diff --git a/app.py b/app.py
index b9ce01e..6bb6704 100644
--- a/app.py
+++ b/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)
diff --git a/library.bib b/library.bib
index 3308ff5..e983679 100644
--- a/library.bib
+++ b/library.bib
@@ -1,7 +1,7 @@
-@misc{99PanelDesign,
+@online{99PanelDesign,
   title = {(99+) {{Panel}}: {{Design}} for {{Hackability}}},
+  url = {https://www.academia.edu/110475342/Panel_Design_for_Hackability},
   urldate = {2025-03-14},
-  howpublished = {https://www.academia.edu/110475342/Panel\_Design\_for\_Hackability},
   file = {/Users/Rosa/Zotero/storage/33PDJSPD/Panel_Design_for_Hackability.html}
 }
 
@@ -9,49 +9,49 @@
   title = {Electronic {{Waste}}, an {{Environmental Problem Exported}} to {{Developing Countries}}: {{The GOOD}}, the {{BAD}} and the {{UGLY}}},
   shorttitle = {Electronic {{Waste}}, an {{Environmental Problem Exported}} to {{Developing Countries}}},
   author = {Abalansa, Samuel and El Mahrad, Badr and Icely, John and Newton, Alice},
-  year = {2021},
-  month = may,
-  journal = {Sustainability},
+  date = {2021-05-10},
+  journaltitle = {Sustainability},
+  shortjournal = {Sustainability},
   volume = {13},
   number = {9},
   pages = {5302},
   issn = {2071-1050},
   doi = {10.3390/su13095302},
+  url = {https://www.mdpi.com/2071-1050/13/9/5302},
   urldate = {2025-01-05},
   abstract = {Electronic waste (e-waste) is a rapidly developing environmental problem particularly for the most developed countries. There are technological solutions for processing it, but these are costly, and the cheaper option for most developed countries has been to export most of the waste to less developed countries. There are various laws and policies for regulating the processing of e-waste at different governance scales such as the international Basel Convention, the regional Bamoko Convention, and various national laws. However, many of the regulations are not fully implemented and there is substantial financial pressure to maintain the jobs created for processing e-waste. Mexico, Brazil, Ghana Nigeria, India, and China have been selected for a more detailed study of the transboundary movements of e-waste. This includes a systematic review of existing literature, the application of the Driver, Pressure, State, Impact, Response (DPSIR) framework for analysing complex problems associated with social ecological systems, and the application of the Life Cycle Assessment (LCA) for evaluating the environmental impact of electronic devices from their manufacture through to their final disposal. Japan, Italy, Switzerland, and Norway have been selected for the LCA to show how e-waste is diverted to developing countries, as there is not sufficient data available for the assessment from the selected developing countries. GOOD, BAD and UGLY outcomes have been identified from this study: the GOOD is the creation of jobs and the use of e-waste as a source of raw materials; the BAD is the exacerbation of the already poor environmental conditions in developing countries; the UGLY is the negative impact on the health of workers processing e-waste due to a wide range of toxic components in this waste. There are a number of management options that are available to reduce the impact of the BAD and the UGLY, such as adopting the concept of a circular economy, urban mining, reducing loopholes and improving existing policies and regulations, as well as reducing the disparity in income between the top and bottom of the management hierarchy for e-waste disposal. The overarching message is a request for developed countries to help developing countries in the fight against e-waste, rather than exporting their environmental problems to these poorer regions.},
-  copyright = {https://creativecommons.org/licenses/by/4.0/},
   langid = {english}
 }
 
 @book{aclandResidualMedia2007,
   title = {Residual Media},
   author = {Acland, Charles R.},
-  year = {2007},
+  date = {2007},
   publisher = {University of Minnesota Press},
-  address = {Minneapolis, Minn},
+  location = {Minneapolis, Minn},
   isbn = {978-0-8166-4472-8 978-0-8166-4471-1},
   langid = {english},
-  lccn = {303.483 3},
   keywords = {check note},
   file = {/Users/Rosa/Zotero/storage/LTRYTQS2/charles-r-acland-residual-media_pdf -- Xerox WorkCentre 5655 -- fd5e0a915ed3fdf92f48da0ca8009c71 -- Anna’s Archive-1.pdf}
 }
 
-@misc{aragonWarrantyVoidStickers2023,
+@online{aragonWarrantyVoidStickers2023,
   title = {Warranty {{Void Stickers}}: {{Are}} They Legal Outside the {{US}}?},
   shorttitle = {Warranty {{Void Stickers}}},
   author = {Aragon, Noah},
-  year = {2023},
-  month = apr,
-  journal = {iFixit},
+  date = {2023-04-28},
+  url = {https://www.ifixit.com/News/74736/warranty-void-stickers-are-illegal-in-the-us-what-about-elsewhere},
   urldate = {2025-04-20},
-  abstract = {Most of the time, you shouldn't be scared of self\&\#x2d;repair, no matter what a sticker says.},
-  langid = {english}
+  abstract = {Most of the time, you shouldn’t be scared of self\&\#x2d;repair, no matter what a sticker says.},
+  langid = {english},
+  organization = {iFixit}
 }
 
-@techreport{baldeGlobalEWasteMonitor2024,
+@report{baldeGlobalEWasteMonitor2024,
   title = {The {{Global E-Waste Monitor}} 2024},
-  author = {Bald{\'e}, Cornelis P. and Kuehr, Ruediger and Yamamoto, Tales and McDonald, Rosie and D'Angelo, Elena and Althaf, Shahana and Bel, Garam and {Fernandez-Cubillo}, Elena and Forti, Vanessa and Gray, Vanessa and Herat, Sunil and Honda, Shunichi and Iattoni, Giulia and Khetriwal, Deepali S. and di Cortemiglia, Vittoria Luda and Lobuntsova, Yuliya and Nnorom, Innocent and Wagner (2024), Michelle and Bald{\'e}, Cornelis P. and {International Telecommunication Union (ITU)} and {United Nations Institute for Training and Research (UNITAR)}},
-  year = {2024},
+  author = {Baldé, Cornelis P. and Kuehr, Ruediger and Yamamoto, Tales and McDonald, Rosie and D’Angelo, Elena and Althaf, Shahana and Bel, Garam and Fernandez-Cubillo, Elena and Forti, Vanessa and Gray, Vanessa and Herat, Sunil and Honda, Shunichi and Iattoni, Giulia and Khetriwal, Deepali S. and family=Cortemiglia, given=Vittoria Luda, prefix=di, useprefix=false and Lobuntsova, Yuliya and Nnorom, Innocent and Wagner (2024), Michelle and Baldé, Cornelis P. and {International Telecommunication Union (ITU)} and {United Nations Institute for Training and Research (UNITAR)}},
+  date = {2024},
+  url = {https://ewastemonitor.info/wp-content/uploads/2024/03/GEM_2024_18-03_web_page_per_page_web.pdf},
   langid = {english},
   annotation = {titleTranslation: THE GLOBAL E-WASTE MONITOR 2024},
   file = {/Users/Rosa/Zotero/storage/WGS4GDYK/GEM_2024_EN_11_NOV-web.pdf}
@@ -60,14 +60,14 @@
 @article{batesSocialLifeMusical2012,
   title = {The {{Social Life}} of {{Musical Instruments}}},
   author = {Bates, Eliot},
-  year = {2012},
-  month = sep,
-  journal = {Ethnomusicology},
+  date = {2012-09-01},
+  journaltitle = {Ethnomusicology},
   volume = {56},
   number = {3},
   pages = {363--395},
   issn = {0014-1836, 2156-7417},
   doi = {10.5406/ethnomusicology.56.3.0363},
+  url = {https://scholarlypublishingcollective.org/etm/article/56/3/363/236013/The-Social-Life-of-Musical-Instruments},
   urldate = {2025-03-11},
   langid = {english},
   keywords = {new},
@@ -78,13 +78,14 @@
   title = {Pretty {{Paper Rolls}}: {{Experiments}} in {{Woven Circuits}}},
   shorttitle = {Pretty {{Paper Rolls}}},
   author = {Blasser, Peter},
-  year = {2007},
-  month = dec,
-  journal = {Leonardo Music Journal},
+  date = {2007-12},
+  journaltitle = {Leonardo Music Journal},
+  shortjournal = {Leonardo Music Journal},
   volume = {17},
   pages = {25--27},
   issn = {0961-1215, 1531-4812},
   doi = {10.1162/lmj.2007.17.25},
+  url = {https://direct.mit.edu/lmj/article/63558},
   urldate = {2025-01-09},
   abstract = {The author presents a history of his efforts to design sustainable and economical circuit construction on paper, which he finds more akin to craft than industry. He focuses on a collection of modules called Rollz-5, which creates organic rhythms out of geometrical forms. A future application of this work will be to create radio devices based on the Platonic solids.},
   langid = {english},
@@ -92,15 +93,16 @@
   file = {/Users/Rosa/Zotero/storage/URY2LY2U/Blasser - 2007 - Pretty Paper Rolls Experiments in Woven Circuits.pdf}
 }
 
-@phdthesis{blasserStoresMall2015,
+@thesis{blasserStoresMall2015,
   title = {Stores at the {{Mall}}},
   author = {Blasser, Peter},
-  year = {2015},
-  address = {Middletown, CT},
+  date = {2015},
+  institution = {Wesleyan University},
+  location = {Middletown, CT},
   doi = {10.14418/wes01.2.84},
+  url = {https://digitalcollections.wesleyan.edu/object/ir-2556},
   urldate = {2025-01-31},
   langid = {english},
-  school = {Wesleyan University},
   file = {/Users/Rosa/Zotero/storage/SQ7WZL4S/Blasser - 2015 - Stores at the Mall.pdf}
 }
 
@@ -108,13 +110,14 @@
   title = {Luxury \& New Luxury, Quality \& Equality},
   booktitle = {Proceedings of the 2007 Conference on {{Designing}} Pleasurable Products and Interfaces},
   author = {Blevis, Eli and Makice, Kevin and Odom, William and Roedl, David and Beck, Christian and Blevis, Shunying and Ashok, Arvind},
-  year = {2007},
-  month = aug,
+  date = {2007-08-22},
   pages = {296--311},
   publisher = {ACM},
-  address = {Helsinki Finland},
+  location = {Helsinki Finland},
   doi = {10.1145/1314161.1314188},
+  url = {https://dl.acm.org/doi/10.1145/1314161.1314188},
   urldate = {2025-01-05},
+  eventtitle = {{{DPPI07}}: {{Designing Pleasurable Products}} and {{Interfaces}} 2007},
   isbn = {978-1-59593-942-5},
   langid = {english}
 }
@@ -122,19 +125,19 @@
 @article{bowersAllNoisesHijacking,
   title = {All the {{Noises}}: {{Hijacking Listening Machines}} for {{Performative Research}}},
   author = {Bowers, John and Green, Owen},
-  abstract = {Research into machine listening has intensified in recent years creating a variety of techniques for recognising musical features suitable, for example, in musicological analysis or commercial application in song recognition. Within NIME, several projects exist seeking to make these techniques useful in real-time music making. However, we debate whether the functionally-oriented approaches inherited from engineering domains that much machine listening research manifests is fully suited to the exploratory, divergent, boundary-stretching, uncertainty-seeking, playful and irreverent orientations of many artists. To explore this, we engaged in a concerted collaborative design exercise in which many different listening algorithms were implemented and presented with input which challenged their customary range of application and the implicit norms of musicality which research can take for granted. An immersive 3D spatialised multichannel environment was created in which the algorithms could be explored in a hybrid installation/performance/lecture form of research presentation. The paper closes with reflections on the creative value of `hijacking' formal approaches into deviant contexts, the typically undocumented practical know-how required to make algorithms work, the productivity of a playfully irreverent relationship between engineering and artistic approaches to NIME, and a sketch of a sonocybernetic aesthetics for our work.},
+  abstract = {Research into machine listening has intensified in recent years creating a variety of techniques for recognising musical features suitable, for example, in musicological analysis or commercial application in song recognition. Within NIME, several projects exist seeking to make these techniques useful in real-time music making. However, we debate whether the functionally-oriented approaches inherited from engineering domains that much machine listening research manifests is fully suited to the exploratory, divergent, boundary-stretching, uncertainty-seeking, playful and irreverent orientations of many artists. To explore this, we engaged in a concerted collaborative design exercise in which many different listening algorithms were implemented and presented with input which challenged their customary range of application and the implicit norms of musicality which research can take for granted. An immersive 3D spatialised multichannel environment was created in which the algorithms could be explored in a hybrid installation/performance/lecture form of research presentation. The paper closes with reflections on the creative value of ‘hijacking’ formal approaches into deviant contexts, the typically undocumented practical know-how required to make algorithms work, the productivity of a playfully irreverent relationship between engineering and artistic approaches to NIME, and a sketch of a sonocybernetic aesthetics for our work.},
   langid = {english}
 }
 
-@misc{bowersNotHyperNot2005,
+@unpublished{bowersNotHyperNot2005,
   title = {Not {{Hyper}}, {{Not Meta}}, {{Not Cyber}} but {{Infra-Instruments}}},
   author = {Bowers, John and Archer, Phil},
-  year = {2005},
-  month = jun,
-  journal = {Proceedings of the International Conference on New Interfaces for Musical Expression},
+  date = {2005-06-01},
+  journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
   pages = {5--10},
   publisher = {Zenodo},
   doi = {10.5281/zenodo.1176713},
+  url = {https://zenodo.org/records/1176713},
   urldate = {2025-01-05},
   abstract = {Description},
   langid = {american},
@@ -150,65 +153,61 @@
   file = {/Users/Rosa/Zotero/storage/RHWZJBUD/Bowers et al. - Raw Data, Rough Mix Towards an Integrated Practice of Making, Performance and Pedagogy.pdf}
 }
 
-@misc{byWhyResistorsHave2020,
+@online{byWhyResistorsHave2020,
   title = {Why {{Do Resistors Have A Color Code}}?},
   author = {By},
-  year = {2020},
-  month = jan,
-  journal = {Hackaday},
+  date = {2020-01-13T15:01:26+00:00},
+  url = {https://hackaday.com/2020/01/13/why-do-resistors-have-a-color-code/},
   urldate = {2025-01-28},
-  abstract = {One of the first things you learn in electronics is how to identify a resistor's value. Through-hole resistors have color codes, and that's generally where beginners begin. But why are {\dots}},
-  langid = {american}
+  abstract = {One of the first things you learn in electronics is how to identify a resistor’s value. Through-hole resistors have color codes, and that’s generally where beginners begin. But why are …},
+  langid = {american},
+  organization = {Hackaday}
 }
 
-@misc{calmaWomenWhoMade2025,
-  title = {The Women Who Made {{America}}'s Microchips and the Children Who Paid for It},
+@online{calmaWomenWhoMade2025,
+  title = {The Women Who Made {{America}}’s Microchips and the Children Who Paid for It},
   author = {Calma, Justine},
-  year = {2025},
-  month = feb,
-  journal = {The Verge},
+  date = {2025-02-19T14:00:00+00:00},
+  url = {https://www.theverge.com/features/611297/manufacturing-workers-semiconductor-computer-chip-birth-defect},
   urldate = {2025-02-20},
-  abstract = {The US wants to manufacture chips again --- but there's a dark, overlooked history.},
-  howpublished = {https://www.theverge.com/features/611297/manufacturing-workers-semiconductor-computer-chip-birth-defect},
+  abstract = {The US wants to manufacture chips again — but there’s a dark, overlooked history.},
   langid = {american},
+  organization = {The Verge},
   keywords = {chip}
 }
 
-@misc{chamberlainApple8217sRecyclingProgram2024,
+@online{chamberlainApple8217sRecyclingProgram2024,
   title = {Apple\&\#8217;s {{Recycling Program Forced Recyclers}} to {{Shred Over}} 530,000 {{Repairable iPhones}}},
   author = {Chamberlain, Elizabeth},
-  year = {2024},
-  month = apr,
-  journal = {iFixit},
+  date = {2024-04-19},
+  url = {https://www.ifixit.com/News/94386/the-truth-about-apples-free-iphone-recycling-program-the-earth-deserves-better},
   urldate = {2025-03-25},
-  abstract = {With Earth Day approaching, Apple is bragging about their ``free'' iPhone recycling program---meanwhile, reports say they\&\#8217;re forcing recyclers to shred hundreds of thousands of repairable products.},
-  howpublished = {https://www.ifixit.com/News/94386/the-truth-about-apples-free-iphone-recycling-program-the-earth-deserves-better},
+  abstract = {With Earth Day approaching, Apple is bragging about their “free” iPhone recycling program—meanwhile, reports say they\&\#8217;re forcing recyclers to shred hundreds of thousands of repairable products.},
   langid = {english},
+  organization = {iFixit},
   file = {/Users/Rosa/Zotero/storage/FL76BU2I/the-truth-about-apples-free-iphone-recycling-program-the-earth-deserves-better.html}
 }
 
-@misc{chamberlainHomeboyElectronicsTurns2021,
+@online{chamberlainHomeboyElectronicsTurns2021,
   title = {Homeboy {{Electronics Turns Junk}} into {{Jobs}}. {{Right}} to {{Repair Could Help}}.},
   author = {Chamberlain, Elizabeth},
-  year = {2021},
-  month = jul,
-  journal = {iFixit},
+  date = {2021-07-14},
+  url = {https://www.ifixit.com/News/51286/homeboy-electronics-turns-junk-into-jobs-right-to-repair-could-help},
   urldate = {2025-03-25},
   abstract = {Homeboy Electronics Recycling hires former prisoners to repair 15,000 devices a year, but they\&\#8217;re running into software locks and hurting for manuals.},
-  howpublished = {https://www.ifixit.com/News/51286/homeboy-electronics-turns-junk-into-jobs-right-to-repair-could-help},
-  langid = {english}
+  langid = {english},
+  organization = {iFixit}
 }
 
-@misc{chokkattuWhatYourDefunct2025,
+@online{chokkattuWhatYourDefunct2025,
   title = {What to {{Do With Your Defunct Humane Ai Pin}}},
   author = {Chokkattu, Julian},
-  year = {2025},
-  month = feb,
-  journal = {Wired},
+  date = {2025-02-28},
+  url = {https://www.wired.com/story/what-to-do-with-your-humane-ai-pin/},
   urldate = {2025-03-13},
-  abstract = {Humane Ai's Pins stopped working today, turning the year-old wearable into a paperweight. Here are some ideas for what to do with yours if you want to avoid e-waste.},
-  howpublished = {https://www.wired.com/story/what-to-do-with-your-humane-ai-pin/},
+  abstract = {Humane Ai’s Pins stopped working today, turning the year-old wearable into a paperweight. Here are some ideas for what to do with yours if you want to avoid e-waste.},
   langid = {american},
+  organization = {Wired},
   file = {/Users/Rosa/Zotero/storage/J4U6SVG3/what-to-do-with-your-humane-ai-pin.html}
 }
 
@@ -216,13 +215,13 @@
   title = {Handmade Electronic Music: The Art of Hardware Hacking},
   shorttitle = {Handmade Electronic Music},
   author = {Collins, Nicolas},
-  year = {2009},
+  date = {2009},
   edition = {Second edition},
   publisher = {Routledge},
-  address = {New York},
+  location = {New York},
   isbn = {978-0-415-99609-9 978-0-415-99873-4 978-0-203-87962-7},
   langid = {american},
-  lccn = {ML1092 .C66 2009},
+  pagetotal = {339},
   keywords = {toppertje},
   file = {/Users/Rosa/Zotero/storage/T5E3CZ4S/Collins - 2009 - Handmade electronic music the art of hardware hacking.pdf}
 }
@@ -230,54 +229,54 @@
 @article{collinsIntroductionComposersElectronics2004,
   title = {Introduction: {{Composers}} inside {{Electronics}}: {{Music}} after {{David Tudor}}},
   author = {Collins, Nicolas},
-  year = {2004},
-  journal = {Leonardo Music Journal},
+  date = {2004},
+  journaltitle = {Leonardo Music Journal},
   volume = {14},
   eprint = {1513497},
   eprinttype = {jstor},
   pages = {1--3},
   publisher = {The MIT Press},
   issn = {09611215, 15314812},
+  url = {http://www.jstor.org/stable/1513497},
   urldate = {2025-01-14},
   keywords = {summarised}
 }
 
-@misc{CompudanzasPermacomputing2025,
-  title = {{compudanzas --- permacomputing}},
-  year = {2025},
-  month = apr,
+@online{CompudanzasPermacomputing2025,
+  title = {compudanzas — permacomputing},
+  date = {2025-04-05},
+  url = {https://compudanzas.net/permacomputing.html},
   urldate = {2025-04-14},
   abstract = {permacomputing is a holistic approach to computing and sustainability inspired from permaculture.},
-  howpublished = {https://compudanzas.net/permacomputing.html},
   langid = {en,es-MX},
   file = {/Users/Rosa/Zotero/storage/EMI4X8QH/2025 - compudanzas — permacomputing.pdf;/Users/Rosa/Zotero/storage/2984G2IV/permacomputing.html}
 }
 
 @inproceedings{CooperativeExperimentalismSharing,
   title = {Cooperative {{Experimentalism}}: {{Sharing}} to Enhance Electronic Media},
-  booktitle = {Proceedings of the {{International Symposium}} on {{Electronic Art}} ({{ISEA2019}})},
   author = {Brown, Andrew and Ferguson, John and Bennett, Andy},
-  year = {2019},
-  month = jul,
+  date = {2019-07},
   pages = {480--483},
-  abstract = {This article explores the impacts of information sharing and experimentation on electronic media practitioners. It draws on characteristics of `open' or `DIY' cultures prevalent in the technological `maker' movement and suggests that we collectively describe such practices as cooperative experimentalism. In particular this article focuses on the discipline of music and describes how adopting an approach to making that privileges sharing of tools and knowledge might be a useful strategy in the development of handmade electronic music instruments and associated live performance practices. The implications of such trends in electronic media suggest that the notion of cooperative experimentalism may well apply more generally to creative electronic media practices in our (post) digital age.},
+  url = {http://hdl.handle.net/10072/409917},
+  abstract = {This article explores the impacts of information sharing and experimentation on electronic media practitioners. It draws on characteristics of ‘open’ or ‘DIY’ cultures prevalent in the technological ‘maker’ movement and suggests that we collectively describe such practices as cooperative experimentalism. In particular this article focuses on the discipline of music and describes how adopting an approach to making that privileges sharing of tools and knowledge might be a useful strategy in the development of handmade electronic music instruments and associated live performance practices. The implications of such trends in electronic media suggest that the notion of cooperative experimentalism may well apply more generally to creative electronic media practices in our (post) digital age.},
+  eventtitle = {Proceedings of the {{International Symposium}} on {{Electronic Art}} ({{ISEA2019}})},
   langid = {american},
   keywords = {to summarise},
-  annotation = {titleTranslation: Co{\"o}peratief experimentalisme: delen om elektronische media te verbeteren},
+  annotation = {titleTranslation: Coöperatief experimentalisme: delen om elektronische media te verbeteren},
   file = {/Users/Rosa/Zotero/storage/3U5LDBDP/content}
 }
 
-@misc{CriticalMakingUnmaking,
-  title = {From {{Critical Making}} via Unmaking towards (Un)Making -- Ontwerpkritiek.Nl},
+@online{CriticalMakingUnmaking,
+  title = {From {{Critical Making}} via Unmaking towards (Un)Making – Ontwerpkritiek.Nl},
+  url = {https://ontwerpkritiek.nl/from-critical-making-via-unmaking-towards-unmaking/},
   urldate = {2025-02-25},
-  howpublished = {https://ontwerpkritiek.nl/from-critical-making-via-unmaking-towards-unmaking/},
   langid = {american},
   file = {/Users/Rosa/Zotero/storage/FQGX3P2Z/from-critical-making-via-unmaking-towards-unmaking.html}
 }
 
-@techreport{CurrentStateRight2024,
+@report{CurrentStateRight2024,
   title = {The {{Current State}} of {{Right}} to {{Repair}} in the {{EU}}},
-  year = {2024},
+  date = {2024},
   institution = {Right to Repair Europe},
   langid = {american},
   file = {/Users/Rosa/Zotero/storage/69IHSGQM/Current-State-of-EU-Right-to-Repair_v3_2.pdf}
@@ -286,79 +285,83 @@
 @article{devalkRefusingBurdenComputation2021,
   title = {Refusing the {{Burden}} of {{Computation}}: {{Edge Computing}} and {{Sustainable ICT}}},
   shorttitle = {Refusing the {{Burden}} of {{Computation}}},
-  author = {{de Valk}, Marloes},
-  year = {2021},
-  month = aug,
-  journal = {A Peer-Reviewed Journal About},
+  author = {family=Valk, given=Marloes, prefix=de, useprefix=true},
+  date = {2021-08-13},
+  journaltitle = {A Peer-Reviewed Journal About},
+  shortjournal = {APRJA},
   volume = {10},
   number = {1},
   pages = {14--29},
   issn = {2245-7755},
   doi = {10.7146/aprja.v10i1.128184},
+  url = {https://aprja.net//article/view/128184},
   urldate = {2025-01-05},
-  abstract = {This paper asks what we can learn from edge computing about the commitment of Big Tech to diminish its ecological footprint. The text starts with the COVID-19 pandemic being framed as opportunity for more sustainability and unpacks edge computing as one of the elements proposed as a solution, next to working from home. It interrogates the discourse behind these solutions, one of technological fixes that allow `business as usual' to continue, undisturbed by government regulations, outsourcing the burden of environmental responsibility to citizens. The paper draws parallels between edge computing, Big Tech's approach to sustainability and the history of the Sustainable ICT discourse and proposes that to truly diminish ICT's footprint, a refusal of the burden of computation and digital enclosure (vendor lock-in) is needed, by collectively building and financing network services.},
-  copyright = {http://creativecommons.org/licenses/by-nc-sa/4.0},
+  abstract = {This paper asks what we can learn from edge computing about the commitment of Big Tech to diminish its ecological footprint. The text starts with the COVID-19 pandemic being framed as opportunity for more sustainability and unpacks edge computing as one of the elements proposed as a solution, next to working from home. It interrogates the discourse behind these solutions, one of technological fixes that allow ‘business as usual’ to continue, undisturbed by government regulations, outsourcing the burden of environmental responsibility to citizens. The paper draws parallels between edge computing, Big Tech’s approach to sustainability and the history of the Sustainable ICT discourse and proposes that to truly diminish ICT’s footprint, a refusal of the burden of computation and digital enclosure (vendor lock-in) is needed, by collectively building and financing network services.},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/NFQC58VX/De Valk - 2021 - Refusing the Burden of Computation Edge Computing and Sustainable ICT.pdf}
 }
 
-@misc{devalkSalvageComputing,
+@online{devalkSalvageComputing,
   title = {Salvage Computing},
-  author = {{de Valk}, Marloes},
+  author = {family=Valk, given=Marloes, prefix=de, useprefix=true},
+  url = {https://permacomputing.net/salvage_computing/},
   urldate = {2025-02-25},
-  howpublished = {https://permacomputing.net/salvage\_computing/},
   file = {/Users/Rosa/Zotero/storage/4XTV5G7X/salvage_computing.html}
 }
 
-@article{devalkSalvagedComputing,
+@inreference{devalkSalvagedComputing2024,
   title = {Salvaged Computing},
-  author = {{de Valk}, Marloes},
+  booktitle = {Damaged {{Earth Catalog}}},
+  author = {family=Valk, given=Marloes, prefix=de, useprefix=true},
+  date = {2024-12-26},
+  url = {https://damaged.bleu255.com/Salvage_Computing},
   file = {/Users/Rosa/Zotero/storage/MQW7QESH/PDF document.pdf}
 }
 
-@misc{DirtyElectronicsPopup2020,
+@online{DirtyElectronicsPopup2020,
   title = {Dirty {{Electronics Pop-up}} for {{Collaborative Music-making}}},
-  year = {2020},
-  month = jun,
-  journal = {Dirty Electronics Pop-up for Collaborative Music-making},
+  date = {2020-06-04},
+  url = {https://popupforcollaborativemusicmaking.wordpress.com/},
   urldate = {2025-01-16},
-  howpublished = {https://popupforcollaborativemusicmaking.wordpress.com/},
   langid = {english},
+  organization = {Dirty Electronics Pop-up for Collaborative Music-making},
   file = {/Users/Rosa/Zotero/storage/D6EBFKZU/popupforcollaborativemusicmaking.wordpress.com.html}
 }
 
 @article{emersonMediaArcheologyLab2017,
   title = {Media {{Archeology Lab}}: {{Experimentation}}, {{Tinkering}}, {{Probing}}. {{Lori Emerson}} in Conversation with {{Piotr Marecki}}},
   shorttitle = {Media {{Archeology Lab}}},
-  year = {2017},
-  journal = {Przegl{\k a}d Kulturoznawczy},
+  namea = {Emerson, Lori and Marecki, Piotr},
+  nameatype = {collaborator},
+  date = {2017},
+  journaltitle = {Przegląd Kulturoznawczy},
+  shortjournal = {PK},
   volume = {33},
   issn = {20843860},
   doi = {10.4467/20843860PK.17.030.7800},
+  url = {https://www.ejournals.eu/Przeglad-Kulturoznawczy/2017/Numer-3-33-2017/art/10387/},
   urldate = {2025-01-05},
-  collaborator = {Emerson, Lori and Marecki, Piotr},
   langid = {english},
   keywords = {read},
   file = {/Users/Rosa/Zotero/storage/EHFWEG5S/2017 - Media Archeology Lab Experimentation, Tinkering, Probing. Lori Emerson in conversation with Piotr M.pdf}
 }
 
-@misc{emersonReclaimingFutureOld,
+@online{emersonReclaimingFutureOld,
   title = {Reclaiming the {{Future}} with {{Old Media}}},
   author = {Emerson, Lori},
+  url = {https://works.hcommons.org/records/m3p4w-4d331},
   urldate = {2025-04-14},
-  howpublished = {https://works.hcommons.org/records/m3p4w-4d331},
   keywords = {Black Boxism},
   file = {/Users/Rosa/Zotero/storage/XNBP5RKQ/Reclaiming the Future with Old Media.pdf}
 }
 
-@misc{emersonSixDifficultInconvenient2021,
+@online{emersonSixDifficultInconvenient2021,
   title = {Six ({{Difficult}} and {{Inconvenient}}) {{Values}} to {{Reclaim}} the {{Future}} with {{Old Media}}},
   author = {Emerson, Lorie},
-  year = {2021},
-  month = nov,
-  journal = {loriemerson},
+  date = {2021-11-21T16:29:08+00:00},
+  url = {https://loriemerson.net/2021/11/21/six-difficult-and-inconvenient-values-to-reclaim-the-future-with-old-media%ef%bf%bc/},
   urldate = {2025-01-05},
-  abstract = {Below is the pre-print version of a book chapter I wrote for The Bloomsbury Handbook to the Digital Humanities, edited by James O'Sullivan and forthcoming in 2022. Gratitude to James for the {\dots}},
+  abstract = {Below is the pre-print version of a book chapter I wrote for The Bloomsbury Handbook to the Digital Humanities, edited by James O’Sullivan and forthcoming in 2022. Gratitude to James for the …},
   langid = {english},
   keywords = {Black Boxism,to summarise},
   file = {/Users/Rosa/Zotero/storage/2PN2LXDW/loriemerson-net-20.pdf;/Users/Rosa/Zotero/storage/UULUI9MB/six-difficult-and-inconvenient-values-to-reclaim-the-future-with-old-media.html}
@@ -367,8 +370,8 @@
 @article{fennisOntologyElectronicWaste2022,
   title = {Ontology {{Of Electronic Waste}}},
   author = {Fennis, Maurits},
-  year = {2022},
-  month = nov,
+  date = {2022-11-29},
+  url = {https://vigia.tech/1159-2/},
   langid = {english},
   keywords = {summarised},
   annotation = {titleTranslation: Ontologie van elektronisch afval},
@@ -378,35 +381,35 @@
 @article{fernandezCircuitBendingDIYCulture,
   title = {Circuit-{{Bending}} and {{DIY Culture}}},
   author = {Fernandez, Alexandre Marino and Iazzetta, Fernando},
-  abstract = {This article analyses Circuit-Bending and its relation to the Do-ityourself (DIY) culture. Circuit-bending is an experimental music practice which consists of opening up low voltage (battery powered) electronic devices (musical toys, radio devices, cd players, etc. -- mostly technological waste) and of changing (bend) the way electricity flows through their circuits in order to achieve an `interesting' result. After presenting the work of some artists who make use of this methodology we introduce the concept of proletarianisation by philosopher Bernard Stiegler and how such methodologies can act as de-proletarianisation tactics. Then, we present the Do-it-together (DIT) or Do-it-with-others (DIWO) discussion to bring into scene the notion of Relational Aesthetics.},
+  abstract = {This article analyses Circuit-Bending and its relation to the Do-ityourself (DIY) culture. Circuit-bending is an experimental music practice which consists of opening up low voltage (battery powered) electronic devices (musical toys, radio devices, cd players, etc. – mostly technological waste) and of changing (bend) the way electricity flows through their circuits in order to achieve an ‘interesting’ result. After presenting the work of some artists who make use of this methodology we introduce the concept of proletarianisation by philosopher Bernard Stiegler and how such methodologies can act as de-proletarianisation tactics. Then, we present the Do-it-together (DIT) or Do-it-with-others (DIWO) discussion to bring into scene the notion of Relational Aesthetics.},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/4HTDFEDL/Fernandez and Iazzetta - Circuit-Bending and DIY Culture.pdf}
 }
 
-@misc{foresmanAppleScrewingNew2011,
-  title = {Apple ``Screwing'' New {{iPhones}} out of Simple {{DIY}} Repair},
+@online{foresmanAppleScrewingNew2011,
+  title = {Apple “Screwing” New {{iPhones}} out of Simple {{DIY}} Repair},
   author = {Foresman, Chris},
-  year = {2011},
-  month = jan,
-  journal = {Ars Technica},
+  date = {2011-01-20T17:42:00+00:00},
+  url = {https://arstechnica.com/gadgets/2011/01/apple-screwing-new-iphones-out-of-simple-diy-repair/},
   urldate = {2025-03-14},
-  abstract = {Apple is purposefully making it harder to get inside its devices buy using {\dots}},
-  howpublished = {https://arstechnica.com/gadgets/2011/01/apple-screwing-new-iphones-out-of-simple-diy-repair/},
+  abstract = {Apple is purposefully making it harder to get inside its devices buy using …},
   langid = {american},
+  organization = {Ars Technica},
   file = {/Users/Rosa/Zotero/storage/AZ3IAGCT/apple-screwing-new-iphones-out-of-simple-diy-repair.html}
 }
 
 @article{fullerIntroductionAutomaticInstruments1983,
   title = {An Introduction to Automatic Instruments},
   author = {Fuller, David},
-  year = {1983},
-  month = apr,
-  journal = {Early Music},
+  date = {1983-04-01},
+  journaltitle = {Early Music},
+  shortjournal = {Early Music},
   volume = {11},
   number = {2},
   pages = {164--166},
   issn = {0306-1078},
   doi = {10.1093/earlyj/11.2.164},
+  url = {https://doi.org/10.1093/earlyj/11.2.164},
   urldate = {2025-01-05},
   file = {/Users/Rosa/Zotero/storage/IAGI7P47/334230.html}
 }
@@ -415,12 +418,12 @@
   title = {Digital {{Rubbish}}: {{A Natural History}} of {{Electronics}}},
   shorttitle = {Digital {{Rubbish}}},
   author = {Gabrys, Jennifer},
-  year = {2011},
-  month = mar,
+  date = {2011-03-02},
   eprint = {10.2307/j.ctv65swcp},
   eprinttype = {jstor},
   publisher = {University of Michigan Press},
   doi = {10.2307/j.ctv65swcp},
+  url = {http://www.jstor.org/stable/10.2307/j.ctv65swcp},
   urldate = {2025-03-10},
   isbn = {978-0-472-90029-9 978-0-472-11761-1},
   langid = {american},
@@ -432,11 +435,12 @@
   title = {Salvage},
   booktitle = {Depletion Design: A Glossary of Network Ecologies},
   author = {Gabrys, Jennifer},
-  year = {2012},
+  date = {2012},
   series = {Theory on Demand},
   number = {8},
   publisher = {Institute of Network Cultures},
-  address = {Amsterdam},
+  location = {Amsterdam},
+  url = {https://issuu.com/instituteofnetworkcultures/docs/tod_8_depletion_design},
   isbn = {978-90-818575-1-2},
   langid = {american},
   keywords = {summarised},
@@ -448,13 +452,14 @@
   shorttitle = {{{iPods}}, {{Ataris}}, and {{Polaroids}}},
   booktitle = {Proceedings of the 2012 {{ACM Conference}} on {{Ubiquitous Computing}}},
   author = {Gegenbauer, Silke and Huang, Elaine M.},
-  year = {2012},
-  month = sep,
+  date = {2012-09-05},
   pages = {531--535},
   publisher = {ACM},
-  address = {Pittsburgh Pennsylvania},
+  location = {Pittsburgh Pennsylvania},
   doi = {10.1145/2370216.2370294},
+  url = {https://dl.acm.org/doi/10.1145/2370216.2370294},
   urldate = {2025-02-25},
+  eventtitle = {Ubicomp '12: {{The}} 2012 {{ACM Conference}} on {{Ubiquitous Computing}}},
   isbn = {978-1-4503-1224-0},
   langid = {english},
   keywords = {read},
@@ -464,10 +469,10 @@
 @book{gillespieMediaTechnologiesEssays2014,
   title = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
   editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
-  year = {2014},
-  month = feb,
+  date = {2014-02-28},
   publisher = {The MIT Press},
   doi = {10.7551/mitpress/9780262525374.003.0006},
+  url = {https://doi.org/10.7551/mitpress/9780262525374.003.0006},
   urldate = {2025-03-09},
   isbn = {978-0-262-52537-4},
   langid = {american},
@@ -475,44 +480,42 @@
   file = {/Users/Rosa/Zotero/storage/ZI4GLGJ3/Jackson - 2014 - Rethinking Repair.pdf}
 }
 
-@misc{hachmanNightmareRealHP2024,
+@online{hachmanNightmareRealHP2024,
   title = {The Nightmare Is Real: {{HP}} Makes Printing a Monthly Subscription},
   shorttitle = {The Nightmare Is Real},
   author = {Hachman, Mark},
-  year = {2024},
-  month = feb,
-  journal = {PCWorld},
+  date = {2024-02-29},
+  url = {https://www.pcworld.com/article/2251993/the-nightmare-is-real-hp-makes-printing-a-subscription.html},
   urldate = {2025-04-14},
   abstract = {HP launches the All-In Plan, charging up to \$36 per month for a limited number of printed pages, plus potential overage and cancellation fees.},
-  howpublished = {https://www.pcworld.com/article/2251993/the-nightmare-is-real-hp-makes-printing-a-subscription.html},
   langid = {english},
+  organization = {PCWorld},
   file = {/Users/Rosa/Zotero/storage/VXQZT9BS/the-nightmare-is-real-hp-makes-printing-a-subscription.html}
 }
 
-@misc{havardEssentialPhoneTeardown2017,
+@online{havardEssentialPhoneTeardown2017,
   title = {Essential {{Phone Teardown}}},
   shorttitle = {Essential {{Phone Teardown}}},
   author = {Havard, Scott},
-  year = {2017},
-  month = aug,
-  journal = {iFixit},
+  date = {2017-08-01T00:00:00-07:00},
+  url = {https://www.ifixit.com/Teardown/Essential+Phone+Teardown/96764},
   urldate = {2025-04-14},
-  abstract = {There's a newbie in the smartphone scene, and it's bringing a whole lot less to the table. That's right, in a world of \"more is better,\" this phone...},
-  howpublished = {https://www.ifixit.com/Teardown/Essential+Phone+Teardown/96764},
+  abstract = {There’s a newbie in the smartphone scene, and it’s bringing a whole lot less to the table. That’s right, in a world of \"more is better,\" this phone...},
   langid = {english},
+  organization = {iFixit},
   file = {/Users/Rosa/Zotero/storage/3CLBB35B/96764.html}
 }
 
 @book{hertzArtDIYElectronics2023,
   title = {Art + {{DIY}} Electronics},
   author = {Hertz, Garnet},
-  year = {2023},
+  date = {2023},
   publisher = {The MIT Press},
-  address = {Cambridge, Massachusetts},
+  location = {Cambridge, Massachusetts},
   abstract = {"The first rigorous and systematic theory of Do-It-Yourself (DIY) electronic culture"--},
   isbn = {978-0-262-04493-6},
   langid = {english},
-  lccn = {N72.E53 H47 2023},
+  pagetotal = {324},
   keywords = {Black Boxism,Maker movement,summarised},
   file = {/Users/Rosa/Zotero/storage/E8IXZVMU/Hertz - 2023 - Art + DIY electronics.pdf}
 }
@@ -526,16 +529,17 @@
   title = {Zombie Media: {{Circuit}} Bending Media Archaeology into an Art Method},
   shorttitle = {Zombie Media},
   author = {Hertz, Garnet and Parikka, Jussi},
-  year = {2012},
-  month = oct,
-  journal = {Leonardo},
+  date = {2012-10},
+  journaltitle = {Leonardo},
+  shortjournal = {Leonardo},
   volume = {45},
   number = {5},
   pages = {424--430},
   issn = {0024-094X, 1530-9282},
   doi = {10.1162/LEON_a_00438},
+  url = {https://direct.mit.edu/leon/article/45/5/424-430/45503},
   urldate = {2025-01-05},
-  abstract = {This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as ``zombie media''---dead media revitalized, brought back to use, reworked.},
+  abstract = {This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.},
   langid = {english},
   keywords = {check note,Obsolescence,summarised,toppertje},
   file = {/Users/Rosa/Zotero/storage/K5SZIEPI/Hertz and Parikka - 2012 - Zombie Media Circuit Bending Media Archaeology into an Art Method.pdf}
@@ -545,12 +549,12 @@
   title = {Panel: {{Design}} for {{Hackability}}},
   shorttitle = {Panel},
   author = {Hill, Dan},
-  year = {2004},
-  month = jan,
+  date = {2004-01-01},
+  url = {https://www.academia.edu/4346715/Design_for_hackability},
   urldate = {2025-03-14},
   abstract = {Design for hackability encourages designers and nondesigners to critically and creatively explore interactivity, technology and media-to reclaim authorship and ownership of technologies and the social and cultural worlds in which we live. Hackability},
   langid = {english},
-  keywords = {No DOI found},
+  keywords = {⛔ No DOI found},
   file = {/Users/Rosa/Zotero/storage/CWFGVBXA/Panel_Design_for_Hackability.html}
 }
 
@@ -558,22 +562,21 @@
   title = {Electronic and Experimental Music: Technology, Music, and Culture},
   shorttitle = {Electronic and Experimental Music},
   author = {Holmes, Thom and Pender, Terence M.},
-  year = {2012},
+  date = {2012},
   edition = {4th ed},
   publisher = {Routledge},
-  address = {New York},
+  location = {New York},
   isbn = {978-0-415-89646-7 978-0-415-89636-8 978-0-203-12842-8},
-  lccn = {ML1380 .H64 2012},
+  pagetotal = {544},
   keywords = {Computer music},
   annotation = {OCLC: ocn703208713},
   file = {/Users/Rosa/Zotero/storage/HUAVMT2T/Electronic and Experimental Music.pdf}
 }
 
-@misc{holzerSchematicScoreUses2011,
+@online{holzerSchematicScoreUses2011,
   title = {Schematic as {{Score}}: {{Uses}} and {{Abuses}} of the ({{In}}){{Deterministic Possibilities}} of {{Sound Technology}}},
   author = {Holzer, Derek},
-  year = {2011},
-  month = may,
+  date = {2011-05-02},
   langid = {american},
   keywords = {summarised},
   file = {/Users/Rosa/Zotero/storage/ZK479XQZ/web.archive.org-Vague Terrain 19 Schematic as Score.pdf}
@@ -582,33 +585,34 @@
 @book{horowitzArtElectronics2024,
   title = {The Art of Electronics},
   author = {Horowitz, Paul and Hill, Winfield},
-  year = {2024},
+  date = {2024},
   edition = {Third edition, 20th printing with corrections},
   publisher = {Cambridge University Press},
-  address = {Cambridge, New York},
+  location = {Cambridge, New York},
   isbn = {978-0-521-80926-9},
-  langid = {english}
+  langid = {english},
+  pagetotal = {1230}
 }
 
 @book{huhtamoMediaArchaeologyApproaches2011,
   title = {Media Archaeology: Approaches, Applications, and Implications},
   shorttitle = {Media Archaeology},
   editor = {Huhtamo, Erkki and Parikka, Jussi},
-  year = {2011},
+  date = {2011},
   publisher = {University of California Press},
-  address = {Berkeley, Calif},
+  location = {Berkeley, Calif},
   isbn = {978-0-520-26273-7 978-0-520-26274-4},
   langid = {english},
-  lccn = {P90 .M36622 2011},
+  pagetotal = {356},
   annotation = {OCLC: ocn664555771},
   file = {/Users/Rosa/Zotero/storage/6SL672CT/Huhtamo and Parikka - 2011 - Media archaeology approaches, applications, and implications.pdf}
 }
 
-@misc{ifixitRecyclingDestruction,
+@online{ifixitRecyclingDestruction,
   title = {Recycling Is {{Destruction}}},
   author = {{iFixit}},
+  url = {https://www.ifixit.com/Right-to-Repair/Recycling},
   urldate = {2025-04-22},
-  howpublished = {https://www.ifixit.com/Right-to-Repair/Recycling},
   file = {/Users/Rosa/Zotero/storage/GEHC3KUX/Recycling.html}
 }
 
@@ -616,14 +620,15 @@
   title = {Mapping {{Environmental Justice}} in {{Technology Flows}}: {{Computer Waste Impacts}} in {{Asia}}},
   shorttitle = {Mapping {{Environmental Justice}} in {{Technology Flows}}},
   author = {Iles, Alastair},
-  year = {2004},
-  month = nov,
-  journal = {Global Environmental Politics},
+  date = {2004-11-01},
+  journaltitle = {Global Environmental Politics},
+  shortjournal = {Global Environmental Politics},
   volume = {4},
   number = {4},
   pages = {76--107},
   issn = {1526-3800, 1536-0091},
   doi = {10.1162/glep.2004.4.4.76},
+  url = {https://direct.mit.edu/glep/article/4/4/76-107/14285},
   urldate = {2025-01-17},
   abstract = {In the 21st century, technology and material flows constitute an ever-growing set of global environmental change. In particular, electronic wastes are emerging as a major transnational problem. Industrial nations are shipping millions of obsolete computers to Asia yearly; Asian countries are emerging as generators of e-waste in their own right. This article argues that an environmental justice approach can help illuminate the impacts of technology and material flows. To do so, however, environmental justice definitions and methodologies need to account for how and why such flows occur. Using the case of computers, the article analyses some factors shaping the e-waste recycling chain, shows how e-waste risks depend on design and manufacturing chains, and evaluates inequalities in the ecological and health impacts of e-wastes across Asia. It proposes a definition of environmental justice as obviating the production of risk, using a framework that brings together the global production system, development models, and regulatory action.},
   langid = {english}
@@ -632,11 +637,12 @@
 @book{illichToolsConviviality2009,
   title = {Tools for Conviviality},
   author = {Illich, Ivan},
-  year = {2009},
+  date = {2009},
   publisher = {Marion Boyars},
-  address = {London},
+  location = {London},
   isbn = {978-1-84230-011-4},
   langid = {english},
+  pagetotal = {110},
   file = {/Users/Rosa/Zotero/storage/2DJBTUR7/Illich - 2009 - Tools for conviviality.pdf;/Users/Rosa/Zotero/storage/ZJDVPEGI/LoRENZ - LORD KENNETH CLARK WERNER HEISENBERG Sm FRED HoYLE IvAN ILLICH.pdf}
 }
 
@@ -644,14 +650,16 @@
   title = {Depletion Design: A Glossary of Network Ecologies},
   shorttitle = {Depletion Design},
   author = {{Institute of Network Cultures}},
-  year = {2012},
+  namea = {Wiedemann, Carolin and Zehle, Soenke},
+  nameatype = {collaborator},
+  date = {2012},
   series = {Theory on Demand},
   number = {8},
   publisher = {Institute of Network Cultures},
-  address = {Amsterdam},
-  collaborator = {Wiedemann, Carolin and Zehle, Soenke},
+  location = {Amsterdam},
   isbn = {978-90-818575-1-2},
   langid = {american},
+  pagetotal = {191},
   keywords = {summarised}
 }
 
@@ -659,24 +667,25 @@
   title = {Depletion Design: A Glossary of Network Ecologies},
   shorttitle = {Depletion Design},
   author = {{Institute of Network Cultures}},
-  year = {2012},
+  namea = {Wiedemann, Carolin and Zehle, Soenke},
+  nameatype = {collaborator},
+  date = {2012},
   series = {Theory on Demand},
   number = {8},
   publisher = {Institute of Network Cultures},
-  address = {Amsterdam},
-  collaborator = {Wiedemann, Carolin and Zehle, Soenke},
+  location = {Amsterdam},
   isbn = {978-90-818575-1-2},
-  langid = {english}
+  langid = {english},
+  pagetotal = {191}
 }
 
-@article{InterchangeableParts2024,
+@inreference{InterchangeableParts2024,
   title = {Interchangeable Parts},
-  year = {2024},
-  month = nov,
-  journal = {Wikipedia},
+  booktitle = {Wikipedia},
+  date = {2024-11-06T21:39:54Z},
+  url = {https://en.wikipedia.org/w/index.php?title=Interchangeable_parts&oldid=1255830111#Late_19th_and_early_20th_centuries:_dissemination_throughout_manufacturing},
   urldate = {2025-01-27},
   abstract = {Interchangeable parts are parts (components) that are identical for practical purposes. They are made to specifications that ensure that they are so nearly identical that they will fit into any assembly of the same type. One such part can freely replace another, without any custom fitting, such as filing. This interchangeability allows easy assembly of new devices, and easier repair of existing devices, while minimizing both the time and skill required of the person doing the assembly or repair. The concept of interchangeability was crucial to the introduction of the assembly line at the beginning of the 20th century, and has become an important element of some modern manufacturing but is missing from other important industries. Interchangeability of parts was achieved by combining a number of innovations and improvements in machining operations and the invention of several machine tools, such as the slide rest lathe, screw-cutting lathe, turret lathe, milling machine and metal planer.  Additional innovations included jigs for guiding the machine tools, fixtures for holding the workpiece in the proper position, and blocks and gauges to check the accuracy of the finished parts.  Electrification allowed individual machine tools to be powered by electric motors, eliminating line shaft drives from steam engines or water power and allowing higher speeds, making modern large-scale manufacturing possible. Modern machine tools often have numerical control (NC) which evolved into CNC (computerized numeric control) when microprocessors became available. Methods for industrial production of interchangeable parts in the United States were first developed in the nineteenth century. The term American system of manufacturing was sometimes applied to them at the time, in distinction from earlier methods. Within a few decades such methods were in use in various countries, so American system is now a term of historical reference rather than current industrial nomenclature.},
-  copyright = {Creative Commons Attribution-ShareAlike License},
   langid = {english},
   annotation = {Page Version ID: 1255830111},
   file = {/Users/Rosa/Zotero/storage/ILURMSC5/Interchangeable_parts.html}
@@ -687,13 +696,13 @@
   booktitle = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
   author = {Jackson, Steven J.},
   editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
-  year = {2014},
-  month = feb,
+  date = {2014-02-28},
   pages = {0},
   publisher = {The MIT Press},
   doi = {10.7551/mitpress/9780262525374.003.0011},
+  url = {https://doi.org/10.7551/mitpress/9780262525374.003.0011},
   urldate = {2025-03-09},
-  abstract = {This paper reexamines media and technology studies from the standpoint of ``broken world thinking``: an orientation that takes seriously the fragility of the human, technical, and natural worlds around us, and foregrounds acts of breakdown, maintenance and repair as central to technological and human experience in the world. Drawing on pragmatist and phenomenological roots, it argues for maintenance and repair as unheralded sites of creativity and innovation, knowledge and power, and a neglected ethics of care. It argues against the frequent productivist bias of media and technology scholarship, and urges attention to maintenance, repair and ongoing acts of care as a powerful window into the long-run relationships that tie human lives to the objects and things that surround them.},
+  abstract = {This paper reexamines media and technology studies from the standpoint of “broken world thinking“: an orientation that takes seriously the fragility of the human, technical, and natural worlds around us, and foregrounds acts of breakdown, maintenance and repair as central to technological and human experience in the world. Drawing on pragmatist and phenomenological roots, it argues for maintenance and repair as unheralded sites of creativity and innovation, knowledge and power, and a neglected ethics of care. It argues against the frequent productivist bias of media and technology scholarship, and urges attention to maintenance, repair and ongoing acts of care as a powerful window into the long-run relationships that tie human lives to the objects and things that surround them.},
   isbn = {978-0-262-52537-4},
   langid = {american},
   keywords = {check note},
@@ -705,13 +714,14 @@
   shorttitle = {Unplanned {{Obsolescence}}},
   booktitle = {Proceedings of the 2017 {{Workshop}} on {{Computing Within Limits}}},
   author = {Jang, Esther and Johnson, Matthew and Burnell, Edward and Heimerl, Kurtis},
-  year = {2017},
-  month = jun,
+  date = {2017-06-22},
   pages = {93--101},
   publisher = {ACM},
-  address = {Santa Barbara California USA},
+  location = {Santa Barbara California USA},
   doi = {10.1145/3080556.3080566},
+  url = {https://dl.acm.org/doi/10.1145/3080556.3080566},
   urldate = {2025-01-05},
+  eventtitle = {{{LIMITS}} '17: {{Workshop}} on {{Computing Within Limits}}},
   isbn = {978-1-4503-4950-5},
   langid = {english},
   keywords = {Obsolescence},
@@ -720,15 +730,16 @@
 
 @article{jordanDIYElectronicsRevealing2015,
   title = {{{DIY Electronics}}: {{Revealing}} the {{Material Systems}} of {{Computation}}},
-  author = {JORDAN, {\relax RYAN}},
-  year = {2015},
-  journal = {Leonardo Music Journal},
+  author = {family=JORDAN, given=RYAN, given-i=RYAN},
+  date = {2015},
+  journaltitle = {Leonardo Music Journal},
   volume = {25},
   eprint = {43832529},
   eprinttype = {jstor},
   pages = {41--46},
   publisher = {The MIT Press},
   issn = {09611215, 15314812},
+  url = {http://www.jstor.org/stable/43832529},
   urldate = {2025-01-14},
   abstract = {The author sets out an extension of do-it-yourself (DIY) electronics as a literal critical practice addressing the social, economic and geological systems shaping technologies we use, presenting several real-world examples and concluding with future directions.},
   keywords = {check note,summarised}
@@ -737,17 +748,17 @@
 @article{joWorkshoppingParticipationMusic2013,
   title = {Workshopping {{Participation}} in {{Music}}},
   author = {Jo, Kazuhiro and Parkinson, Adam and Tanaka, Atau},
-  year = {2013},
-  month = dec,
-  journal = {Organised Sound},
+  date = {2013-12},
+  journaltitle = {Organised Sound},
+  shortjournal = {Org. Sound},
   volume = {18},
   number = {3},
   pages = {282--291},
   issn = {1355-7718, 1469-8153},
   doi = {10.1017/S1355771813000253},
+  url = {https://www.cambridge.org/core/product/identifier/S1355771813000253/type/journal_article},
   urldate = {2025-03-03},
-  abstract = {This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the               Music One Participates In               , which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term `workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of `workshopping'.},
-  copyright = {https://www.cambridge.org/core/terms},
+  abstract = {This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the               Music One Participates In               , which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term ‘workshop’, as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of ‘workshopping’.},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/SMME8MAX/Jo et al. - 2013 - Workshopping Participation in Music.pdf}
 }
@@ -755,13 +766,13 @@
 @article{kastnerDomesticationGarage2019,
   title = {The {{Domestication}} of the {{Garage}}},
   author = {Kastner, Jeffrey},
-  year = {2019},
-  month = feb,
-  journal = {Places Journal},
+  date = {2019-02-05},
+  journaltitle = {Places Journal},
   issn = {21647798},
   doi = {10.22269/190205},
+  url = {https://placesjournal.org/article/j-b-jackson-the-domestication-of-the-garage/},
   urldate = {2025-01-16},
-  abstract = {J.B. Jackson's 1976 essay on the evolution of the American garage displays his rare ability to combine deep erudition with eloquent and plainspoken analysis.},
+  abstract = {J.B. Jackson’s 1976 essay on the evolution of the American garage displays his rare ability to combine deep erudition with eloquent and plainspoken analysis.},
   langid = {american},
   file = {/Users/Rosa/Zotero/storage/Q9BZWJUI/j-b-jackson-the-domestication-of-the-garage.html}
 }
@@ -770,13 +781,14 @@
   title = {Practices in the Creative Reuse of E-Waste},
   booktitle = {Proceedings of the {{SIGCHI Conference}} on {{Human Factors}} in {{Computing Systems}}},
   author = {Kim, Sunyoung and Paulos, Eric},
-  year = {2011},
-  month = may,
+  date = {2011-05-07},
   pages = {2395--2404},
   publisher = {ACM},
-  address = {Vancouver BC Canada},
+  location = {Vancouver BC Canada},
   doi = {10.1145/1978942.1979292},
+  url = {https://dl.acm.org/doi/10.1145/1978942.1979292},
   urldate = {2025-03-10},
+  eventtitle = {{{CHI}} '11: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}},
   isbn = {978-1-4503-0228-9},
   langid = {english},
   keywords = {check note},
@@ -787,16 +799,17 @@
   title = {Production and Governance in Hackerspaces: {{A}} Manifestation of {{Commons-based}} Peer Production in the Physical Realm?},
   shorttitle = {Production and Governance in Hackerspaces},
   author = {Kostakis, Vasilis and Niaros, Vasilis and Giotitsas, Christos},
-  year = {2015},
-  month = sep,
-  journal = {International Journal of Cultural Studies},
+  date = {2015-09},
+  journaltitle = {International Journal of Cultural Studies},
+  shortjournal = {International Journal of Cultural Studies},
   volume = {18},
   number = {5},
   pages = {555--573},
   issn = {1367-8779, 1460-356X},
   doi = {10.1177/1367877913519310},
+  url = {https://journals.sagepub.com/doi/10.1177/1367877913519310},
   urldate = {2025-01-05},
-  abstract = {This article deals with the phenomenon of hackerspaces and sheds light on the relationship of their underlying values, organizational structures and productive processes to those of the online communities of Commons-based peer production projects. While hackerspaces adopt hybrid modes of governance, this article attempts to identify patterns, trends and theory that can frame their production and governance mechanisms. Using a diverse amount of literature and case studies, it is argued that, in many cases, hackerspaces exemplify several aspects of peer production projects' principles and governance mechanisms.},
+  abstract = {This article deals with the phenomenon of hackerspaces and sheds light on the relationship of their underlying values, organizational structures and productive processes to those of the online communities of Commons-based peer production projects. While hackerspaces adopt hybrid modes of governance, this article attempts to identify patterns, trends and theory that can frame their production and governance mechanisms. Using a diverse amount of literature and case studies, it is argued that, in many cases, hackerspaces exemplify several aspects of peer production projects’ principles and governance mechanisms.},
   langid = {english},
   keywords = {to summarise},
   file = {/Users/Rosa/Zotero/storage/K3379N2W/Kostakis et al. - 2015 - Production and governance in hackerspaces A manifestation of Commons-based peer production in the p.pdf}
@@ -813,13 +826,14 @@
   title = {Towards a {{World}} of {{Fixers Examining}} Barriers and Enablers of Widely Deployed Third-Party Repair for Computing within Limits},
   booktitle = {Proceedings of the 7th {{International Conference}} on {{ICT}} for {{Sustainability}}},
   author = {Lepawsky, Josh},
-  year = {2020},
-  month = jun,
+  date = {2020-06-21},
   pages = {314--320},
   publisher = {ACM},
-  address = {Bristol United Kingdom},
+  location = {Bristol United Kingdom},
   doi = {10.1145/3401335.3401816},
+  url = {https://dl.acm.org/doi/10.1145/3401335.3401816},
   urldate = {2025-01-05},
+  eventtitle = {{{ICT4S2020}}: 7th {{International Conference}} on {{ICT}} for {{Sustainability}}},
   isbn = {978-1-4503-7595-5},
   langid = {english},
   keywords = {chips,toppertje,toxic,transistors},
@@ -830,41 +844,42 @@
   title = {The 10,000 {{Instruments Workshop}} - ({{Im}})Practical {{Research}} for {{Critical Speculation}}},
   booktitle = {International {{Conference}} on {{New Interfaces}} for {{Musical Expression}}},
   author = {Lepri, Giacomo and Bowers, John and Topley, Samantha and Stapleton, Paul and Bennett, Peter and Andersen, Kristina and McPherson, Andrew},
-  year = {2022},
-  month = jun,
+  date = {2022-06-28},
   doi = {10.21428/92fbeb44.9e7c9ba3},
+  url = {https://nime.pubpub.org/pub/n6mw635p/release/1},
   urldate = {2025-01-16},
   abstract = {This paper describes the 10,000 Instruments workshop, a collaborative online event conceived to generate interface ideas and speculate on music technology through open-ended artefacts and playful design explorations. We first present the activity, setting its research and artistic scope. We then report on a selection of outcomes created by workshop attendees, and examine the critical design statements they convey. The paper concludes with reflections on the make-believe, whimsical and troublemaking approach to instrument design adopted in the workshop. In particular, we consider the ways this activity can support individuals' creativity, unlock shared musical visions and reveal unconventional perspectives on music technology development.},
+  eventtitle = {{{NIME}} 2022},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/BQ8EBRU6/Lepri et al. - 2022 - The 10,000 Instruments Workshop - (Im)practical Research for Critical Speculation.pdf}
 }
 
-@misc{LoudObjectsVague2014,
-  title = {Loud {{Objects}} {\textbar} {{Vague Terrain}}},
-  year = {2014},
-  month = jul,
+@online{LoudObjectsVague2014,
+  title = {Loud {{Objects}} | {{Vague Terrain}}},
+  date = {2014-07-23},
+  url = {https://web.archive.org/web/20140723160643/http://vagueterrain.net/journal19/loud-objects/01},
   urldate = {2025-01-26},
-  howpublished = {https://web.archive.org/web/20140723160643/http://vagueterrain.net/journal19/loud-objects/01},
   file = {/Users/Rosa/Zotero/storage/F3MGCLPY/01.html}
 }
 
-@misc{lovinkPrinciplesPermaHybridity,
+@online{lovinkPrinciplesPermaHybridity,
   title = {Principles of {{Perma-Hybridity}}},
   author = {Lovink, Geert},
+  url = {https://networkcultures.org/geert/2024/08/24/principles-of-perma-hybridity/},
   urldate = {2025-01-05},
   langid = {american},
   keywords = {check note,summarised},
   file = {/Users/Rosa/Zotero/storage/XFGEV94M/Principles of Perma-Hybridity.pdf;/Users/Rosa/Zotero/storage/HYCEANK3/principles-of-perma-hybridity.html}
 }
 
-@misc{lulinvegaPermacomputing,
+@online{lulinvegaPermacomputing,
   type = {Wiki},
   title = {Permacomputing},
   author = {Lu Linvega, Devine},
-  journal = {Devine Lu Linvega's journal},
+  url = {https://wiki.xxiivv.com/site/permacomputing.html},
   urldate = {2025-01-05},
-  howpublished = {https://wiki.xxiivv.com/site/permacomputing.html},
   langid = {american},
+  organization = {Devine Lu Linvega's journal},
   keywords = {summarised},
   file = {/Users/Rosa/Zotero/storage/QM25W9ZH/permacomputing.html}
 }
@@ -872,16 +887,17 @@
 @article{luUnmakingElectronicWaste2024,
   title = {Unmaking {{Electronic Waste}}},
   author = {Lu, Jasmine and Lopes, Pedro},
-  year = {2024},
-  month = dec,
-  journal = {ACM Transactions on Computer-Human Interaction},
+  date = {2024-12-31},
+  journaltitle = {ACM Transactions on Computer-Human Interaction},
+  shortjournal = {ACM Trans. Comput.-Hum. Interact.},
   volume = {31},
   number = {6},
   pages = {1--30},
   issn = {1073-0516, 1557-7325},
   doi = {10.1145/3674505},
+  url = {https://dl.acm.org/doi/10.1145/3674505},
   urldate = {2025-02-25},
-  abstract = {The proliferation of new technologies has led to a proliferation of unwanted electronic devices. E-waste is the largest-growing consumer waste-stream worldwide, but also an issue often ignored. In fact, HCI primarily focuses on designing and understanding device interactions during one segment of their lifecycles---while users use them. Researchers overlook a significant space---when devices are no longer ``useful'' to the user, such as after breakdown or obsolescence. We argue that HCI can learn from experts who upcycle e-waste and give it second lives in electronics projects, art projects, educational workshops, and more. To acquire and translate this knowledge to HCI, we interviewed experts who unmake e-waste. We explore their practices through the lens of unmaking both when devices are physically unmade and when the perception of e-waste is unmade once               waste               becomes, once again,               useful               . Last, we synthesize findings into takeaways for how HCI can engage with the issue of e-waste.},
+  abstract = {The proliferation of new technologies has led to a proliferation of unwanted electronic devices. E-waste is the largest-growing consumer waste-stream worldwide, but also an issue often ignored. In fact, HCI primarily focuses on designing and understanding device interactions during one segment of their lifecycles—while users use them. Researchers overlook a significant space—when devices are no longer “useful” to the user, such as after breakdown or obsolescence. We argue that HCI can learn from experts who upcycle e-waste and give it second lives in electronics projects, art projects, educational workshops, and more. To acquire and translate this knowledge to HCI, we interviewed experts who unmake e-waste. We explore their practices through the lens of unmaking both when devices are physically unmade and when the perception of e-waste is unmade once               waste               becomes, once again,               useful               . Last, we synthesize findings into takeaways for how HCI can engage with the issue of e-waste.},
   langid = {english},
   keywords = {Obsolescence},
   file = {/Users/Rosa/Zotero/storage/879KYXX9/3674505.pdf;/Users/Rosa/Zotero/storage/FPAIKIDF/Lu and Lopes - 2024 - Unmaking Electronic Waste.pdf}
@@ -891,13 +907,14 @@
   title = {Understanding Repair as a Creative Process of Everyday Design},
   booktitle = {Proceedings of the 8th {{ACM}} Conference on {{Creativity}} and Cognition},
   author = {Maestri, Leah and Wakkary, Ron},
-  year = {2011},
-  month = nov,
+  date = {2011-11-03},
   pages = {81--90},
   publisher = {ACM},
-  address = {Atlanta Georgia USA},
+  location = {Atlanta Georgia USA},
   doi = {10.1145/2069618.2069633},
+  url = {https://dl.acm.org/doi/10.1145/2069618.2069633},
   urldate = {2025-02-25},
+  eventtitle = {C\&{{C}} '11: {{Creativity}} and {{Cognition}} 2011},
   isbn = {978-1-4503-0820-5},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/KQR95ZEX/Maestri and Wakkary - 2011 - Understanding repair as a creative process of everyday design.pdf}
@@ -913,11 +930,12 @@
   title = {Sonic Writing: Technologies of Material, Symbolic and Signal Inscriptions},
   shorttitle = {Sonic Writing},
   author = {Magnusson, Thor},
-  year = {2019},
+  date = {2019},
   publisher = {Bloomsbury Academic},
-  address = {New York, NY},
+  location = {New York, NY},
   isbn = {978-1-5013-1386-8 978-1-5013-1388-2 978-1-5013-1387-5},
   langid = {english},
+  pagetotal = {1},
   file = {/Users/Rosa/Zotero/storage/URF6ZN4I/Sonic Writing Technologies.pdf}
 }
 
@@ -925,14 +943,15 @@
   title = {Permacomputing {{Aesthetics}}: {{Potential}} and {{Limits}} of {{Constraints}} in {{Computational Art}}, {{Design}} and {{Culture}}},
   shorttitle = {Permacomputing {{Aesthetics}}},
   booktitle = {Ninth {{Computing}} within {{Limits}} 2023},
-  author = {Mansoux, Aymeric and Howell, Brendan and Barok, Du{\v s}an and Heikkil{\"a}, Ville-Matias},
-  year = {2023},
-  month = jun,
+  author = {Mansoux, Aymeric and Howell, Brendan and Barok, Dušan and Heikkilä, Ville-Matias},
+  date = {2023-06-14},
   publisher = {LIMITS},
-  address = {Virtual},
+  location = {Virtual},
   doi = {10.21428/bf6fb269.6690fc2e},
+  url = {https://limits.pubpub.org/pub/6loh1eqi},
   urldate = {2025-04-07},
   abstract = {Permacomputing is a nascent concept and a community of practice centred around design principles that embrace limits and constraints as a positive thing in computational culture, and on creativity with scarce computational resources. As a result, permacomputing aims to provide a countervoice to digital practices that promote maximisation, hyper-consumption and waste. It seeks to encourage practices as an applied critique of contemporary computer technology that privileges maximalist aesthetics where more pixels, more frame rate, more computation and more power equals more potential at any cost and without any consequences. We believe that such a critical practice can be relevant to artists, designers and cultural practitioners working with computer and network technology who are interested in engaging with environmental issues. This is particularly relevant given the tendency in art, design and cultural production to rely on tools and techniques designed to maximise productivity and mass consumption.},
+  eventtitle = {Ninth {{Computing}} within {{Limits}} 2023},
   langid = {english},
   keywords = {Black Boxism,toppertje},
   file = {/Users/Rosa/Zotero/storage/7FSUWZ2X/Mansoux et al. - 2023 - Permacomputing Aesthetics Potential and Limits of Constraints in Computational Art, Design and Cult.pdf}
@@ -941,11 +960,11 @@
 @article{matternMaintenanceCare2018,
   title = {Maintenance and {{Care}}},
   author = {Mattern, Shannon},
-  year = {2018},
-  month = nov,
-  journal = {Places Journal},
+  date = {2018-11-20},
+  journaltitle = {Places Journal},
   issn = {21647798},
   doi = {10.22269/181120},
+  url = {https://placesjournal.org/article/maintenance-and-care/},
   urldate = {2025-01-20},
   abstract = {A working guide to the repair of rust, dust, cracks, and corrupted code in our cities, our homes, and our social relations.},
   langid = {american},
@@ -956,11 +975,11 @@
 @article{matternStepStepThinking2024,
   title = {Step by {{Step Thinking}} through and beyond the Repair Manual},
   author = {Mattern, Shannon},
-  year = {2024},
-  month = feb,
-  journal = {Places Journal},
+  date = {2024-02-27},
+  journaltitle = {Places Journal},
   issn = {21647798},
   doi = {10.22269/240227},
+  url = {https://placesjournal.org/article/step-by-step-repair-manuals-political-ecology/},
   urldate = {2025-01-05},
   abstract = {The best repair manuals present a vision of repair that is social, embodied, intuitive, and accessible. What if we extend these principles beyond material objects, to the scale of civic systems and spaces?},
   langid = {american},
@@ -968,9 +987,10 @@
   file = {/Users/Rosa/Zotero/storage/F7BJZJB4/A Political Ecology of the Repair Manual.pdf;/Users/Rosa/Zotero/storage/CVR3A5FM/step-by-step-repair-manuals-political-ecology.html}
 }
 
-@misc{mauro-fludePermacomputingDanceRepair,
-  title = {Permacomputing and the {{Dance}} of {{Repair Amid}} the {{Vestiges}} of {{Digital Obsolescence}} << {{Performing}} the {{Internet}}},
-  author = {{Mauro-Flude}, Nancy},
+@online{mauro-fludePermacomputingDanceRepair,
+  title = {Permacomputing and the {{Dance}} of {{Repair Amid}} the {{Vestiges}} of {{Digital Obsolescence}} « {{Performing}} the {{Internet}}},
+  author = {Mauro-Flude, Nancy},
+  url = {https://networkcultures.org/performanceofcode/2023/09/05/the-dance-of-repair-amid-the-vestiges-of-digital-obsolescence/},
   urldate = {2025-04-14},
   langid = {american},
   keywords = {Obsolescence},
@@ -981,10 +1001,10 @@
   title = {Hearing {{Aids}} and the {{History}} of {{Electronics Miniaturization}} (8th Chapter)},
   booktitle = {The Sound Studies Reader},
   author = {Mills, Mara},
-  year = {2012},
+  date = {2012},
   publisher = {Routledge},
-  address = {New York},
-  collaborator = {Sterne, Jonathan},
+  location = {New York},
+  bookauthor = {Sterne, Jonathan},
   isbn = {978-0-415-77130-6 978-0-415-77131-3},
   langid = {american},
   file = {/Users/Rosa/Zotero/storage/TCPV5QUC/2012 - The sound studies reader.pdf}
@@ -994,23 +1014,23 @@
   title = {Getting Started in Electronics},
   shorttitle = {Getting Started in Electronics},
   author = {Mims, Forrest M.},
-  year = {1983},
+  date = {1983},
   edition = {4},
   publisher = {Master Publishing},
-  address = {Niles, Ill},
+  location = {Niles, Ill},
   isbn = {978-0-945053-28-6},
   langid = {american},
+  pagetotal = {128},
   file = {/Users/Rosa/Zotero/storage/WVMHNRFB/Mims - 2014 - Getting started in electronics a complete electronics course in 128 pages!.pdf}
 }
 
-@article{MooresLaw2025,
+@inreference{MooresLaw2025,
   title = {Moore's Law},
-  year = {2025},
-  month = apr,
-  journal = {Wikipedia},
+  booktitle = {Wikipedia},
+  date = {2025-04-03T13:34:38Z},
+  url = {https://en.wikipedia.org/w/index.php?title=Moore%27s_law&oldid=1283756153},
   urldate = {2025-04-15},
   abstract = {Moore's law is the observation that the number of transistors in an integrated circuit (IC) doubles about every two years. Moore's law is an observation and projection of a historical trend. Rather than a law of physics, it is an empirical relationship. It is an experience-curve law, a type of law quantifying efficiency gains from experience in production. The observation is named after Gordon Moore, the co-founder of Fairchild Semiconductor and Intel and former CEO of the latter, who in 1965 noted that the number of components per integrated circuit had been doubling every year, and projected this rate of growth would continue for at least another decade. In 1975, looking forward to the next decade, he revised the forecast to doubling every two years, a compound annual growth rate (CAGR) of 41\%. Moore's empirical evidence did not directly imply that the historical trend would continue, nevertheless, his prediction has held since 1975 and has since become known as a law. Moore's prediction has been used in the semiconductor industry to guide long-term planning and to set targets for research and development (R\&D). Advancements in digital electronics, such as the reduction in quality-adjusted prices of microprocessors, the increase in memory capacity (RAM and flash), the improvement of sensors, and even the number and size of pixels in digital cameras, are strongly linked to Moore's law. These ongoing changes in digital electronics have been a driving force of technological and social change, productivity, and economic growth. Industry experts have not reached a consensus on exactly when Moore's law will cease to apply. Microprocessor architects report that semiconductor advancement has slowed industry-wide since around 2010, slightly below the pace predicted by Moore's law. In September 2022, Nvidia CEO Jensen Huang considered Moore's law dead, while Intel CEO Pat Gelsinger was of the opposite view.},
-  copyright = {Creative Commons Attribution-ShareAlike License},
   langid = {english},
   keywords = {chip},
   annotation = {Page Version ID: 1283756153},
@@ -1019,15 +1039,16 @@
 
 @article{moslangHowDoesBicycle2004,
   title = {How {{Does}} a {{Bicycle Light Sound}}?: {{Cracked Everyday Electronics}}},
-  author = {M{\"o}slang, Norbert and Br{\"a}uninger, Brigitte},
-  year = {2004},
-  journal = {Leonardo Music Journal},
+  author = {Möslang, Norbert and Bräuninger, Brigitte},
+  date = {2004},
+  journaltitle = {Leonardo Music Journal},
   volume = {14},
   eprint = {1513511},
   eprinttype = {jstor},
   pages = {83--83},
   publisher = {The MIT Press},
   issn = {09611215, 15314812},
+  url = {http://www.jstor.org/stable/1513511},
   urldate = {2025-01-14},
   abstract = {[Every electronic appliance contains a unique sonic potential, which the author "cracks" to create music.]},
   keywords = {summarised}
@@ -1036,11 +1057,12 @@
 @book{novaDrSmartphoneEthnography2020,
   title = {Dr. {{Smartphone}}: An Ethnography of Mobile Phone Repair Shops},
   shorttitle = {Dr. {{Smartphone}}},
-  year = {2020},
+  namea = {Nova, Nicolas and family=Bloch, given=Anaïs., given-i={{Anaïs}}},
+  nameatype = {collaborator},
+  date = {2020},
   publisher = {IDPURE},
-  address = {Lausanne},
-  abstract = {Au c{\oe}ur des d{\'e}bats contemporains sur les technologies de l'information et de la communication, la question de leur rapide obsolescence occupe une place pr{\'e}pond{\'e}rante. Un des effets de bord de ce ph{\'e}nom{\`e}ne concerne le fait que les produits manufactur{\'e}s, tels que les t{\'e}l{\'e}phones mobiles, con{\c c}us pour ne durer que quelques ann{\'e}es, ne sont que rarement r{\'e}par{\'e}s. Ce qui du coup interroge les impacts tant environnementaux qu'{\'e}conomiques d'une telle situation. Dans ce contexte, l'apparition depuis quelques ann{\'e}es de lieux de remise {\`a} neuf et d'entretien dans les hackerspaces, repairs caf{\'e}s et autres magasins non agr{\'e}{\'e}s montre que particuliers ou entrepreneurs tentent de reprendre la main afin d'am{\'e}liorer la durabilit{\'e} de ces appareils. Ces espaces, sous la forme de magasins et d'espaces de bricolage, fournissent une occasion unique pour une compr{\'e}hension fine de l'{\'e}closion des pratiques de r{\'e}paration. Au carrefour de l'ethnographie et du design num{\'e}rique, ce projet vise l'investigation empirique de ces repair cultures en prenant le cas du smartphone. (HEAD)},
-  collaborator = {Nova, Nicolas and Bloch, {\relax Ana{\"i}s}.},
+  location = {Lausanne},
+  abstract = {Au cœur des débats contemporains sur les technologies de l'information et de la communication, la question de leur rapide obsolescence occupe une place prépondérante. Un des effets de bord de ce phénomène concerne le fait que les produits manufacturés, tels que les téléphones mobiles, conçus pour ne durer que quelques années, ne sont que rarement réparés. Ce qui du coup interroge les impacts tant environnementaux qu'économiques d'une telle situation. Dans ce contexte, l'apparition depuis quelques années de lieux de remise à neuf et d'entretien dans les hackerspaces, repairs cafés et autres magasins non agréés montre que particuliers ou entrepreneurs tentent de reprendre la main afin d'améliorer la durabilité de ces appareils. Ces espaces, sous la forme de magasins et d'espaces de bricolage, fournissent une occasion unique pour une compréhension fine de l'éclosion des pratiques de réparation. Au carrefour de l'ethnographie et du design numérique, ce projet vise l'investigation empirique de ces repair cultures en prenant le cas du smartphone. (HEAD)},
   isbn = {978-2-9700992-6-0},
   langid = {american},
   keywords = {Obsolescence},
@@ -1051,13 +1073,14 @@
   title = {Understanding Why We Preserve Some Things and Discard Others in the Context of Interaction Design},
   booktitle = {Proceedings of the {{SIGCHI Conference}} on {{Human Factors}} in {{Computing Systems}}},
   author = {Odom, William and Pierce, James and Stolterman, Erik and Blevis, Eli},
-  year = {2009},
-  month = apr,
+  date = {2009-04-04},
   pages = {1053--1062},
   publisher = {ACM},
-  address = {Boston MA USA},
+  location = {Boston MA USA},
   doi = {10.1145/1518701.1518862},
+  url = {https://dl.acm.org/doi/10.1145/1518701.1518862},
   urldate = {2025-02-25},
+  eventtitle = {{{CHI}} '09: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}},
   isbn = {978-1-60558-246-7},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/32TJFWXX/Odom et al. - 2009 - Understanding why we preserve some things and discard others in the context of interaction design.pdf}
@@ -1067,69 +1090,73 @@
   title = {Software for {{People}}: Collected Writings 1963-80},
   shorttitle = {Software for {{People}}},
   author = {Oliveros, Pauline},
-  year = {2015},
+  date = {2015},
   edition = {Second Edition},
   publisher = {Pauline Oliveros Publications},
-  address = {Kingston, NY},
+  location = {Kingston, NY},
   isbn = {978-1-5175-2574-3},
-  langid = {english}
+  langid = {english},
+  pagetotal = {276}
 }
 
 @book{osullivanBloomsburyHandbookDigital2022,
   title = {The {{Bloomsbury Handbook}} to the {{Digital Humanities}}},
-  editor = {O'Sullivan, James},
-  year = {2022},
+  editor = {O’Sullivan, James},
+  date = {2022},
   publisher = {Bloomsbury Academic},
   doi = {10.5040/9781350232143},
+  url = {http://www.bloomsburycollections.com/book/the-bloomsbury-handbook-to-the-digital-humanities},
   urldate = {2025-04-14},
   isbn = {978-1-350-23211-2 978-1-350-23212-9 978-1-350-23213-6 978-1-350-23214-3},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/EDWEPPX4/O’Sullivan - 2022 - The Bloomsbury Handbook to the Digital Humanities.pdf}
 }
 
-@misc{owensArchivesMaterialityAgency2013,
-  type = {Webpage},
-  title = {Archives, {{Materiality}} and the ``{{Agency}} of the {{Machine}}'': {{An Interview}} with {{Wolfgang Ernst}} {\textbar} {{The Signal}}},
-  shorttitle = {Archives, {{Materiality}} and the ``{{Agency}} of the {{Machine}}''},
+@online{owensArchivesMaterialityAgency2013,
+  type = {webpage},
+  title = {Archives, {{Materiality}} and the “{{Agency}} of the {{Machine}}”: {{An Interview}} with {{Wolfgang Ernst}} | {{The Signal}}},
+  shorttitle = {Archives, {{Materiality}} and the “{{Agency}} of the {{Machine}}”},
   author = {Owens, Trevor},
-  year = {2013},
-  month = feb,
-  journal = {The Library of Congress},
+  date = {2013-02-08},
+  url = {https://blogs.loc.gov/thesignal/2013/02/archives-materiality-and-agency-of-the-machine-an-interview-with-wolfgang-ernst},
   urldate = {2025-04-10},
-  abstract = {In this installment of the National Digital Stewardship Alliance Innovation working group's series of interviews Lori~Emerson~of the Media Archaeology Lab interviews Wolfgang Ernst of Humboldt University in Berlin. The interview explores the relationship between media archaeology and digital preservation as evident in the design and structure of the Humbolt Media Archaeological Fundus. Lori: I deeply {\dots}},
-  howpublished = {https://blogs.loc.gov/thesignal/2013/02/archives-materiality-and-agency-of-the-machine-an-interview-with-wolfgang-ernst},
-  langid = {english}
+  abstract = {In this installment of the National Digital Stewardship Alliance Innovation working group’s series of interviews Lori~Emerson~of the Media Archaeology Lab interviews Wolfgang Ernst of Humboldt University in Berlin. The interview explores the relationship between media archaeology and digital preservation as evident in the design and structure of the Humbolt Media Archaeological Fundus. Lori: I deeply …},
+  langid = {english},
+  organization = {The Library of Congress}
 }
 
 @inbook{parikkaDustMatter2012,
   title = {Dust {{Matter}}},
   booktitle = {Depletion Design: A Glossary of Network Ecologies},
   author = {Parikka, Jussi},
-  year = {2012},
+  namea = {Wiedemann, Carolin},
+  nameatype = {collaborator},
+  date = {2012},
   series = {Theory on Demand},
   number = {8},
   pages = {53--57},
   publisher = {Institute of Network Cultures},
-  address = {Amsterdam},
-  collaborator = {{Institute of Network Cultures} and Wiedemann, Carolin},
+  location = {Amsterdam},
+  bookauthor = {{Institute of Network Cultures}},
   isbn = {978-90-818575-1-2},
   langid = {english}
 }
 
 @article{parikkaOperativeMediaArchaeology2011,
-  title = {Operative {{Media Archaeology}}: {{Wolfgang Ernst}}'s {{Materialist Media Diagrammatics}}},
+  title = {Operative {{Media Archaeology}}: {{Wolfgang Ernst}}’s {{Materialist Media Diagrammatics}}},
   shorttitle = {Operative {{Media Archaeology}}},
   author = {Parikka, Jussi},
-  year = {2011},
-  month = sep,
-  journal = {Theory, Culture \& Society},
+  date = {2011-09},
+  journaltitle = {Theory, Culture \& Society},
+  shortjournal = {Theory, Culture \& Society},
   volume = {28},
   number = {5},
   pages = {52--74},
   issn = {0263-2764, 1460-3616},
   doi = {10.1177/0263276411411496},
+  url = {https://journals.sagepub.com/doi/10.1177/0263276411411496},
   urldate = {2025-03-10},
-  abstract = {Media archaeological methods for extending the lifetime of new media into `old media' have experienced a revival during the past years. In recent media theory, a new context for a debate surrounding media archaeology is emerging. So far media archaeology has been articulated together with such a heterogeneous bunch of theorists as Erkki Huhtamo, Siegfried Zielinski, Thomas Elsaesser and to a certain extent Friedrich Kittler. However, debates surrounding media archaeology as a method seem to be taking it forward not only as a subdiscipline of (media) history, but increasingly into what will be introduced as materialist media diagrammatics. This article maps some recent media archaeological waves in German media theory. The text addresses Wolfgang Ernst's mode of media archaeology and his provocative accounts on how to rethink media archaeology as a fresh way of looking into the use and remediation of media history as a material monument instead of a historical narrative and as a recent media theoretical wave from Germany that seems to not only replicate Kittler's huge impact in the field of materialist media studies but develop that in novel directions. However, as will be argued towards the end, Ernst's provocative take that hopes to distinguish itself as a Berlin brand of media theory in its hardware materiality and time-critical focus resonates strongly with some of the recent new directions coming from US media studies, namely in software and platform studies.},
+  abstract = {Media archaeological methods for extending the lifetime of new media into ‘old media’ have experienced a revival during the past years. In recent media theory, a new context for a debate surrounding media archaeology is emerging. So far media archaeology has been articulated together with such a heterogeneous bunch of theorists as Erkki Huhtamo, Siegfried Zielinski, Thomas Elsaesser and to a certain extent Friedrich Kittler. However, debates surrounding media archaeology as a method seem to be taking it forward not only as a subdiscipline of (media) history, but increasingly into what will be introduced as materialist media diagrammatics. This article maps some recent media archaeological waves in German media theory. The text addresses Wolfgang Ernst’s mode of media archaeology and his provocative accounts on how to rethink media archaeology as a fresh way of looking into the use and remediation of media history as a material monument instead of a historical narrative and as a recent media theoretical wave from Germany that seems to not only replicate Kittler’s huge impact in the field of materialist media studies but develop that in novel directions. However, as will be argued towards the end, Ernst’s provocative take that hopes to distinguish itself as a Berlin brand of media theory in its hardware materiality and time-critical focus resonates strongly with some of the recent new directions coming from US media studies, namely in software and platform studies.},
   langid = {english},
   keywords = {check note},
   file = {/Users/Rosa/Zotero/storage/HNAAWPZ9/Parikka - 2011 - Operative Media Archaeology Wolfgang Ernst’s Materialist Media Diagrammatics.pdf}
@@ -1139,16 +1166,16 @@
   title = {Cracking {{Open}} the {{Set}}: {{Television Repair}} and {{Tinkering}} with {{Gender}} 1949-1955},
   shorttitle = {Cracking {{Open}} the {{Set}}},
   author = {Parks, Lisa},
-  year = {2000},
-  month = aug,
-  journal = {Television \& New Media},
+  date = {2000-08},
+  journaltitle = {Television \& New Media},
+  shortjournal = {Television \& New Media},
   volume = {1},
   number = {3},
   pages = {257--278},
   issn = {1527-4764, 1552-8316},
   doi = {10.1177/152747640000100302},
+  url = {https://journals.sagepub.com/doi/10.1177/152747640000100302},
   urldate = {2025-03-10},
-  copyright = {https://journals.sagepub.com/page/policies/text-and-data-mining-license},
   langid = {english},
   keywords = {check note},
   file = {/Users/Rosa/Zotero/storage/745J4QXQ/Parks - 2000 - Cracking Open the Set Television Repair and Tinkering with Gender 1949-1955.pdf}
@@ -1158,25 +1185,25 @@
   title = {Falling {{Apart}}: {{Electronics Salvaging}} and the {{Global Media Economy}}},
   booktitle = {Residual {{Media}}},
   author = {Parks, Lisa},
-  year = {2007},
+  date = {2007},
   pages = {32--47},
   publisher = {Minneapolis: University of Minnesota Press},
-  collaborator = {Acland, Charles R.},
+  bookauthor = {Acland, Charles R.},
   isbn = {978-0-8166-4472-8 978-0-8166-4471-1},
   langid = {english},
   keywords = {check note,hiding waste streams,moores law,Obsolescence,summarised,to summarise,toppertje},
   file = {/Users/Rosa/Zotero/storage/CAIF3ZWR/Parks - Falling Apart Electronics Salvaging and the Global Media Economy.pdf}
 }
 
-@misc{parksMediaFixesThoughts2013,
+@online{parksMediaFixesThoughts2013,
   title = {Media {{Fixes}}: {{Thoughts}} on {{Repair Cultures}}},
   shorttitle = {Media {{Fixes}}},
   author = {Parks, Lisa},
-  year = {2013},
-  month = dec,
-  journal = {Flow Journal},
+  date = {2013-12-16},
+  url = {https://www.flowjournal.org/2013/12/media-fixes-thoughts-on-repair-cultures/},
   urldate = {2025-03-10},
   langid = {american},
+  organization = {Flow Journal},
   keywords = {Black Boxism,check note},
   file = {/Users/Rosa/Zotero/storage/CBWNSJTQ/Barbara - 2013 - Media Fixes Thoughts on Repair Cultures Lisa Parks  University of California, Santa Barbara – Flow.pdf;/Users/Rosa/Zotero/storage/5SP7QZRD/media-fixes-thoughts-on-repair-cultures.html}
 }
@@ -1185,25 +1212,26 @@
   title = {Garbage {{Wars}}: {{The Struggle}} for {{Environmental Justice}} in {{Chicago}}},
   shorttitle = {Garbage {{Wars}}},
   author = {Pellow, David Naguib},
-  year = {2002},
+  date = {2002},
   publisher = {The MIT Press},
   doi = {10.7551/mitpress/3195.001.0001},
+  url = {https://direct.mit.edu/books/book/2040/garbage-warsthe-struggle-for-environmental-justice},
   urldate = {2025-01-17},
   isbn = {978-0-262-28135-5},
   langid = {english}
 }
 
-@misc{PermacomputingPrinciples,
+@online{PermacomputingPrinciples,
   title = {Permacomputing {{Principles}}},
+  url = {https://permacomputing.net/Principles/},
   urldate = {2025-03-14},
-  howpublished = {https://permacomputing.net/Principles/},
   file = {/Users/Rosa/Zotero/storage/TBYIGTHI/Principles.html}
 }
 
-@misc{PermacomputingViznut,
-  title = {Permacomputing {\textbar} Viznut},
+@online{PermacomputingViznut,
+  title = {Permacomputing | Viznut},
+  url = {http://viznut.fi/files/texts-en/permacomputing.html},
   urldate = {2025-04-14},
-  howpublished = {http://viznut.fi/files/texts-en/permacomputing.html},
   file = {/Users/Rosa/Zotero/storage/YH328MPK/Permacomputing  viznut.pdf;/Users/Rosa/Zotero/storage/3M49668D/permacomputing.html}
 }
 
@@ -1211,9 +1239,9 @@
   title = {Analog Days: The Invention and Impact of the {{Moog}} Synthesizer},
   shorttitle = {Analog Days},
   author = {Pinch, Trevor and Trocco, Frank},
-  year = {2002},
+  date = {2002},
   publisher = {Harvard University press},
-  address = {Cambridge (Mass.) London},
+  location = {Cambridge (Mass.) London},
   isbn = {978-0-674-00889-2},
   langid = {english},
   keywords = {new},
@@ -1224,24 +1252,22 @@
   title = {Weggooien, Mooi Niet!},
   author = {Postma, Martine},
   editor = {Rhoen, Marion},
-  year = {2015},
-  month = mar,
+  date = {2015-03-01},
   publisher = {de Vrije Uitgevers},
   isbn = {978-94-90298-06-7},
   keywords = {summarised}
 }
 
-@misc{purdyGalaxyUpcyclingHow2021,
+@online{purdyGalaxyUpcyclingHow2021,
   title = {Galaxy {{Upcycling}}: {{How Samsung Ruined Their Best Idea}} in {{Years}}},
   shorttitle = {Galaxy {{Upcycling}}},
   author = {Purdy, Kevin},
-  year = {2021},
-  month = may,
-  journal = {iFixit},
+  date = {2021-05-18},
+  url = {https://www.ifixit.com/News/50450/samsung-galaxy-upcycling-unlocked-smartphone-smarthome-project},
   urldate = {2025-03-25},
   abstract = {Samsung had a revolutionary approach to reusing old Galaxy phones four years ago. We were an excited partner. What happened to Galaxy Upcycling?},
-  howpublished = {https://www.ifixit.com/News/50450/samsung-galaxy-upcycling-unlocked-smartphone-smarthome-project},
   langid = {english},
+  organization = {iFixit},
   file = {/Users/Rosa/Zotero/storage/D929VFGX/samsung-galaxy-upcycling-unlocked-smartphone-smarthome-project.html}
 }
 
@@ -1250,13 +1276,14 @@
   shorttitle = {Macroscopically Sustainable Networking},
   booktitle = {Proceedings of the {{Second Workshop}} on {{Computing}} within {{Limits}}},
   author = {Raghavan, Barath and Hasan, Shaddi},
-  year = {2016},
-  month = jun,
+  date = {2016-06-08},
   pages = {1--6},
   publisher = {ACM},
-  address = {Irvine California},
+  location = {Irvine California},
   doi = {10.1145/2926676.2926685},
+  url = {https://dl.acm.org/doi/10.1145/2926676.2926685},
   urldate = {2025-01-05},
+  eventtitle = {{{LIMITS}} '16: {{Workshop}} on {{Computing}} within {{Limits}}},
   isbn = {978-1-4503-4260-5},
   langid = {english}
 }
@@ -1265,10 +1292,10 @@
   title = {Limits and Sustainable Interaction Design: Obsolescence in a Future of Collapse and Resource Scarcity},
   shorttitle = {Limits and Sustainable Interaction Design},
   author = {Remy, Christian and Huang, Elaine May},
-  year = {2015},
-  month = jun,
+  date = {2015-06-16},
   publisher = {s.n.},
   doi = {10.5167/UZH-110997},
+  url = {https://www.zora.uzh.ch/id/eprint/110997},
   urldate = {2025-01-05},
   langid = {american},
   keywords = {check note,Obsolescence,to summarise},
@@ -1278,14 +1305,15 @@
 @article{remyTakingNoteMarketing2013,
   title = {Taking a Note from Marketing Research in Sustainable {{HCI}}},
   author = {Remy, Christian},
-  year = {2013},
-  month = may,
-  journal = {Interactions},
+  date = {2013-05},
+  journaltitle = {Interactions},
+  shortjournal = {interactions},
   volume = {20},
   number = {3},
   pages = {12--15},
   issn = {1072-5520, 1558-3449},
   doi = {10.1145/2451856.2451861},
+  url = {https://dl.acm.org/doi/10.1145/2451856.2451861},
   urldate = {2025-02-25},
   abstract = {Sustainability in (Inter)Action provides a forum for innovative thought, design, and research in the area of interaction design and environmental sustainability. The column explores how HCI can contribute to the complex and interdisciplinary efforts to address sustainability challenges.                                Elaine M. Huang, Editor},
   langid = {english},
@@ -1295,17 +1323,17 @@
 @article{richardsDIYElectronicMusic2013,
   title = {Beyond {{DIY}} in {{Electronic Music}}},
   author = {Richards, John},
-  year = {2013},
-  month = dec,
-  journal = {Organised Sound},
+  date = {2013-12},
+  journaltitle = {Organised Sound},
+  shortjournal = {Org. Sound},
   volume = {18},
   number = {3},
   pages = {274--281},
   issn = {1355-7718, 1469-8153},
   doi = {10.1017/S1355771813000241},
+  url = {https://www.cambridge.org/core/product/identifier/S1355771813000241/type/journal_article},
   urldate = {2025-01-05},
-  abstract = {Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the `something to take home' factor. These include the following works:ICA Solder a Score, Composing `outside' electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by `non-experts', serves to establish a na{\"i}ve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community `full of experts' and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: `In DIY practice, where does the authentic document of the work lie?'},
-  copyright = {https://www.cambridge.org/core/terms},
+  abstract = {Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the ‘something to take home’ factor. These include the following works:ICA Solder a Score, Composing ‘outside’ electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by ‘non-experts’, serves to establish a naïve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community ‘full of experts’ and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: ‘In DIY practice, where does the authentic document of the work lie?’},
   langid = {english},
   keywords = {check note,summarised},
   file = {/Users/Rosa/Zotero/storage/PJMVSHEX/Richards - 2013 - Beyond DIY in Electronic Music.pdf}
@@ -1315,14 +1343,15 @@
   title = {{{DIY}} and {{Maker Communities}} in {{Electronic Music}}},
   booktitle = {The {{Cambridge Companion}} to {{Electronic Music}}},
   author = {Richards, John},
-  editor = {{d'Escrivan}, Julio and Collins, Nick},
-  year = {2017},
+  editor = {family=Escrivan, given=Julio, prefix=d', useprefix=true and Collins, Nick},
+  date = {2017},
   series = {Cambridge {{Companions}} to {{Music}}},
   edition = {2},
   pages = {238--257},
   publisher = {Cambridge University Press},
-  address = {Cambridge},
+  location = {Cambridge},
   doi = {10.1017/9781316459874.015},
+  url = {https://www.cambridge.org/core/books/cambridge-companion-to-electronic-music/diy-and-maker-communities-in-electronic-music/A548A38388D374FE7D8187AB9130013F},
   urldate = {2025-03-11},
   isbn = {978-1-107-13355-6},
   keywords = {new},
@@ -1332,8 +1361,8 @@
 @article{richardsMusicThings2017,
   title = {The {{Music}} of {{Things}}},
   author = {Richards, John},
-  year = {2017},
-  journal = {Journal of the Japanese Society for Sonic Arts},
+  date = {2017},
+  journaltitle = {Journal of the Japanese Society for Sonic Arts},
   volume = {9},
   number = {2},
   pages = {16--20},
@@ -1344,14 +1373,15 @@
 }
 
 @article{richardsSlipperyBowsSlow2017,
-  title = {{Slippery bows and slow circuits}},
+  title = {Slippery bows and slow circuits},
   author = {Richards, John},
-  year = {2017},
-  journal = {Musicologica Brunensia},
+  date = {2017},
+  journaltitle = {Musicologica Brunensia},
   number = {1},
   pages = {29--41},
   issn = {1212-0391, 2336-436X},
   doi = {10.5817/MB2017-1-3},
+  url = {http://digilib.phil.muni.cz/handle/11222.digilib/136925},
   urldate = {2025-03-11},
   langid = {czech},
   keywords = {new},
@@ -1360,37 +1390,35 @@
 
 @inproceedings{richardsSpeculativeSoundCircuits2018,
   title = {Speculative {{Sound Circuits}}},
-  booktitle = {Politics of the {{Machines}} - {{Art}} and {{After}}},
   author = {Richards, John},
-  year = {2018},
+  date = {2018},
   doi = {10.14236/ewic/EVAC18.33},
+  url = {https://scienceopen.com/hosted-document?doi=10.14236/ewic/EVAC18.33},
   urldate = {2025-01-05},
-  copyright = {http://creativecommons.org/licenses/by/4.0/},
+  eventtitle = {Politics of the {{Machines}} - {{Art}} and {{After}}},
   langid = {english},
   keywords = {check note,Speculative,to summarise,toppertje},
   file = {/Users/Rosa/Zotero/storage/WJS3URT5/Richards - 2018 - Speculative Sound Circuits.pdf}
 }
 
-@misc{robinmitchellRightRepairGiving2017,
+@online{robinmitchellRightRepairGiving2017,
   title = {The {{Right To Repair}}: {{Giving Consumers}} the {{Ability}} to {{Fix}} Their {{Own Electronics}} - {{News}}},
   shorttitle = {The {{Right To Repair}}},
   author = {{Robin Mitchell}},
-  year = {2017},
-  month = dec,
+  date = {2017-12-02},
+  url = {https://www.allaboutcircuits.com/news/right-to-repair-laws-for-consumer-electronics/},
   urldate = {2025-01-28},
   abstract = {Many U.S. states are considering a bill to give consumers the protected right to repair their own electronics without fear of manufacturer retaliation.},
-  howpublished = {https://www.allaboutcircuits.com/news/right-to-repair-laws-for-consumer-electronics/},
   langid = {english}
 }
 
-@misc{robinmitchellWhat2017sPotential2017,
-  title = {What 2017's {{Potential Component Shortage Means}} for {{Design Engineers}} - {{News}}},
+@online{robinmitchellWhat2017sPotential2017,
+  title = {What 2017’s {{Potential Component Shortage Means}} for {{Design Engineers}} - {{News}}},
   author = {{Robin Mitchell}},
-  year = {2017},
-  month = sep,
+  date = {2017-09-03},
+  url = {https://www.allaboutcircuits.com/news/what-2017s-potential-component-shortage-means-for-design-engineers/},
   urldate = {2025-01-28},
   abstract = {Veteran engineers and market forecasters alike have fears of an impending component shortage this year. What evidence is there to suggest such a claim and if true, how will engineers be affected?},
-  howpublished = {https://www.allaboutcircuits.com/news/what-2017s-potential-component-shortage-means-for-design-engineers/},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/FKZVA9QW/what-2017s-potential-component-shortage-means-for-design-engineers.html}
 }
@@ -1402,10 +1430,10 @@
   file = {/Users/Rosa/Zotero/storage/MRR2KAEV/Rodgers - Pink Noises Women on Electronic Music and Sound.pdf}
 }
 
-@misc{RoolzGeweiJagerspracheVague,
-  title = {Roolz-{{Gewei}} \& {{Jagersprache}} {\textbar} {{Vague Terrain}}},
-  urldate = {2025-01-26},
-  howpublished = {https://web.archive.org/web/20140723131951/http://vagueterrain.net/journal19/peter-blasser/01}
+@online{RoolzGeweiJagerspracheVague,
+  title = {Roolz-{{Gewei}} \& {{Jagersprache}} | {{Vague Terrain}}},
+  url = {https://web.archive.org/web/20140723131951/http://vagueterrain.net/journal19/peter-blasser/01},
+  urldate = {2025-01-26}
 }
 
 @inproceedings{rouraCircularDigitalDevices2021,
@@ -1413,25 +1441,26 @@
   shorttitle = {Circular Digital Devices},
   booktitle = {Computing within {{Limits}}},
   author = {Roura, Mireia and Franquesa, David and Navarro, Leandro and Meseguer, Roc},
-  year = {2021},
-  month = jun,
+  date = {2021-06-14},
   publisher = {LIMITS},
   doi = {10.21428/bf6fb269.3881c46e},
+  url = {https://limits.pubpub.org/pub/ttw9ws0w/release/1},
   urldate = {2025-01-05},
   abstract = {LIMITS '21 Paper},
+  eventtitle = {Seventh {{Workshop}} on {{Computing}} within {{Limits}} 2021},
   langid = {english},
   file = {/Users/Rosa/Zotero/storage/EE6U37KD/Roura et al. - 2021 - Circular digital devices lessons about the social and planetary boundaries.pdf}
 }
 
-@misc{selwynWhatMightDegrowth2022,
+@online{selwynWhatMightDegrowth2022,
   title = {What Might Degrowth Computing Look Like?},
   author = {Selwyn, Neil},
-  year = {2022},
-  month = apr,
-  journal = {Critical Studies of EDUCATION \& TECHNOLOGY},
+  date = {2022-04-07T22:44:50+00:00},
+  url = {https://criticaledtech.com/2022/04/08/what-might-degrowth-computing-look-like/},
   urldate = {2025-01-05},
-  abstract = {The past few years have seen various attempts within computing, programming and hacker communities to apply `degrowth' principles to their work -- i.e. sketching out ways to de-couple digital techno{\dots}},
+  abstract = {The past few years have seen various attempts within computing, programming and hacker communities to apply ‘degrowth’ principles to their work – i.e. sketching out ways to de-couple digital techno…},
   langid = {english},
+  organization = {Critical Studies of EDUCATION \& TECHNOLOGY},
   keywords = {to summarise},
   file = {/Users/Rosa/Zotero/storage/ABFRIUPV/PDF document.pdf;/Users/Rosa/Zotero/storage/9ZAFPFDB/2022 - What might degrowth computing look like.html}
 }
@@ -1440,12 +1469,11 @@
   title = {Made to Break: Technology and Obsolescence in {{America}}},
   shorttitle = {Made to Break},
   author = {Slade, Giles},
-  year = {2006},
+  date = {2006},
   publisher = {Harvard university press},
-  address = {Cambridge},
+  location = {Cambridge},
   isbn = {978-0-674-02203-4},
   langid = {english},
-  lccn = {609.730 9},
   keywords = {chip,Obsolescence,summarised},
   file = {/Users/Rosa/Zotero/storage/HC67UT6D/Slade - 2006 - Made to break technology and obsolescence in America.pdf}
 }
@@ -1455,9 +1483,10 @@
   booktitle = {Residual {{Media}}},
   author = {Sterne, Jonathan},
   editor = {Acland, Charles},
-  year = {2007},
+  date = {2007},
   pages = {16--31},
   publisher = {Minneapolis: University of Minnesota Press},
+  url = {https://sterneworks.org/OutwiththeTrash.pdf},
   isbn = {0-8166-4471-3},
   langid = {american},
   keywords = {check note,summarised,toppertje},
@@ -1465,16 +1494,16 @@
 }
 
 @incollection{sterneWhatWeWant2014,
-  title = {``{{What Do We Want}}?'' ``{{Materiality}}!'' ``{{When Do We Want It}}?'' ``{{Now}}!''},
-  shorttitle = {``{{What Do We Want}}?},
+  title = {“{{What Do We Want}}?” “{{Materiality}}!” “{{When Do We Want It}}?” “{{Now}}!”},
+  shorttitle = {“{{What Do We Want}}?},
   booktitle = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
   author = {Sterne, Jonathan},
   editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
-  year = {2014},
-  month = feb,
+  date = {2014-02-28},
   pages = {0},
   publisher = {The MIT Press},
   doi = {10.7551/mitpress/9780262525374.003.0006},
+  url = {https://doi.org/10.7551/mitpress/9780262525374.003.0006},
   urldate = {2025-03-09},
   abstract = {This article reviews essays by Pablo Boczkowski and Ignacio Siles, Leah Lievrouw, Finn Brunton and Gabriella Coleman, and Geoffrey Bowker. It argues that, in several areas of media studies and science and technology studies, scholars have gone off in search of materiality as a grounding term for their work. Yet there is little agreement as to the actual referent of the term materiality; it signals several traditions that sometimes contradict one another. In addition to giving an account of the confusion around the term, this paper offers a history of the constructivism against which many new materialists rebel, arguing that whatever epistemological position we want to take up, the political questions raised by the constructivists are still with us today.},
   isbn = {978-0-262-52537-4},
@@ -1486,10 +1515,10 @@
 @article{sutherlandDesignAspirationsEnergy2021,
   title = {Design {{Aspirations}} for {{Energy Autarkic Information Systems}} in a {{Future}} with {{Limits}}},
   author = {Sutherland, Brian},
-  year = {2021},
-  month = jun,
-  journal = {LIMITS Workshop on Computing within Limits},
+  date = {2021-06-14},
+  journaltitle = {LIMITS Workshop on Computing within Limits},
   doi = {10.21428/bf6fb269.8b56b095},
+  url = {https://limits.pubpub.org/pub/6kr5jwd2},
   urldate = {2025-01-05},
   langid = {english},
   keywords = {transistors},
@@ -1501,33 +1530,46 @@
   shorttitle = {Junkyard {{Computing}}},
   booktitle = {Proceedings of the 28th {{ACM International Conference}} on {{Architectural Support}} for {{Programming Languages}} and {{Operating Systems}}, {{Volume}} 2},
   author = {Switzer, Jennifer and Marcano, Gabriel and Kastner, Ryan and Pannuto, Pat},
-  year = {2023},
-  month = jan,
+  date = {2023-01-30},
   series = {{{ASPLOS}} 2023},
   pages = {400--412},
   publisher = {Association for Computing Machinery},
-  address = {New York, NY, USA},
+  location = {New York, NY, USA},
   doi = {10.1145/3575693.3575710},
+  url = {https://dl.acm.org/doi/10.1145/3575693.3575710},
   urldate = {2025-03-25},
   abstract = {1.5 billion smartphones are sold annually, and most are decommissioned less than two years later. Most of these unwanted smartphones are neither discarded nor recycled but languish in junk drawers and storage units. This computational stockpile represents a substantial wasted potential: modern smartphones have increasingly high-performance and energy-efficient processors, extensive networking capabilities, and a reliable built-in power supply. This project studies the ability to reuse smartphones as "junkyard computers." Junkyard computers grow global computing capacity by extending device lifetimes, which supplants the manufacture of new devices. We show that the capabilities of even decade-old smartphones are within those demanded by modern cloud microservices and discuss how to combine phones to perform increasingly complex tasks. We describe how current operation-focused metrics do not capture the actual carbon costs of compute. We propose Computational Carbon Intensity---a performance metric that balances the continued service of older devices with the superlinear runtime improvements of newer machines. We use this metric to redefine device service lifetime in terms of carbon efficiency. We develop a cloudlet of reused Pixel 3A phones. We analyze the carbon benefits of deploying large, end-to-end microservice-based applications on these smartphones. Finally, we describe system architectures and associated challenges to scale to cloudlets with hundreds and thousands of smartphones.},
   isbn = {978-1-4503-9916-6},
   file = {/Users/Rosa/Zotero/storage/L23JPAUL/Switzer et al. - 2023 - Junkyard Computing Repurposing Discarded Smartphones to Minimize Carbon.pdf}
 }
 
-@misc{SynthSchematicsWords,
+@online{SynthSchematicsWords,
   title = {Synth Schematics--::-- {{Some}} Words},
+  url = {https://www.schmitzbits.de/w.html},
   urldate = {2025-01-23},
-  howpublished = {https://www.schmitzbits.de/w.html},
   file = {/Users/Rosa/Zotero/storage/6RN53QAS/w.html}
 }
 
-@misc{VagueTerrain192014,
-  title = {Vague {{Terrain}} 19: {{Schematic}} as {{Score}} {\textbar} {{Vague Terrain}}},
+@unpublished{taylorPrinterJamGet2024,
+  title = {Printer {{Jam}}: {{Get}} a Grip on Everyday Life with {{OSC}}},
+  shorttitle = {Printer {{Jam}}},
+  author = {Taylor, Riviera and Schuurmans, Rosa},
+  date = {2024-01-06},
+  url = {https://media.ccc.de/v/gpn22-457-printer-jam-get-a-grip-on-everyday-life-with-osc},
+  urldate = {2025-04-24},
+  abstract = {Not sure what to do with your discarded, never working, inkjet printers? Rosa Schuurmans and Riviera Taylor combine the sound of printers...},
+  eventtitle = {{{GPN22}}},
+  langid = {english},
+  venue = {Karlsruhe},
+  file = {/Users/Rosa/Zotero/storage/6E9A7WCI/gpn22-457-printer-jam-get-a-grip-on-everyday-life-with-osc.html}
+}
+
+@online{VagueTerrain192014,
+  title = {Vague {{Terrain}} 19: {{Schematic}} as {{Score}} | {{Vague Terrain}}},
   shorttitle = {Vague {{Terrain}} 19},
-  year = {2014},
-  month = jul,
+  date = {2014-07-23},
+  url = {https://web.archive.org/web/20140723013316/http://vagueterrain.net/journal19},
   urldate = {2025-01-26},
-  howpublished = {https://web.archive.org/web/20140723013316/http://vagueterrain.net/journal19},
   keywords = {to summarise},
   file = {/Users/Rosa/Zotero/storage/4BKQP8SX/journal19.html}
 }
@@ -1535,13 +1577,12 @@
 @article{vallisShiftIterativeOpenSource2010,
   title = {A {{Shift Towards Iterative And Open-Source Design For Musical Interfaces}}},
   author = {Vallis, Owen and Hochenbaum, Jordan and Kapur, Ajay},
-  year = {2010},
-  month = jun,
+  date = {2010-06-01},
   publisher = {Zenodo},
   doi = {10.5281/ZENODO.1177919},
+  url = {https://zenodo.org/record/1177919},
   urldate = {2025-03-11},
   abstract = {The aim of this paper is to define the process of iterative interface design as it pertains to musical performance. Embodying this design approach, the Monome OSC/MIDI USB controller represents a minimalist, open-source hardware device. The open-source nature of the device has allowed for a small group of Monome users to modify the hardware, firmware, and software associated with the interface. These user driven modifications have allowed the re-imagining of the interface for new and novel purposes, beyond even that of the device's original intentions. With development being driven by a community of users, a device can become several related but unique generations of musical controllers, each one focused on a specific set of needs.},
-  copyright = {Creative Commons Attribution 4.0, Open Access},
   keywords = {new},
   file = {/Users/Rosa/Zotero/storage/LIBHVK7L/Vallis et al. - 2010 - A Shift Towards Iterative And Open-Source Design For Musical Interfaces.pdf}
 }
@@ -1550,9 +1591,9 @@
   title = {To {{Do}} or to {{Have}}? {{That Is}} the {{Question}}},
   shorttitle = {To {{Do}} or to {{Have}}? i},
   author = {Van Boven, Leaf and Gilovich, Thomas},
-  year = {2003},
-  month = dec,
-  journal = {Journal of personality and social psychology},
+  date = {2003-12-01},
+  journaltitle = {Journal of personality and social psychology},
+  shortjournal = {Journal of personality and social psychology},
   volume = {85},
   pages = {1193--202},
   doi = {10.1037/0022-3514.85.6.1193},
@@ -1561,9 +1602,9 @@
 
 @article{vanloonRecyclingTimeTemporal1997,
   title = {Recycling {{Time}}. {{The Temporal Complexity}} of {{Waste Management}}.},
-  author = {{van Loon}, J. and Sabelis, I.H.J.},
-  year = {1997},
-  journal = {Time and Society},
+  author = {family=Loon, given=J., prefix=van, useprefix=true and Sabelis, I.H.J.},
+  date = {1997},
+  journaltitle = {Time and Society},
   volume = {6},
   number = {2/3},
   pages = {287--306},
@@ -1572,22 +1613,22 @@
   file = {/Users/Rosa/Zotero/storage/6VWQDLG7/van Loon and Sabelis - 1997 - Recycling Time. The Temporal Complexity of Waste Management..pdf}
 }
 
-@misc{viznutPermacomputingUpdate2021,
-  title = {Permacomputing {{Update}} 2021 {\textbar}},
+@online{viznutPermacomputingUpdate2021,
+  title = {Permacomputing {{Update}} 2021 |},
   author = {{viznut}},
+  url = {http://viznut.fi/texts-en/permacomputing_update_2021.html},
   urldate = {2025-01-05},
-  howpublished = {http://viznut.fi/texts-en/permacomputing\_update\_2021.html},
   file = {/Users/Rosa/Zotero/storage/AD776H64/permacomputing_update_2021.html}
 }
 
 @book{vonfoersterMusicComputers1969,
   title = {Music by Computers},
   editor = {Von Foerster, Heinz and Beauchamp, James W.},
-  year = {1969},
+  date = {1969},
   publisher = {J. Wiley},
-  address = {New York},
+  location = {New York},
   isbn = {978-0-471-91030-5},
-  lccn = {ML55.V575 M9},
+  pagetotal = {139},
   keywords = {Computer music},
   file = {/Users/Rosa/Zotero/storage/YKUYA5BZ/Beauchamp - EDITORS HEINZ VON FOERSTER.pdf}
 }
@@ -1596,8 +1637,8 @@
   title = {"{{My Favorite Things}}": {{A Cross-Cultural Inquiry}} into {{Object Attachment}}, {{Possessiveness}}, and {{Social Linkage}}},
   shorttitle = {"{{My Favorite Things}}"},
   author = {Wallendorf, Melanie and Arnould, Eric J.},
-  year = {1988},
-  journal = {Journal of Consumer Research},
+  date = {1988},
+  journaltitle = {Journal of Consumer Research},
   volume = {14},
   number = {4},
   eprint = {2489159},
@@ -1605,6 +1646,7 @@
   pages = {531--547},
   publisher = {Oxford University Press},
   issn = {0093-5301},
+  url = {https://www.jstor.org/stable/2489159},
   urldate = {2025-01-14},
   abstract = {We explore the meaning and histories of favorite objects in two cultures using surveys and photographs. Favorite object attachment is differentiated from the possessiveness component of materialism and from attachment to other people. Meanings of favorite objects derive more from personal memories in the U.S. and from social status in Niger than from object characteristics. Since favorite objects serve as storehouses of personal meanings, gender, age, and culture reflect differences in object selected as well as reasons for selection. In the U.S., photographs show greater proximity to objects that are symbols of others or experiences than to objects enjoyed for their own attributes.},
   file = {/Users/Rosa/Zotero/storage/FHJBKZHZ/Wallendorf and Arnould - 1988 - My Favorite Things A Cross-Cultural Inquiry into Object Attachment, Possessiveness, and Social Li.pdf}
@@ -1613,27 +1655,26 @@
 @book{wershler-henryLabBookSituated2021,
   title = {The Lab Book: Situated Practices in Media Studies},
   shorttitle = {The Lab Book},
-  author = {{Wershler-Henry}, Darren S. and Emerson, Lori and Parikka, Jussi},
-  year = {2021},
+  author = {Wershler-Henry, Darren S. and Emerson, Lori and Parikka, Jussi},
+  date = {2021},
   publisher = {University of Minnesota Press},
-  address = {Minneapolis},
+  location = {Minneapolis},
   abstract = {"An important new approach to the study of laboratories, presenting a practical method for understanding labs in all walks of life"--},
   isbn = {978-1-5179-0217-9 978-1-5179-0218-6},
   langid = {english},
-  lccn = {P91.3 .W446 2021},
+  pagetotal = {333},
   keywords = {Group work in research,Laboratories,Media Archeology,Speculative},
   file = {/Users/Rosa/Zotero/storage/JJTTH8SA/Wershler-Henry et al. - 2021 - The lab book situated practices in media studies.pdf}
 }
 
-@misc{zaffarRiseFrankensteinLaptops2025,
-  title = {The Rise of `{{Frankenstein}}' Laptops in {{New Delhi}}'s Repair Markets},
+@online{zaffarRiseFrankensteinLaptops2025,
+  title = {The Rise of ‘{{Frankenstein}}’ Laptops in {{New Delhi}}’s Repair Markets},
   author = {Zaffar, Hanan},
-  year = {2025},
-  month = apr,
-  journal = {The Verge},
+  date = {2025-04-07T14:00:00+00:00},
+  url = {https://www.theverge.com/tech/639126/india-frankenstein-laptops},
   urldate = {2025-04-10},
-  abstract = {Technicians in India's refurbished laptop shops give discarded electronics a new life.},
-  howpublished = {https://www.theverge.com/tech/639126/india-frankenstein-laptops},
+  abstract = {Technicians in India’s refurbished laptop shops give discarded electronics a new life.},
   langid = {american},
+  organization = {The Verge},
   file = {/Users/Rosa/Zotero/storage/GXKJZE75/india-frankenstein-laptops.html}
 }
diff --git a/src/assets/styles/layout.css b/src/assets/styles/layout.css
index f44b931..3413d23 100644
--- a/src/assets/styles/layout.css
+++ b/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;
 }
diff --git a/src/assets/styles/paged.css b/src/assets/styles/paged.css
index 6a18ff6..4242997 100644
--- a/src/assets/styles/paged.css
+++ b/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 ) {
diff --git a/src/assets/styles/style.css b/src/assets/styles/style.css
index 38a3136..641de1b 100644
--- a/src/assets/styles/style.css
+++ b/src/assets/styles/style.css
@@ -44,4 +44,3 @@ body {
     display: inline-block;
   }
 }
-
diff --git a/src/content/chapters/-1-intro.md b/src/content/chapters/-1-intro.md
index 77c231a..729a41f 100644
--- a/src/content/chapters/-1-intro.md
+++ b/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}
diff --git a/src/content/chapters/1-dismantling.md b/src/content/chapters/1-dismantling.md
index fa52493..fc1ff62 100644
--- a/src/content/chapters/1-dismantling.md
+++ b/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)
 
diff --git a/src/content/chapters/2-component-salvaging.md b/src/content/chapters/2-component-salvaging.md
index 09817cb..1c9cf68 100644
--- a/src/content/chapters/2-component-salvaging.md
+++ b/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].
 
diff --git a/src/content/chapters/3-recipes.md b/src/content/chapters/3-recipes.md
index 1c6b098..499f907 100644
--- a/src/content/chapters/3-recipes.md
+++ b/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>
+ 
diff --git a/src/content/chapters/4-reflection.md b/src/content/chapters/4-reflection.md
index b393f5a..8c1c40d 100644
--- a/src/content/chapters/4-reflection.md
+++ b/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�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 � (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. 
diff --git a/src/content/chapters/croc.webp b/src/content/chapters/croc.webp
new file mode 100644
index 0000000..ffa4af4
Binary files /dev/null and b/src/content/chapters/croc.webp differ
diff --git a/src/content/chapters/openingup.webp b/src/content/chapters/openingup.webp
new file mode 100644
index 0000000..03cd8bc
Binary files /dev/null and b/src/content/chapters/openingup.webp differ
diff --git a/src/content/components/chips.md b/src/content/components/chips.md
index 7da15fc..dba5ad5 100644
--- a/src/content/components/chips.md
+++ b/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                                                                                   |
diff --git a/src/content/components/chips.webp b/src/content/components/chips.webp
new file mode 100644
index 0000000..01836c3
Binary files /dev/null and b/src/content/components/chips.webp differ
diff --git a/src/content/components/inputoutpit.webp b/src/content/components/inputoutpit.webp
new file mode 100644
index 0000000..c79f846
Binary files /dev/null and b/src/content/components/inputoutpit.webp differ
diff --git a/src/content/components/inputoutput.webp b/src/content/components/inputoutput.webp
new file mode 100644
index 0000000..c79f846
Binary files /dev/null and b/src/content/components/inputoutput.webp differ
diff --git a/src/content/components/inputs.md b/src/content/components/inputs.md
index 827c349..9766591 100644
--- a/src/content/components/inputs.md
+++ b/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.
diff --git a/src/content/components/pcb.md b/src/content/components/pcb.md
index 24f451b..43b59a8 100644
--- a/src/content/components/pcb.md
+++ b/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.
diff --git a/src/content/components/transistor.md b/src/content/components/transistor.md
index 15d3af6..71debd8 100644
--- a/src/content/components/transistor.md
+++ b/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].
diff --git a/src/content/components/transistor.webp b/src/content/components/transistor.webp
new file mode 100644
index 0000000..535c243
Binary files /dev/null and b/src/content/components/transistor.webp differ
diff --git a/src/content/devices/mp3-fm-radio.md b/src/content/devices/mp3-fm-radio.md
index c49119e..b69fb70 100644
--- a/src/content/devices/mp3-fm-radio.md
+++ b/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>
\ No newline at end of file
diff --git a/src/content/index.md b/src/content/index.md
index 85ebe80..dad6869 100644
--- a/src/content/index.md
+++ b/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>.
\ No newline at end of file
diff --git a/src/content/recipes/PCB-keyboard/index.md b/src/content/recipes/PCB-keyboard/index.md
index 92bd30e..bf159fb 100644
--- a/src/content/recipes/PCB-keyboard/index.md
+++ b/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!
diff --git a/src/content/recipes/PCB-keyboard/schematic.png b/src/content/recipes/PCB-keyboard/schematic.png
new file mode 100644
index 0000000..1eed2cb
Binary files /dev/null and b/src/content/recipes/PCB-keyboard/schematic.png differ
diff --git a/src/content/recipes/PCB-keyboard/schematic.webp b/src/content/recipes/PCB-keyboard/schematic.webp
new file mode 100644
index 0000000..eefa72b
Binary files /dev/null and b/src/content/recipes/PCB-keyboard/schematic.webp differ
diff --git a/src/content/recipes/PCB-keyboard/sketchpic.webp b/src/content/recipes/PCB-keyboard/sketchpic.webp
new file mode 100644
index 0000000..f70bf00
Binary files /dev/null and b/src/content/recipes/PCB-keyboard/sketchpic.webp differ
diff --git a/src/content/recipes/SingleTransistorOsc/index.md b/src/content/recipes/SingleTransistorOsc/index.md
index 69ab009..acff096 100644
--- a/src/content/recipes/SingleTransistorOsc/index.md
+++ b/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>
diff --git a/src/content/recipes/power-supply/index.md b/src/content/recipes/power-supply/index.md
index f5eef57..cc0d101 100644
--- a/src/content/recipes/power-supply/index.md
+++ b/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 }
diff --git a/src/content/recipes/power-supply/powersupply.webp b/src/content/recipes/power-supply/powersupply.webp
new file mode 100644
index 0000000..f38b812
Binary files /dev/null and b/src/content/recipes/power-supply/powersupply.webp differ
diff --git a/src/templates/base.jinja b/src/templates/base.jinja
index 899f102..b939a00 100644
--- a/src/templates/base.jinja
+++ b/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>
diff --git a/src/templates/snippets/BOM.jinja b/src/templates/snippets/BOM.jinja
index fb1516d..c87d3b7 100644
--- a/src/templates/snippets/BOM.jinja
+++ b/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 -%} 
\ No newline at end of file
+{%- endmacro -%}
diff --git a/src/templates/snippets/page-detail.jinja b/src/templates/snippets/page-detail.jinja
index dc66d51..501faf4 100644
--- a/src/templates/snippets/page-detail.jinja
+++ b/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'] %}
diff --git a/src/templates/thesis.jinja b/src/templates/thesis.jinja
index f3e442f..e251b75 100644
--- a/src/templates/thesis.jinja
+++ b/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>