyond the kit
-The preference for buying new is noticeable in the DIY synth community as well. When publishing a project, it's common to share a pre-filled webshop cart along with the schematics or even sell it as a pre-compiled kit[^KIT]. To me, this goes against the ethos of DIY that resonates with me the most: making do with what you have, with a focus on doing, and not the outcome [@hertzArtDIYElectronics2023]. Instead, a whole new market is created consisting of Lego-like kits. These kits gloss over the actual challenges and difficulties of creating sound devices, preventing the development of much-needed problem-solving skills, and not actually discovering anything new [@CooperativeExperimentalismSharing].
+The preference for buying new is noticeable in the DIY synth community as well. When publishing a project, it's common to share a pre-filled webshop cart along with the schematics or even sell it as a pre-compiled kit[^KIT]. To me, this goes against the ethos of DIY that resonates with me the most: making do with what you have, with a focus on doing, and not the outcome [@hertzArtDIYElectronics2023]. Instead, a whole market is created for Lego-like kits. These kits gloss over the challenges and difficulties of creating sound devices, preventing the development of much-needed problem-solving skills, and not actually discovering anything new [@CooperativeExperimentalismSharing].
 
 [^KIT]: ![Kit from Bastl Instruments](/chapters/bastl_kit.webp)
 
-Instead, what you will learn to build using this guide is a starting point. Small electronic circuits that produce sound on their own, but can also be duplicated, manipulated, and modulated into something completely different. The chaos is up to you. Some experience with electronics is preferred, as the guide will not go into detail about voltages and amps, or how to solder. There are other, more suitable resources for that. On that note, I am by no means an expert in electronics. This guide represents my personal understanding of electronics, which, in no doubt, contains incorrect assumptions or oversimplifications. It can however offer you insights and practical tools to incorporate salvaging into your own practice.
+Instead, what you will learn to build using this guide is a starting point. Small electronic circuits that produce sound on their own, but can also be duplicated, manipulated, and modulated [^disclaimer], while diving into the questions around the practice of salvaging. The guide is tested, tinkered, and tweaked during (un)repair cafe evenings at the Klankschool[^klankschool]. In these hangouts we modify, hack and repair devices together.
 
-Within the DIY Sound community, DIWO workshops are a common way of sharing knowledge [@richardsDIYMakerCommunities2017], covering a wide range of topics, from the construction to bending and hacking and live coding. Where it is not only about sound <ins>afmaken</ins>
+[^klankschool]: Klankschool is a loose-knit group of sonic practitioners based in Rotterdam who share a common interest in performances, sound art, improvisation and noise. Everyone involved is a teacher, student, musician, janitor and more. Check the [calendar](https://calendar.klank.school/) for the next event!
 
-In the DIY synth community, DIWO (Do It With Others) is a common way of sharing knowledge. These often very horizontal workshops are a way of skillsharing [^horizontal-workshops]. The field guide is no exception on that, and partly came together during (un)repair cafe events at klank.school. I think these DIWO practices are very powerfull. Not only saves it you from having to make an investment in specific tools, working with electronics and waste can be a frustrating process, and DIWO can help share the leed. Having conversations about the material whilest working with the material cna be a way to deepen the relationship with the mateiral.<ins>afmaken</ins>
+[^disclaimer]: *I am by no means an expert in electronics. This guide represents my personal understanding of electronics, which, in no doubt, contains incorrect assumptions or oversimplifications.*
 
-[^horizontal-workshops]: <ins>uitleggen</ins>
-
-Repair is often and historically organised as a social activity - opening up workplaces and sharing knowledge[@matternStepStepThinking2024]. <ins>expand more on the social</ins>. This notion is a major part of the DIY Synth community [@richardsDIYElectronicMusic2013]. By being part of workshops and gatherings around DIY sound and repair I've noticed how empowering these exchanges can be [^exchange]. This guide itself is created during and around so-called *(un)repair nights[^unrepair-night]* at the klankschool[^about-klankschool]. . The frustrating process that can be learning electronics is much better to manage when shared.
-
-[^exchange]: Especially during a [workshop in collaboration with the kunsthal](https://www.kunsthal.nl/nl/plan-je-bezoek/activiteiten/friday-night-live-operator/), where it was the first time making a circuit for many atendees. It was great to see how people without much electronics experience, figured out circuit making and playing, together.
-
-[^unrepair-night]: The (un)repair cafe is a by-weekly hangout at the Klankschool, where we modify, hack and repair devices. Check the [calendar](https://calendar.klank.school/) for the next event!
-
-[^about-klankschool]: Klankschool is a loose-knit group of sonic practitioners based in Rotterdam who share a common interest in performances, sound art, improvisation and noise. Everyone involved is a teacher, student, musician, janitor and more.
-
-This field guide came together during and with the help of (un)repair nights at the klank.school. <ins>uitbreiden</ins>
-
-![A sound device](/chapters/transistorOSC_white.webp){.img--fullpage}
-
-The guide is split up into five chapters, each focusing on a different stage of salvaging for sound devices.
+The guide is split up into the different stages of salvaging:
 
 #### 1. Gathering hardware
-*We trace where to find discarded electronics, what to look for, and how industry practices like planned and stylistic obsolescence shape what ends up in the trash.*
+*We trace where to find discarded electronics and how industry practices shape what ends up in the trash.*
 
 #### 2. Dismantling devices
-*Opening up devices to uncover design strategies that prevent access: proprietary screws, glued casings, encryption, and the disappearance of service manuals.*
+*Opening up devices to uncover design strategies that prevent access*
 
 #### 3. Components to salvage
-*A practical guide to identifying and extracting useful components—motors, sensors, chips—and understanding how their design reflects built-in lifespans and disposability.*
+*Identifying and extracting useful components—motors, sensors, chips, while diving deeper in their material.*
 
 #### 4. Recipes for making
-*Methods for prototyping, modifying, and reusing salvaged parts.*
+*Methods for building sound devices.*
 
 #### 5. Taking inventory
-*A moment of reflection on what worked, what didn’t, and what patterns emerge when working with discarded electronics at scale.*
+*Time to clean the workbench and reflect*
 
 Happy scavenging!
+
+![A sound device](/chapters/transistorOSC_white.webp){.img--fullpage}

src/content/chapters/1-dismantling.md

@@ -33,7 +33,7 @@ Once you've found a piece of hardware, it's time to start dismantling the device
 ![Create a toolkit that works for you!](/chapters/toolkit_edited.webp){.img--fullpage}
 
 ## Opening up
-It's not always clear where to start. Grabbing a heavy duty tool immediatly could result in permanent damage. It is better to start more carefully. In some cases, product manufacturers provide service manuals[^repair-manual]. But in most cases, we’re left to figure it out ourselves. Fortunately, online communities like IFixIt create their own teardown guides, that can sometimes give us a head start.
+It's not always clear where to start. Grabbing a heavy duty tool immediately could result in permanent damage. It is better to start more carefully. In some cases, product manufacturers provide service manuals[^repair-manual]. But in most cases, we’re left to figure it out ourselves. Fortunately, online communities like IFixIt create their own teardown guides, that can sometimes give us a head start.
 
 [^repair-manual]: These manuals contain valuable information that can help you to understand the device and to take it apart. [![This  repair manual that passed the (un)Repair Cafe contains a schematic, disassembly information, parts list and multiple trouble shooting guides](./chapters/trouble-shoot.png)](https://elektrotanya.com/panasonic_rs-768us.pdf/download.html#dl)
 
@@ -41,8 +41,7 @@ Let’s take a look at the device. Can you spot any screws? They might be hidden
 
 [^warranty]: Warranty stickers seem intimidating but are not legally binding, as warranties are dictated by consumer laws [@aragonWarrantyVoidStickers2023].
 
-![Following the seams of the device](https://placehold.co/600x400)
-<ins>Picture!</ins>
+![Following the seams of the device](/chapters/openingup.webp "Following the seams of the device")
 
 If you manage to create a small slit gap in a seam, insert a thin plastic pic and carefully push it along the seam. There might be small tabs holding the casing together. If the manufacturer really didn’t want you to get in there, they’ve glued it all up, and it is impossible to get in the device without causing permanent damage[^permanent].
 
@@ -61,9 +60,8 @@ It is by opening the devices, however, that we can rediscover materiality. Then
 
 [^inside]: The inside can tell you more about the time the device was made in. For instance, I mostly find aluminum and iron type materials on the inside of older machines.
 
-<ins>wat hier nog een beetje in mist is de eigen practice, format deze layout</ins>
-
 ::: {.image-list}
+## Discoveries at the (un)repair cafe
 
 ![The PCB has used ribbon wires to make an angled connection. This makes disconnecting, and later putting it back, a difficult task](/chapters/angles_2_edited.webp)
 

src/content/chapters/2-component-salvaging.md

@@ -17,12 +17,14 @@ PCBs are populated with either “through hole" (THT) or "surface mount" (SMD) c
 ## Desoldering
 Desoldering components is generally more difficult than soldering and requires patience and practice. Ironically, desoldering guns are much more expensive than soldering irons, so here’s how I do it, without one.
 
-In a well-ventilated[^well-ventilated] room, heat up the blob of solder that connects the component to the PCB using a soldering iron. After a couple of seconds, you’ll notice the solder becomes liquid[^liquid]. Then, using tweezers or a plier, I carefully pull the leg out from the backside of the board, and then do the same for the other legs. This process can take somewhere between 10 seconds and 10 minutes and can be both frustrating and meditative.
+In a well-ventilated[^well-ventilated] room, heat up the blob of solder that connects the component to the PCB using a soldering iron. After a couple of seconds, you’ll notice the solder becomes liquid[^liquid].
 
-[^liquid]: How fast this happens depends on the temperature of the soldering iron and the melting point of the solder that is on the board. If it won’t melt, adding a bit of your own solder helps.
+Then, using tweezers or a plier, I carefully pull the leg out from the backside of the board, and then do the same for the other legs. This process can take somewhere between 10 seconds and 10 minutes and can be both frustrating and meditative.
 
 [^well-ventilated]: whilst modern devices cannot contain lead anymore, older solder will. Do not lick the PCB, clean your hands after and open a window.
 
+[^liquid]: How fast this happens depends on the temperature of the soldering iron and the melting point of the solder that is on the board. If it won’t melt, adding a bit of your own solder helps.
+
 ## Common components
 In the next few pages, I’ll briefly address some of the more common components. If you want to know more about what each component specifically does, I recommend Getting started in electronics [@mimsGettingStartedElectronics1983].
 

src/content/chapters/3-recipes.md

@@ -6,48 +6,45 @@ front: true
 nested: "recipes"
 ---
 
-# Footnote over triple check valt van het papier
-
-Hopefully, you’ve salvaged a variety of components by now, and we can start to actually build some sound with them. In this chapter you'll find a bunch of recipes; the starting points for sound devices. These modular recipes can be used standalone or connected together into a bigger system. This modularity makes problem-solving slightly easier[^easier], and you can pick and choose your modules based on your salvaged inventory.
+Hopefully, you’ve salvaged a variety of components by now, and we can start building sound with them. In this chapter you'll find a bunch of recipes; the starting points for sound devices. These modular recipes can be used standalone or connected together into a bigger system. This modularity makes problem-solving slightly easier[^easier], and you can pick and choose your modules based on your salvaged inventory.
 
 [^easier]: Still a headache! But now you only have to triple check a handful of components, instead of 120.
 
-Every recipe contains a paper circuit[^paper-circuit-ciat] to print. These circuits are the blueprint of your device, between a schematic and an industrial PCB. The biggest advantage of using paper, apart from being able to solder the connections of your components right on top of the circuit, is that it is flexible. You can take notes, draw lines and adjust the schematic as you go. This saves you from either having to use toxic chemicals to etch your own circuit boards, or outsource the development.<ins>laatste zin ff checken</ins>
+Every recipe contains a paper circuit[^paper-circuit-ciat] to print. These circuits are the blueprint of your device, between a schematic and an industrial PCB. The biggest advantage of using paper, apart from being able to solder the connections of your components right on top of the circuit, is that it is flexible. You can take notes, draw lines, and adjust the schematic as you go.
 
-[^paper-circuit-ciat]: A method introduced by synthesizer builder Ciat Lonbarde, who used paper circuits as a way to distribute circuits and ideas for free [@blasserStoresMall2015]. <ins>dubbel</ins>
+[^paper-circuit-ciat]: A method introduced by synthesizer builder Ciat Lonbarde, who used paper circuits to distribute his circuits and ideas for free [@blasserStoresMall2015].
 
 ### Assembling the circuit
-1. Cut out the circuit and fold it in half, creating a two sided print.
+
+1. Cut out the circuit and fold it in half, creating a two-sided print [^print].
 2. Gather the components listed in the "Bill of Materials" (BOM).
 3. Populate the first components by pinning the legs through the paper in their designated areas. Keep an eye on the orientation[^orientation]. Start small (resistors) then move to larger parts.
 4. Create the connections according to the circuit by soldering the legs together using (copper) wire.
 5. Repeat until all components are in place!
 6. Test & triple-check all connections [^triple-check].
 
+[^print]: printing on thicker paper is advised
+
 [^orientation]: Some capacitors, LED's and other components all have a specific polarity/orientation.
 
 [^triple-check]: With salvaged components you'll have a limited supply. Test to prevent component loss.
 
-There is no need to understand every single component on each recipe [^no-need], but try to follow the connections on the circuit. Which road is the audio signal taking? This will help you a lot with troubleshooting.
+There is no need to understand every single component on each recipe [^no-need] but try to follow the connections on the circuit. Which road is the audio signal taking? This will help you a lot with troubleshooting.
 
-[^no-need]:Rule #17 from *Handmade Electronic Music states* "If it sounds good and doesn’t smoke, don’t worry if you don’t understand it." [@collinsHandmadeElectronicMusic2009].
+[^no-need]: Rule #17 from Handmade Electronic Music states, "If it sounds good and doesn’t smoke, don’t worry if you don’t understand it." [@collinsHandmadeElectronicMusic2009].
 
-### !Safety notes!
+!Safety notes!
 
-- **Audio can be surprisingly loud**. Use small speakers (never headphones![^headphones]) you wouldn’t miss if they break, and keep your hand on the volume dial when plugging in your sound device for the first time.
+- **Audio can be surprisingly loud**. Use small speakers (never headphones! [^headphones]) you wouldn’t miss if they break and keep your hand on the volume dial when plugging in your sound device for the first time.
 - **Use batteries**. Plugging into a wall (120V) can be incredibly dangerous. Always unplug the power from the circuit when making changes, to prevent shorts.
 - **Watch that smell**. “Magic smoke” has a certain smell. Unplug immediately when something smells/smokes!
 - **Two know more than one**. If you're not sure, invite a friend and I'm sure you'll figure it out together.
 
-[^headphones]: Your hearing is precious, and accidently blasting an overpowered sine-wave Through your ears can cause permanent damage.
+[^headphones]: Your hearing is precious, and accidentally blasting an overpowered sinewave Through your ears can cause permanent damage.
 
-### Finding & scaling recipes
-The DIY synth community is not shy in sharing their schematics. There are fantastic resources online, such as the [Experimentalists Anonymous DIY Archives](https://experimentalistsanonymous.com/diy/index.php) the [wiki](https://sdiy.info/wiki/Synth_DIY_Wiki), [Music from Outer Space](https://musicfromouterspace.com/) and *Handmade Electronic Music* [@collinsHandmadeElectronicMusic2009]. However, finding resources using salvaged components can be tricky, as our requirements are a bit different then the average github browser. Most schematics either contain 20+ components or require (specific) chips. For making personal synthesizers, this limitation has been interesting, as it forces me to turn the VCO recipe into a self-modulating instrument, actually helping me to learn more about elecontrics & elecontric sound then any pre-made kit could ever do, but there is definetly a scsaling issue. Initially I had set out to use this research as a way to develop a workshop format about making synthesizeres with e-waste, and in that way "fixing" my issues with the wastefullness of the workshop.
-But, maybe this is not possible, and maybe that is okay.
- <ins> unpack on this en dan doorpakken in de conclusie</ins>
-<ins>ff kijken hoe je deze links kunt reference</ins>
-<ins>wat is vco</ins>
+### Finding recipes
+The DIY synth community is not shy in sharing their schematics. There are fantastic resources online, such as the Experimentalists Anonymous DIY Archives the wiki, Music from Outer Space and Handmade Electronic Music [@collinsHandmadeElectronicMusic2009]. However, finding resources using salvaged components can be tricky, as our requirements are a bit different. Most schematics either contain 20+ components or require (specific) chips, which have proven to be difficult to find. This limitation has been interesting, as it forces me to experiment with smaller schematics. Turning the oscillators into self-modulating instruments, by attaching them together using alligator clips, actually helped me to learn more about electronics & sound than any pre-made kit could ever do.
 
-<ins>bij de BOM de links naar components er uit halen</ins>
+![Combine multiple recipes to create a self-modulating glitch device!](/chapters/croc.webp){.img--fullpage}
 
-<ins>Dirty electronics talks about scale in electronics,  “With the ever-decreasing size and miniaturisation of electronics, the work of Dirty Electronics often attempts to re-size technology to human scale. The idea expressed by David Tudor of composing inside electronics is re-addressed with the intention of thinking of composing ‘outside’ electronics, where a music driven by electronics is also” [@richardsDIYElectronicMusic2013]</ins>
+ 

src/content/chapters/4-reflection.md

@@ -3,111 +3,21 @@ title: "Taking inventory"
 type: Chapter
 slug: true
 ---
-<span template-type="chapter"></span>
 
-<!--
+After all the dismantling, salvaging, desoldering, and re-making, it’s time to take inventory. For me, this is the moment to sit in the middle of a workshop, surrounded by the carcasses of printers, cassette recorders, and radios, and deal with the remainders. Can we shift the practice of playful tinkering to also account for the waste streams it engages with?  
 
-🔧 15 Best Bits for Your Conclusion
-“Can we shift the practice of playful tinkering to acknowledge, rather than ignore, the waste streams they are part of?”
-(p. 2 – sets up your thesis’s central question)
+In the DIY synth community, tinkering often happens collaboratively, through workshops where participants solder prefabricated kits, as an accessible entry point into electronics. When I started the field guide, I imagined creating a similar format, but using only salvaged components. Logistically, that turned out to be much harder than expected:
 
-“Limiting ourselves to only use salvaged components and discovering; is it possible to live off (create with) electronic components salvaged in the wild?”
-(p. 2 – hits your core exploration of constraint and possibility)
+#### Waste streams are difficult to tap into
 
-“Because salvage is not just about reusing materials; but about confronting the systems that created the waste in the first place.”
-(p. 2 – this line slaps and goes deep into critique)
+The circular economy, often marketed as a fix for the mountains of e-waste, is structured to keep the consumer lifecycle of buying intact. There is no method in place for taking waste, meaning we must revert to using what comes on our path or is donated. Which is a lot, but not consistent.
 
-“Instead, a whole new market is created consisting of Lego-like kits. These kits gloss over the actual challenges and difficulties of creating sound devices.”
-(p. 3 – critical insight into consumer-friendly DIY)
+#### Salvaging the right components
 
-“This guide represents my personal understanding of electronics, which, in no doubt, contains incorrect assumptions or oversimplifications.”
-(p. 3 – humble, open, and very human)
+Most synths built in workshops rely on chips like the 555 timers and op-amps. These chips simplify builds, lower the total amount of components needed, increasing the chances of a participant completing the circuit. In the past few months, I haven’t salvaged a single 555 timer, and only a handful of op-amps. That is not nearly enough to provide a group of participants with components.
 
-“By being part of workshops and gatherings around DIY sound and repair I’ve noticed how empowering these exchanges can be.”
-(p. 4 – community as empowerment)
+But maybe these limitations can also be an opportunity. If we let go of the expectation that everyone would walk out with a polished synthesizer, similar to those that can be bought in shops, new possibilities open up. The constraints of using e-waste as material can help us to think differently—to engage with different contexts or reimagine how existing technologies might be repurposed. Instead of following a set in stone schematic, the recipes are a starting point, which everyone can execute differently.
 
-“Good waste ‘comes to you’.”
-(p. 9 – beautifully phrased philosophy of scavenging)
+Fennis urges us to rethink waste, not just as a pile of discarded phones, but as the material it was before, including the toxic, environmentally catastrophic legacy. Through reverse engineering and hacking, they explore the material and learn what the technologies can do other than what it was designed for[@fennisOntologyElectronicWaste2022]. In other words, by dismantling a wired electronic razor, that was deemed obsolete and replaced for a battery powered razor, we can remove the abstraction layer and see that it is actually a blade, a power supply, and a motor, which in turn can become an instrument. In this way, we can see the end-of-life of a device, where the consumer is done consuming, as a moment of celebration, and give it an afterlife [@mansouxPermacomputingAestheticsPotential2023]!
 
-“Solo salvaging is not invited in this transaction.”
-(p. 10 – sharp critique of circular economy theatre)
-
-“The manufacturer really does not want you in there.”
-(p. 15 – accessible and damning)
-
-“It is only when something breaks, that their materiality becomes a reality again.”
-(p. 15 – poetic and grounded)
-
-“Shredding a phone doesn’t just lose raw material; it erases the labor, energy, and environmental costs embedded in its original creation.”
-(p. 32 – devastatingly clear)
-
-“Our practice—building instruments, experimenting with electronics—sits outside this loop. It’s not just post-consumption; it’s pre-production.”
-(p. 33 – great positioning of your practice)
-
-“Making personal synthesizers … actually helped me to learn more about electronics & electronic sound than any pre-made kit could ever do.”
-(p. 41 – a big endorsement of the messy route)
-
-“If it sounds good and doesn’t smoke, don’t worry if you don’t understand it.”
-(p. 41 – timeless rule, via Handmade Electronic Music)
-
-“Getting a single sound out of anything is such a eureka moment.”
-(p. 47 – joyful and relatable)
-
-Deze vraag moet je beantwoorden: This is where the field guide comes into play: Can we shi<68>t
-the practice of playful tinkering to acknowledge, rather
-than ignore, the waste streams they are part of? Limiting
-ourselves to only use salvaged components and
-discovering; is it possible to live o <20> (create with)
-electronic components salvaged in the wild? And what
-[5] Swapfiets promote their
-bike subscriptions as “We
-give you a bike that you
-never have to repair”↩
-2017)↩
-would such a practice entai
-
-het feit dat waste steeds meer verwijderd wordt van straat zegt ook iets over de materialituy van waste. we willen er liever niets mee te maken hebben. -->
-
-
-<!-- Artist & reverse engineer Maurits Fennis calls for a change of question where, instead of inventing more products to “solve” the e-waste crisis, we rethink what e-waste is in the first place? [@fennisOntologyElectronicWaste2022] -->
-
-<!-- <ins>I would like to include more about the Right to Repair, and how the manual could be part of the object itself (page 14 of [@matternStepStepThinking2024] en pagina 2 van [@parksCrackingOpenSet2000])</ins> --> -->
-
- <!-- While there are many attempts to overcome obsolescence, such as the modular laptop Frameworkand another example, none have quite stuck. Remy & Huang say that, since abscolescence is the outcome of ICT’s main goals; research in new technologies and selling more products [@remyLimitsSustainableInteraction2015], most of the proposed soliutions work against one of the two.
-
-
-Verder is het dus zo dat je eigenlijk hier een beetje moet herhalen de pareltjes van de tekst. Dus meer herhalen van dingen en minder hier pas conclusies trekken. -->
-
-Hopefully by now you’ve managed to build and explore some raging sound devices! For me, this is the moment to sit in the middle of a workshop surrounded by carcesses of printers, cassette recorders and radio’s, and deal with the remainders. It becomes clear how the actions are a small intervention in the bigger lifecycle of waste. We extended the life of the hardware for a bit and created the moment of celebration [@lulinvegaPermacomputing], and now the majority [^majority]of the hardware will continue on their cycle.
-
-
-[^majority]: Majority in terms of size. I’m strategically keeping all components, but keeping the plastic carcas of an CD Player/Radio just does not make sense.
-
-### Difficulties in salvaging
-During the dismantling of the devices in chapter 1, we discovered, through threatening stickers, obscure bits and strong glue that many of the devices did not want to be opened. Their plastic containers are very “final” forms, every attempt to drill or cut results in rough scars rather than a transformation of form.
-
-Instead of modifying the salvaged device after it’s consumed, the possibility for appropriation should actually already be in the blueprint during the design process, before it’s even built [@gabrysSalvage2012]. Manufactures, both of end products and materials, should carry a responsibility for their objects, not only during the manufacturing but extended to the entire lifecycle.
-
-Unfortunately, as Remy and Huang discuss, *unintentional absolescence*, is built into the system. The two main goals of the IT industry, research new technologies and sell more products, actively work against many attempts of improving repair and reuse [@remyLimitsSustainableInteraction2015][^against]. Some major product companies, such as Coolblue, Apple and Samsung, have started recycling programs. However, it’s unclear what exactly happens with the recycled material, and is always part of a buying process [^samsung]. This relieves the consumer of the responsibility of disposing their product, but keeps the cycle of buying new intact.
-
-[^against]: For instance 3D printing company Bambu Lab recently released reusable PCB’s, to make toys out of 3d prints. The only reusable thing about it, is that you could reuse it within their product line. More reusable would be if they used an Arduino instead. It’s always “Buy our new product that you could reuse for something else” and never “reuse something else and don’t buy our new product”. <ins>niet duidelijk reuse something else regardless</ins>
-
-[^samsung]: For instance, [Samsungs recycle program](https://www.samsung.com/nl/inruil/) starts with *“Stap 1. Koop je nieuwe toestel met inruilvoordeel op samsung.com”‌*.
-
-
-## Regulations
-But hopefully salvaging will become somewhat easier in the upcoming years, due to regulation pushed by the Right to Repair movement in the EU. A new *Battery Regulation* requires batteries to be removable without specialised tools in 2027. Spare parts should be available longer (depending on the type of device), and the *Ecodesign regulations* dictate which parts should be replaceable, the level of expertise needed for the replacement and if specialty tools are required. <ins>lange zin</ins>
-
-The regulations are limited to specific product groups, and mostly focussed towards consumer products such as phones, televisions and fridges.
-
-With all of these repairable products, we’d still need the skills and the services to repair them. Martine Postma, initiator of the first Repair Cafe, advocates to teach repair as skill in high school, and create more opleidingen tot repair person, as the amount of people being able to perform repairs, is also lowering rapidly. Additionally, she argues that the taxes scale between buying a new product and paying for a repair is out of balance, causing repair to be the lesser option money wise. [@postmaWeggooienMooiNiet2015]
-
-
-With more repairable products, we’d still need the skills and services to fix them. Martine Postma, founder of the first Repair Café, advocates for teaching repair skills in schools and creating more training programs for repair professionals, as the number of skilled repairers is rapidly declining. She also argues that the tax system unfairly favors buying new products over repairing old ones, discouraging repair. [@postmaWeggooienMooiNiet2015]
-
-## Room to salvage
-When we desoldered all of the capacitors, resistors, chips and whatnot in chapter 3, I was happily surprised with how many of them still worked. most of the broken devices only had one or two faults in them, yet were thrown out in their entirety. This makes them a great resource for salvaging.
-
-Using salvaged components to create sound devices has been and still is a research with ups and downs, and —I’m really curious how it went for you! Having limited resources does not always help with the learning process. Blowing up the last op-amp (again) can be seriously discouraging. But at the same time, salvaged components can spark creativity, as they include the history of the device that is was part of before [@hertzZombieMediaCircuit2012]. A switchboard salvaged from a casette recorder from the 80's ignite does more than store-bought one.
-
-pagina 13 [@luUnmakingElectronicWaste2024]
+It is this kind of tinkering that I think will make us more resilient against the ongoing attempts by major companies and manufacturers to keep us locked out of our devices [@luUnmakingElectronicWaste2024]. For me, that means not just rethinking waste but also questioning the workshop format itself—and whether I want to keep using the format with it. And the truth is, I don’t think so. I see much more to explore in collaborative spaces such as the (un)repair cafe. This means, this is not the end of the field guide! It’s the beginning. There are many more alligator clips to connect. 

src/content/components/chips.md

@@ -3,7 +3,7 @@ title: Chips
 type: Chip
 description: This is the description
 images:
-  - src: ./components/chip.webp
+  - src: ./components/chips.webp
     alt: 'A chip sooooo small the picture has to be blurry'
 usage: Being a black boxed monolith
 whereToFind: Everywhere!
@@ -18,6 +18,7 @@ Unfortunately, as modular as they might seem, reusing chips is not plug 'n play.
 
 [^expectations]: In the last 6 months of searching, I’ve found only a couple of op-amps, one trigger inverter (that I blew by placing it upside-down), and no 555 timers...
 
+
 ### Common chips to look out for
 :::{.table-inline}
 | Component                 | Description                                                                                   |

src/content/components/inputs.md

@@ -1,20 +1,13 @@
 ---
-title: Inputs
+title: Inputs & outputs
 type: Inputs
 description: This is the description
 images:
-  - src: https://placehold.co/600x400
-    alt: 'This would be a great alt text'
+  - src: ./components/inputoutput.webp
+    alt: 'A variety of input and output components'
 ---
+Inputs and outputs are often the most visible parts of an electronic device—and among the most accessible to salvage. They are the parts that are most often visible on the outside and thus carry the cultural context of the device. But this visibility is a double-edged sword: it risks turning salvaging and recycling into solely aesthetic choices.
 
-Inputs and outputs are often the most visible parts of an electronic device—and among the most accessible to salvage. They are the parts that are most often visible on the outside, and thus carry the cultural context of the device. But this visibility is a double-edged sword: it risks turning salvaging and recycling into solely aesthetic choices.
+Recycling facilities, manufactures and product design universities often tend to focus on recycling, when talking about reducing e-waste. But among the levels of circularity reduce, reuse, repair, recycle, refuse, recycling is the least effective. More than half of material is lost when going through the recycling process and often involves shipping waste to countries with cheaper labor costs and fewer environmental regulations, resulting in toxic conditions for both workers and the environment [@ifixitRecyclingDestruction] [@gabrysDigitalRubbishNatural2011] [@rouraCircularDigitalDevices2021]. Shredding a device doesn’t just lose raw material; it erases the labor, energy, and environmental costs embedded in its original creation. And then a new device replaces it.
 
-Recycling facilities, manufactures and product design universtiries often tend to focus on *recycling*, when talking about reducing e-waste. But among the levels of circularity _reduce, reuse, repair, recycle, refuse_, recycling is the least effective. More than half of material is lost when going through the recycling process, and often involves shipping waste to countries with cheaper labor costs and fewer environmental regulations, resulting in toxic conditions for both workers and the environment [@ifixitRecyclingDestruction]  [@gabrysDigitalRubbishNatural2011]  [@rouraCircularDigitalDevices2021]. Shredding a device doesn’t just lose raw material; it erases the labor, energy, and environmental costs embedded in its original creation. And the a new device replaces it.
-
-Our practice—building instruments, experimenting with electronics—sits outside this loop. It’s not just post-consumption; it’s _pre-production_. We're back at the beginning, making something new from what already exists. That’s why how we present our instruments matters. Not as market-ready eco-products with cheerful music, but as a refusal to
-
-Richards argues that *Object Hood* is the central theme of DIY/repurposing. Through hacking and bending you can amplify certain propoperties of the object. [@richardsDIYMakerCommunities2017]. Through the use of piezo discs, where you can amplify the material, or utalising the electromagnetic field, found in dc motors.<ins>beetje random hier</ins>
-
-
-
-<ins>foto</ins>
+Instead of focusing on the visual esthetic that is visible on the outside of the original device, I think it's more interesting to focus on what made the object the object. According to Richards, this objecthood is the central theme of DIY/repurposing. Through hacking and bending we can amplify certain properties of the object [@richardsDIYMakerCommunities2017]. Turning a printer into a live coded instrument for instance, amplifying the scratches a piece of stuck paper can make.

src/content/components/pcb.md

@@ -4,11 +4,11 @@ type: PCB
 description: This is the description
 images:
   - src: /components/PCB_1.webp
-    alt: 'Need to include more different PCBs'
+    alt: 'PCB with labeled parts'
   - src: /components/PCB_2.webp
     alt: 'Thicker and handdrawn traces'
   - src: /components/pcb_3.webp
-    alt: 'Need to include more different PCBs'
+    alt: 'Smaller components are difficult to desolder'
   - src: /components/ASN_with_blob.webp
     alt: 'The blob cannot be removed'
 
@@ -19,18 +19,17 @@ alsoKnownAs: "Protoboard, breadboard, circuit"
 
 Printed Circuit Boards, or PCBs, are the panels on which the electronic circuit is placed. Older boards often reveal hand-drawn traces, which are much more fluid in design. With computerized PCB design, those lines straightened out. Most PCBs are made from FR4 (glass fiber and epoxy)[^fiberglass].
 
-[^fiberglass]: Fiberglass is very strong, but can be sawn through. When sawing, make sure you wear the right protection, microfibers can end up anywhere.
+[^fiberglass]: Fiberglass is very strong, but can be sawn through. When cutting, make sure you wear the right protection, microfibers can end up anywhere.
 
 The copper tracks on a PCB are usually covered with a green protective layer, known as solder mask. Sand this off to expose the copper underneath, ready to solder onto again.
 
-Most boards are labeled. They can include a date, information about connections, component numbering[^component-numbering], and sometimes even their their values [^monotron].
+Most boards are labeled. They can include a date, information about connections, component numbering[^component-numbering], and sometimes even their values [^monotron].
 
-Not all PCBs follow the industrial template. Artists and other tinkerers have come up with alternatives: the paper circuits of Ciat-Lonbarde, or Dirty Electronics’ boards made from wood and nails. These kinds of formats offer a more punk-diy way of publishing projects, where the format is not set in stone. Paper can be cut, nails can be moved, inviting a maker to explore the circuit more than just soldering a pre-compiled kit.[@blasserStoresMall2015][@richardsDIYElectronicMusic2013] For our circuits, these approaches are ideal—still flexible, still open to change.
+Not all PCBs follow the industrial template. Artists and other tinkerers have come up with alternatives: the paper circuits of Ciat-Lonbarde, or Dirty Electronics’ boards made from wood and nails. These kinds of formats offer a more punk-diy way of publishing projects, where the format is not set in stone. Paper can be cut, nails can be moved, inviting a maker to explore the circuit more than just soldering a pre-compiled kit [@blasserStoresMall2015] [@richardsDIYElectronicMusic2013].
 
 [^component-numbering]: The schematic contains references to the component number, helping with debugging.
 
 [^monotron]: Some devices take this idea further. The Korg Monotron includes extra patch points directly on the board for DIY mods and expansions.
 
-<ins>nog over die laag eroverheen</ins>
-
-Did you spot "the Blob" on one of your PCB's? The blob (fig 16) is meant to protect certain bare parts of a PCB, but is also known as a type of reverse engineering protection.
+### Protective
+Did you spot "the Blob" on one of your PCB's? The blob (fig 17) is meant to protect certain bare parts of a PCB, but is also known as a type of reverse engineering protection. Another method of protection is applying a transparent layer across the entire board, preventing you from poking around with a multimeter.

src/content/components/transistor.md

@@ -3,7 +3,7 @@ title: Transistors
 type: transistor
 description: This is the description
 images:
-  - src: ./components/TransistorsED.webp
+  - src: ./components/transistor.webp
     alt: ‘note to self, not sure all of these are transistors’
 usage: "A transistor is a switch that is controlled through voltage"
 whereToFind: Everywhere!
@@ -15,6 +15,8 @@ A transistor is a tiny switch that controls a large current with a smaller one.
 
 [^bend-transistor]: In sound circuits, touching a transistor heats it up, which can alter the sound.
 
-The transistor is often seen as an accelleration point in computing history. It replaced big and expensive vacuum tubes, paving the way for portable radios, cheap toys, and eventually the silicon chip. Theories like Moore's law[^moore] creates an expectation of constant upgrading, where your computer will be obsolete in two years time, and the illusion of infinite growth.
+The transistor is often seen as a turning point in computing history. It replaced big and expensive vacuum tubes, paving the way for portable radios, cheap toys, and eventually silicon chips. Theories like Moore's law[^moore] create an expectation of constant upgrading, where your computer will be obsolete in two years' time, and the illusion of infinite growth.
 
-This miniturization of components did not result in a more efficicient use of technology. On the contrary, Jevons’ Paradox shows that increased efficiency in the production process would lead to even more resource consumption. [@remyLimitsSustainableInteraction2015] [@gabrysDigitalRubbishNatural2011] [@parksFallingApartElectronics2007]
+[^moore]: Moore's Law is the prediction that the number of transistors in an IC doubles every year. This plays into the idea that you must upgrade your hardware every two years or you'll be behind and creates the illusion that innovation and development is endless.
+
+This miniaturization of components did not result in more efficient technology use. On the contrary, Jevons’ Paradox shows that increased efficiency in the production process would lead to even more resource consumption [@remyLimitsSustainableInteraction2015] [@gabrysDigitalRubbishNatural2011] [@parksFallingApartElectronics2007].

src/content/devices/mp3-fm-radio.md

@@ -12,11 +12,9 @@ The MP3/FM Radio player was found in the trash bin at the Interaction Station. T
 
 [^handmade-electronics]: Radio's contain loads of audio related circuitry, such as oscillators, ring modulators, filters,  that are great to mess around with, and contain the parts we'd love to salvage (Collins, 2009)
 
-During the dismantling process, I've discovered loads of design features discouraging repair. The pockets for the screws are so deep it’s nearly impossible to get a screwdriver in, and there are at least 4 messages mentioning shock hazards. 
+During the dismantling process, I've discovered loads of design features discouraging repair. The pockets for the screws are so deep it’s nearly impossible to get a screwdriver in, and there are at least 4 messages mentioning shock hazards.
 Surprisingly, it turned out to be pretty simple to open, as there were only 8 screws.
 
 The PCB has SMD components. Taking these off went much faster than expected, but I'm afraid I've melted a bunch in the process. (And lost a few in transportation).
 
 On the back side of the PCB, there are some regular-sized components. I wonder why this was done this way.
-
-<ins>Radios are known for their bendability (Homemade electronics book)</ins>

src/content/index.md

@@ -10,5 +10,3 @@ description: This is the description of the about us page
 Dear reader,
 
 This web page includes the WIP version of my thesis. For (limited) information about Klankschool's repair café, go to [https://unrepair.klank.school](https://unrepair.klank.school). The text you'll find below is a draft of the thesis. This thesis will be a field guide to salvaging electronics to make sound devices. This field guide is compact and is meant to be taken *"into the wild."* You can download the guide as a PDF via [this link](https://unrepair.vitrinekast.xyz/assets/thesis.pdf), or CTRL + P your own.
-
-I'm leaving notes of things I'd like to include later. These notes can be recognized by their <ins>tags</ins>.

src/content/recipes/PCB-keyboard/index.md

@@ -10,16 +10,15 @@ BOM:
     label: "A completely clean PCB"
   - type: Resistor
     label: "Multiple resistors between 1K and 100K"
-pcb: "./recipes/PCB-keyboard/sketch.png"
+pcb: "./recipes/PCB-keyboard/sketchpic.webp"
 ---
 
-This recipe uses the SingleTransistorOsc created in a previous recipe. The keyboard will replace the resistor of the SingleTransistorOsc that is in charge of the pitch. That pitch resistor will now be on the keyboard.
+This recipe uses the Single Transistor Oscillator created in a previous recipe. The keyboard will replace the resistor of the oscillator that is in charge of the pitch. That pitch resistor will now exist on the keyboard.
 
-<img src="./recipes/PCB-keyboard/keyboard.webp" height="150px" />
+From a PCB that you have salvaged, remove _all_ of the components and, with a piece of sandpaper, scratch off the green mask of the PCB, making the copper visible. Now, the traces of the PCB can be reused as wires. We will place multiple resistors on the PCB, to create the following circuit:
 
-From a PCB that you have salvaged, remove _all_ of the components and, with a piece of sandpaper, scratch off the green mask of the PCB, making the copper visible. This causes the traces on the PCB to become conductive.
-Find or make a bunch of tracks or traces that are not connected to each other (using the multimeter). These will act as your wires! To one trace, solder the audio in from the SingleTransistorOsc. Find a trace nearby, close enough that if you can touch the two traces with your thumb, and solder a resistor on that trace. The other end of the resistor should go back to your SingleTransistorOsc.
+![Since this power supply will be used a lot, I made it a bit more permanent by glueing it to a piece of wood.](./recipes/PCB-keyboard/schematic.webp)
 
-Now, when you touch both traces with your finger, a bridge is created, closing the circuit, and causing the audio signal to go through your resistor back into the original circuit. If you do this multiple times with various resistor values, you've create a playable keyboard!
+Find or make a couple of tracks or traces that are not connected to each other (using the multimeter). These will act as your wires! To one trace, solder the audio in from the oscillator. Find a trace nearby, close enough that if you can touch the two traces with your thumb and solder a resistor on that trace. The other end of the resistor should go back to your oscillator.
 
-<ins>illustartie vervangen met een getekende kicad ding</ins>
+Now, when you touch both traces with your finger, a bridge is created, closing the circuit, and causing the audio signal to go through your resistor back into the original circuit. If you do this multiple times with various resistor values, you've created a playable keyboard!

src/content/recipes/SingleTransistorOsc/index.md

@@ -45,17 +45,15 @@ This *super simple oscillator circuit*[^easy] makes use of something called a "r
 
 [^reddit]: This is why Reddit has advised against building this oscillator. But this is the only sound generating schematic that has worked so far and doesn't use chips.
 
-<ins>reddit er evt. uithalen</ins>
-
 ### Powering
 Select the amount of voltage you need based on the transistor[^datasheet] you have. Mine needed 18V, so using alligator clips, I've connected our previously built power supply.
 
 [^datasheet]: Find a datasheet online to discover your transistors' voltage limits before plugging in the circuit
 
 ### Testing & Troubleshooting
-After double-checking all your connections, hook the audio out to an amplified speaker (like a small JBL). No sound? Here are things to try:
-<ins>dit moet een list zijn</ins>
-- Triple check your connections and the orientation of the capacitor.
+After double-checking all your connections, hook the audio out to an amplified speaker. No sound? Try:
+
+- Check your connections and  orientation of the capacitor.
 - Play around with the potentiometer[^potmeter].
 - using a multimeter, follow the entire audio trace from the transistor up until your audio cable.
 - Try a different transistor
@@ -66,5 +64,3 @@ After double-checking all your connections, hook the audio out to an amplified s
 If you, like me, have struggled a lot to get any sound whatsoever, I can hopefully tell you that **this is where things will get fun(ky)**. Getting a single sound out of anything is such a eureka moment [^clicks]. Because from here, you'll be able to play around with the circuit and use our own imagination. For instance, using a different sized resistor to change the pitch. Or, using a Light Dependant Resistor to control the pitch based on the sound. Or adding a on/off button. Or, building your own keyboard using multiple resistors...
 
 [^clicks]: Making and playing this circuit helped me a lot with understanding how electricity flows and how you can manipulate the flow.
-
-<ins>Talk about which components are replacable, how to circuit bend your own circuits</ins>

src/content/recipes/power-supply/index.md

@@ -31,7 +31,7 @@ You could skip the capacitors and resistors and just connect the batteries toget
 
 [^18V]: You can also get 18V: treat the -9V pin as 0V, making the 9V pin 18V
 
-![Since this power supply will be used a lot, I made it a bit more permanent by glueing it to a piece of wood.](./recipes/power-supply/photo.jpeg){ max-height=130px }
+![Since this power supply will be used a lot, I made it a bit more permanent by glueing it to a piece of wood.](./recipes/power-supply/powersupply.webp)
 
 
 [^smooth]: ![The capacitor can filter electrical spikes for a more smooth voltage input](./recipes/power-supply/filtering.png){ height=30px }

src/templates/base.jinja

@@ -27,143 +27,145 @@
 	<meta name="robots" content="noarchive, noimageindex">
 
 
-<script src="/assets/paged.polyfill.js"></script>
-<script>
-	class MyHandler extends Paged.Handler {
-		constructor(chunker, polisher, caller) {
-			super(chunker, polisher, caller);
-		}
-		afterRendered(pages) {
-			let storedTHead = []
-			pages.forEach((p) => {
-				p.element.querySelectorAll("table:has(thead)").forEach((th) => {
-                    storedTHead.push(th);
-                });
+	<script src="/assets/paged.polyfill.js"></script>
+	<script>
+		class MyHandler extends Paged.Handler {
+			constructor(chunker, polisher, caller) {
+				super(chunker, polisher, caller);
+			}
+			afterRendered(pages) {
+				let storedTHead = []
+				pages.forEach((p) => {
+					p.element.querySelectorAll("table:has(thead)").forEach((th) => {
+						storedTHead.push(th);
+					});
 
-                p.element.querySelectorAll("table:not(:has(thead))").forEach((table) => {
-                    let splitFrom = table.getAttribute("data-split-from");
-                    let matchedHead = storedTHead.filter((th) => {
+					p.element.querySelectorAll("table:not(:has(thead))").forEach((table) => {
+						let splitFrom = table.getAttribute("data-split-from");
+						let matchedHead = storedTHead.filter((th) => {
 
-                        return th.getAttribute("data-split-to") === splitFrom;
-                    })[0]
+							return th.getAttribute("data-split-to") === splitFrom;
+						})[0]
 
-                    if(matchedHead) {
-                        let head = matchedHead.querySelector("thead").cloneNode(true);
-
-                        if(head) {
-                        table.appendChild(head);
-                        }
-                    }
-                })
-
-				p.element.querySelectorAll(".sample").forEach((el) => {
-					el.addEventListener("click", function (e) {
-						const audioEl = e.currentTarget.querySelector("audio");
-						if(audioEl.paused) {
-							document.querySelectorAll(".sample").forEach((s) => {
-								s.removeAttribute("active");
-								s.querySelector("audio").pause();
-							})
-							e.currentTarget.setAttribute("active", true)
-							audioEl.play();
-						} else {
-							audioEl.pause();
-							e.currentTarget.removeAttribute("active")
+						if (matchedHead) {
+							let head = matchedHead.querySelector("thead").cloneNode(true);
 
+							if (head) {
+								table.appendChild(head);
+							}
 						}
 					})
+
+					p.element.querySelectorAll(".sample").forEach((el) => {
+						el.addEventListener("click", function(e) {
+							const audioEl = e.currentTarget.querySelector("audio");
+							if (audioEl.paused) {
+								document.querySelectorAll(".sample").forEach((s) => {
+									s.removeAttribute("active");
+									s.querySelector("audio").pause();
+								})
+								e.currentTarget.setAttribute("active", true)
+								audioEl.play();
+							} else {
+								audioEl.pause();
+								e.currentTarget.removeAttribute("active")
+
+							}
+						})
+					})
 				})
-			})
 
-		}
-		afterPreview() {
-			const scrollY = localStorage.getItem('scrollY');
-			if (scrollY !== null) window.scrollTo(0, parseInt(scrollY));
-		}
-		beforeParsed(content) {
+			}
+			afterPreview() {
+				const scrollY = localStorage.getItem('scrollY');
+				if (scrollY !== null) window.scrollTo(0, parseInt(scrollY));
+			}
+			beforeParsed(content) {
 
-			let count = 0;
-			content.querySelectorAll(`a[role="doc-noteref"]`).forEach((ref) =>{
-				count += 1;
-				const href = ref.getAttribute("href");
-				let note = content.querySelector(".footnotes " + href);
-				if(note) {
-					ref.querySelector("sup").textContent = count;
-					note.setAttribute("count", ref.querySelector("sup").textContent);
-					ref.appendChild(note);
+				let count = 0;
+				content.querySelectorAll(`a[role="doc-noteref"]`).forEach((ref) => {
+					count += 1;
+					const href = ref.getAttribute("href");
+					let note = content.querySelector(".footnotes " + href);
+					if (note) {
+						ref.querySelector("sup").textContent = count;
+						note.setAttribute("count", ref.querySelector("sup").textContent);
+						ref.appendChild(note);
+					}
+				})
+
+				let filter = [];
+				let bib = content.querySelector('[template-type="bib"]');
+				if (bib) {
+					content.querySelectorAll(".csl-entry").forEach((e) => {
+						console.log(e)
+						if (filter.indexOf(e.id) == -1) {
+							filter.push(e.id);
+							bib.appendChild(e);
+						} else {
+							e.parentNode.removeChild(e);
+						}
+					})
 				}
-			})
-
-			let filter = [];
-			let bib = content.querySelector('[template-type="bib"]');
-			if(bib) {
-				content.querySelectorAll(".csl-entry").forEach((e) => {
-					console.log(e)
-				    if (filter.indexOf(e.id) == -1) {
-				        filter.push(e.id);
-				        bib.appendChild(e);
-				    } else {
-				        e.parentNode.removeChild(e);
-				    }
-				})}
+				content.querySelectorAll("#footnotes, #refs").forEach((f) => {
+					f.parentNode.removeChild(f);
+				})
+			}
 		}
-	}
-	Paged.registerHandlers(MyHandler);
+		Paged.registerHandlers(MyHandler);
 
-	// Save scroll position before unloading the page
-window.addEventListener('beforeunload', () => {
-  localStorage.setItem('scrollY', window.scrollY);
-});
+		// Save scroll position before unloading the page
+		window.addEventListener('beforeunload', () => {
+			localStorage.setItem('scrollY', window.scrollY);
+		});
 
-// Restore scroll position on load
-window.addEventListener('load', () => {
+		// Restore scroll position on load
+		window.addEventListener('load', () => {
 
-});
-
-</script>
-{% block title %}
+		});
+	</script>
+	{% block title %}
 	{%- if page['title'] -%}
-		<title>{{ page['title'] }} {%- if documents['meta'] -%}{{documents['meta']['version']}} - {{documents['meta']['now']}}{%- endif -%}</title>
+	<title>{{ page['title'] }} {%- if documents['meta'] -%}{{documents['meta']['version']}} - {{documents['meta']['now']}}{%- endif -%}</title>
 	{%- else -%}
-		<title>I dont have a title</title>
+	<title>I dont have a title</title>
 	{%- endif -%}
-{% endblock %}
+	{% endblock %}
 </head>
 
 <body>
 	<main>
 		<section>
 			{%- block content %}{% endblock -%}
-			</section>
-			{% block aside %}
-				<aside>
-					{% macro render_list(name, title) -%}
-						{% if documents[name]|length > 0 %}
-							<h3>{{ title}}</h3>
-							<ul>
-								{% for item in documents[name] %}
-									<li>
-										<a href="/{{ name }}/{{ item['slug'] }}.html">{{ item['title'] }}</a>
-									</li>
-								{% endfor %}
-							</ul>
-						{% endif %}
-					{%- endmacro %}
-					<p>{{ render_list('repair-logs', 'Repair Logs') }}</p>
-					<p>{{ render_list('events', 'Events') }}</p>
-					{% block footer %}
-						<p>Find the code on Klankservers <a target="_blank"
-							href="https://code.klank.school/vitrinekast/klank-docs">Git!</a>.</p>
-						{% endblock %}
-					</aside>
-				{% endblock %}
-			</main>
-			<dialog>
-				<img >
-				<p></p>
-			</dialog>
-		<script type="text/javascript" src="/assets/app.js"></script>
-	</body>
+		</section>
+		{% block aside %}
+		<aside>
+			{% macro render_list(name, title) -%}
+			{% if documents[name]|length > 0 %}
+			<h3>{{ title}}</h3>
+			<ul>
+				{% for item in documents[name] %}
+				<li>
+					<a href="/{{ name }}/{{ item['slug'] }}.html">{{ item['title'] }}</a>
+				</li>
+				{% endfor %}
+			</ul>
+			{% endif %}
+			{%- endmacro %}
+			<p>{{ render_list('repair-logs', 'Repair Logs') }}</p>
+			<p>{{ render_list('events', 'Events') }}</p>
+			{% block footer %}
+			<p>Find the code on Klankservers <a target="_blank" href="https://code.klank.school/vitrinekast/klank-docs">Git!</a>.</p>
+			{% endblock %}
+		</aside>
+		{% endblock %}
+	</main>
+	<dialog>
+		<img>
+		<p></p>
+	</dialog>
+	<script type="text/javascript" src="/assets/app.js"></script>
+</body>
 
 
-		</html>
+</html>

src/templates/snippets/BOM.jinja

@@ -11,7 +11,7 @@
                             {% else %}
                              {{ thing['count'] }}
                              {{ thing['value'] }}
-                             <a href="/components/{{ thing['type'] |slugify }}.html">{{thing['type']}}</a>
+                             {{ thing['type'] }}
                          {% endif %}
 
                          {% if thing['alternative'] %}
@@ -40,4 +40,4 @@
     </aside>
 {% endif %}
 
-{%- endmacro -%} 
+{%- endmacro -%}

src/templates/snippets/page-detail.jinja

@@ -10,7 +10,7 @@
         <figure class="" index="{{loop.index0}}">
             <img src="{{ image['src'] }}" alt="{{image['alt']}}" />
             {% if image['alt'] %}
-              <figcaption>{{image['alt']}}</figcaption>  
+              <figcaption>{{image['alt']}}</figcaption>
             {% endif %}
 
         </figure>
@@ -18,7 +18,7 @@
 
 </header>
 {%endif%}
-<article>
+<article class="{% if content['shortDescription'] %}fix-break-left{% else %}fix-break{% endif %} ">
 
     <section class="meta">
         {% if isNested %}
@@ -30,10 +30,6 @@
 
     <header>
 
-        {% if content['folder'] is defined %}
-        <h3>{{content['folder']}}</h3>
-        {% endif %}
-
         <h1>{{content['title']}}</h1>
 
         {% if content['alsoKnownAs'] %}

src/templates/thesis.jinja

@@ -17,7 +17,7 @@
   <header>
     <h2>A field guide to</h2>
     <h1>Salvaging Sound Devices</h1>
-    <h3>Version {{documents['meta']['version']}} | generated on {{documents["meta"]["now"]}} </h3>
+    <h3>{{documents["meta"]["now"]}} </h3>
     <h5>Rosa Schuurmans</h5>