back on git!

.gitignore

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+venv
+dist
+feedback

README.md

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+# README.md
+
+### Installation
+Create a virtual python environment using ` python -m venv venv`
+Activate the virtual environment using `source venv/bin/activate`
+Install the packages using `pip install -r requirements.txt`
+
+
+### Running
+Compile the content into a static site using
+```
+python app.py
+```
+
+This creates the "dist" directory, with all of the HTML in there. 
+At the moment, `dist` is part of the `.gitignore`!
+
+
+### Writing Content
+Within the `content` directory, you can create/edit markdown files. When compiling the markdown content, `app.py` will look for jinja templates in the `templates` directory. If the markdown file is in the root of `content`, it will try to load a template with the same filename as the markdown file. For instance, `about.md` will look for `about.jinja`. 
+If the markdown file is in a subdirectory, it will look for a template with the same name as the subdirectory. At the moment, there is no functionality for deep nested folders. So, `recipes/tomato-soup.md` wants `recipes.jinja`. If the template does not exist, the default template is `post.jinja`.
+
+The project uses [Jinja](https://jinja.palletsprojects.com/), which allows for extending templates, using variables, looping trough variables, and other funky features!
+
+Additionally, `component-inventory.csv` is loaded as a dataset.
+
+### Transclusion
+You'll be able to transclude one markdown file into another, by applying the following syntax:
+
+```MARKDOWN
+{! path-to-file.md !}
+```
+
+The transclusion package also allows for transcluding specific lines:
+
+```MARKDOWN
+{! path-to-file.md!lines=1  3 8-10  2}
+```
+In the example above, it would read the file and include the lines 1, 3, 8, 9, 10, 2.
+
+
+
+
+### Metadata
+Metadata can be applied to markdown files using FrontMatters YAML. The metadata is accessable in the jinja tempaltes using `page.{metadata}`. In the example below, this could be, `page.title`.
+
+```MARKDOWN
+---
+
+title: Capacitors
+type: Capacitor
+valueSymbol: unf
+description: This is the description
+---
+```
+
+
+### Assets
+At the moment, the `src/assets` directory is copied to the `dist` folder, to apply CSS.

app.py

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+import os
+from pathlib import Path
+import shutil
+import csv
+import re
+from datetime import datetime
+
+from jinja2 import Environment, PackageLoader, select_autoescape
+import frontmatter
+from slugify import slugify
+import pypandoc
+
+# TODO make newsletter URL's absolute to klank.school
+
+env = Environment(
+    loader=PackageLoader("src"),
+    autoescape=select_autoescape()
+)
+
+CONTENT_D = os.path.abspath("src/content")
+OUTPUT_D = "dist"
+documents = {}
+
+def listDocuments(params):
+    param = params.split(" ")
+
+    template = env.select_template([f"snippets/list-documents.jinja"])
+    html = template.render(documents=documents, layout=param[0], type=param[1])
+
+    return html
+
+
+def getParam(params, index):
+    if len(params) > index:
+        return params[index]
+    else:
+        return False
+
+
+def listEvents(params):
+    param = params.split(" ")
+    tag=getParam(param, 1)
+
+    if "events" not in documents:
+        return ""
+
+    events = []
+    if tag:
+        for event in documents["events"]:
+            if tag in event["tags"]:
+                events.append(event)
+    else:
+        events = documents["events"]
+
+    template = env.select_template([f"snippets/list-events.jinja"])
+    html = template.render(events=events, filter=param[0], tag=getParam(param, 1))
+
+    return html
+
+
+def slugify_filter(value):
+    return slugify(value)
+
+
+def prettydate(value, format='%d/%m/%Y'):
+    return datetime.fromtimestamp(int(value)).strftime(format)
+
+
+def shortcode_filter(value):
+
+    shortcode_callbacks = {
+        "show": listDocuments,
+        "events": listEvents
+    }
+
+    def shortcode_replacer(match):
+
+        shortcode_name = match.group(1).strip()
+        param = match.group(2).strip()
+
+        if shortcode_name in shortcode_callbacks:
+            return shortcode_callbacks[shortcode_name](param)
+
+        return match.group(0)
+
+    pattern = re.compile(r"{{\s*(\w+)\s+([^{}]+?)\s*}}")
+    return pattern.sub(shortcode_replacer, value)
+
+
+env.filters["shortcode"] = shortcode_filter
+env.filters["slugify"] = slugify_filter
+env.filters["prettydate"] = prettydate
+
+
+def render_single_file(template, page, path, dist, name = False):
+    modifier = False
+
+    print(f"rendering: {path}")
+
+    html = template.render(documents=documents, page=page, name=name)
+    name = Path(path).stem
+
+    if not os.path.exists(dist):
+        os.makedirs(dist)
+
+    with open(f"{dist}/{name}.html", "w", encoding="utf-8") as output_file:
+        output_file.write(html)
+
+
+def get_page_data(path, isPreload=False):
+    filename = Path(path).stem
+
+    page = frontmatter.load(path)
+    page['slug'] = slugify(filename)
+    page.filename = filename
+    page.folder = os.path.basename(os.path.dirname(path))
+
+    if "start_datetime" in page:
+        now = datetime.now()
+        page["has_passed"] = datetime.fromtimestamp(page["start_datetime"]) < now
+        
+
+
+
+    latex = pypandoc.convert_text(
+        page.content,
+        to='md',
+        format='md',
+        extra_args=[
+            "-N",
+            "--section-divs",
+            "--lua-filter=include-files.lua"
+        ])
+
+    page.body = pypandoc.convert_text(
+        latex,
+        to="html",
+        format="md",
+        extra_args=[
+            "-N",
+            "--section-divs",
+            "--citeproc",
+            "--bibliography=library.bib",
+            "--csl=apa.csl",
+        ])
+
+    return page
+
+
+def render_posts(path):
+    name = Path(path).stem
+    template = env.select_template([f"{name}.jinja", "post.jinja"])
+
+    for filename in os.listdir(path):
+        if filename.endswith(".md"):
+            post_path = os.path.join(path, filename)
+            page = get_page_data(post_path)
+            render_single_file(template, page, post_path, f"{OUTPUT_D}/{name}", name)
+
+
+def preload_documents():
+    print("preload any needed data")
+    now = datetime.now()
+    documents["meta"] = {}
+    documents["meta"]["now"] = now.strftime("%d %B %Y")
+
+    for subdir in os.listdir(CONTENT_D):
+        path = os.path.join(CONTENT_D, subdir)
+
+        if os.path.isdir(path):
+            name = Path(path).stem
+            if name not in documents:
+                documents[name] = []
+
+            files = os.listdir(path)
+            files.sort()
+            for filename in files:
+                if filename.endswith(".md"):
+                    post_path = os.path.join(path, filename)
+
+                    documents[name].append(get_page_data(post_path, isPreload=True))
+
+        elif Path(path).suffix == '.md':
+            documents[Path(path).stem] = get_page_data(path, isPreload=True)
+
+
+def copy_assets():
+    if os.path.exists("dist/assets"):
+        shutil.rmtree("dist/assets")
+
+    shutil.copytree("src/assets", "dist/assets")
+
+
+def get_inventory():
+
+    with open("src/content/component-inventory.csv") as f:
+        documents['inventory'] = []
+        for line in csv.DictReader(
+            f,
+            fieldnames=(
+                'ID',
+                'Amount',
+                'Name',
+                'Value',
+                'type',
+                'Date',
+                'Where',
+                'Mounting type')):
+            documents['inventory'].append(line)
+
+
+def main():
+    get_inventory()
+    preload_documents()
+
+
+
+    print("render the content")
+    for subdir in os.listdir(CONTENT_D):
+        path = os.path.join(CONTENT_D, subdir)
+
+        if os.path.isdir(path):
+            render_posts(path)
+        elif Path(path).suffix == '.md':
+            template = env.select_template(
+                [f"{Path(path).stem}.jinja", "post.jinja"])
+            page = get_page_data(path)
+            render_single_file(template, page, path, OUTPUT_D)
+        elif Path(path).suffix in [".csv"]:
+            print("not compiling this file!")
+
+    copy_assets()
+
+
+main()

get_events.py

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+import os
+from pathlib import Path
+import requests
+import frontmatter
+
+def get_API(URL):
+
+    try:
+        response = requests.get(URL)
+        response.raise_for_status()
+        return response.json()
+
+    except requests.exceptoins.RequestException as e:
+        raise Exception(f"Failed getting the API response: {e}")
+
+
+def create_calendar_item(item, filepath):
+    print("i will create an item for", item)
+
+    try:
+        details = get_API("https://calendar.klank.school/api/event/detail/" + item['slug'])
+        print(details)
+        post = frontmatter.Post(content=details["description"])
+
+        for key in details:
+            post[key] = details[key]
+
+
+        with open(filepath, 'wb') as f:
+            frontmatter.dump(post, f)
+            print(f"Created file: {filepath}")
+
+    except Exception as e:
+        print(f"An error occurred while getting the calendar events: {str(e)}")
+        exit(1)
+
+
+def get_calendar_events():
+    Path("src/content/events").mkdir(parents=True, exist_ok=True)
+
+
+    # Also get non unrepair events.
+    try:
+        items = get_API("https://calendar.klank.school/api/events?start=-1")
+
+        for item in items:
+            filename = f"{item['slug']}.md"
+            filepath = os.path.join("src/content/events", filename)
+
+            if os.path.isfile(filepath):
+                print("oh it already exists")
+            else:
+                print("did not store this yet")
+                create_calendar_item(item, filepath)
+
+    except Exception as e:
+        print(f"An error occurred while getting the calendar events: {str(e)}")
+        exit(1)
+
+
+def main():
+    get_calendar_events()
+
+
+main()

include-files.lua

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+--- include-files.lua – filter to include Markdown files
+---
+--- Copyright: © 2019–2021 Albert Krewinkel
+--- License:   MIT – see LICENSE file for details
+
+-- Module pandoc.path is required and was added in version 2.12
+PANDOC_VERSION:must_be_at_least '2.12'
+
+local List = require 'pandoc.List'
+local path = require 'pandoc.path'
+local system = require 'pandoc.system'
+
+local warn = pcall(require, 'pandoc.log')
+  and (require 'pandoc.log').warn
+  or warn
+  or function (msg) io.stderr:write(msg .. '\n') end
+
+--- Get include auto mode
+local include_auto = false
+function get_vars (meta)
+  if meta['include-auto'] then
+    include_auto = true
+  end
+end
+
+--- Keep last heading level found
+local last_heading_level = 0
+function update_last_level(header)
+  last_heading_level = header.level
+end
+
+--- Update contents of included file
+local function update_contents(blocks, shift_by, include_path)
+  local update_contents_filter = {
+    -- Shift headings in block list by given number
+    Header = function (header)
+      if shift_by then
+        header.level = header.level + shift_by
+      end
+      return header
+    end,
+    -- If image paths are relative then prepend include file path
+    Image = function (image)
+      if path.is_relative(image.src) then
+        image.src = path.normalize(path.join({include_path, image.src}))
+      end
+      return image
+    end,
+    -- Update path for include-code-files.lua filter style CodeBlocks
+    CodeBlock = function (cb)
+      if cb.attributes.include and path.is_relative(cb.attributes.include) then
+        cb.attributes.include =
+          path.normalize(path.join({include_path, cb.attributes.include}))
+        end
+      return cb
+    end
+  }
+
+  return pandoc.walk_block(pandoc.Div(blocks), update_contents_filter).content
+end
+
+--- Filter function for code blocks
+local transclude
+function transclude (cb)
+  -- ignore code blocks which are not of class "include".
+  if not cb.classes:includes 'include' then
+    return
+  end
+
+  -- Markdown is used if this is nil.
+  local format = cb.attributes['format']
+
+  -- Attributes shift headings
+  local shift_heading_level_by = 0
+  local shift_input = cb.attributes['shift-heading-level-by']
+  if shift_input then
+    shift_heading_level_by = tonumber(shift_input)
+  else
+    if include_auto then
+      -- Auto shift headings
+      shift_heading_level_by = last_heading_level
+    end
+  end
+
+  --- keep track of level before recusion
+  local buffer_last_heading_level = last_heading_level
+
+  local blocks = List:new()
+  for line in cb.text:gmatch('[^\n]+') do
+    if line:sub(1,2) ~= '//' then
+      local fh = io.open(line)
+      if not fh then
+        warn("Cannot open file " .. line .. " | Skipping includes")
+      else
+        -- read file as the given format with global reader options
+        local contents = pandoc.read(
+          fh:read '*a',
+          format,
+          PANDOC_READER_OPTIONS
+        ).blocks
+        last_heading_level = 0
+        -- recursive transclusion
+        contents = system.with_working_directory(
+            path.directory(line),
+            function ()
+              return pandoc.walk_block(
+                pandoc.Div(contents),
+                { Header = update_last_level, CodeBlock = transclude }
+              )
+            end).content
+        --- reset to level before recursion
+        last_heading_level = buffer_last_heading_level
+        blocks:extend(update_contents(contents, shift_heading_level_by,
+                                      path.directory(line)))
+        fh:close()
+      end
+    end
+  end
+  return blocks
+end
+
+return {
+  { Meta = get_vars },
+  { Header = update_last_level, CodeBlock = transclude }
+}

library.bib

@@ -0,0 +1,869 @@
+@article{abalansaElectronicWasteEnvironmental2021,
+  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},
+  volume = {13},
+  number = {9},
+  pages = {5302},
+  issn = {2071-1050},
+  doi = {10.3390/su13095302},
+  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},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/6P788A6M/Abalansa et al. - 2021 - Electronic Waste, an Environmental Problem Exported to Developing Countries The GOOD, the BAD and t.pdf}
+}
+
+@article{AtariVideoGame2024,
+  title = {Atari Video Game Burial},
+  year = {2024},
+  month = nov,
+  journal = {Wikipedia},
+  urldate = {2025-01-20},
+  abstract = {The Atari video game burial was a mass burial of unsold video game cartridges, consoles, and computers in a New Mexico landfill site undertaken by the American video game and home computer company Atari, Inc. in 1983. Before 2014, the goods buried were rumored to be unsold copies of E.T. the Extra-Terrestrial (1982), one of the largest commercial video game failures and often cited as one of the worst video games ever released, and the 1982 Atari 2600 port of Pac-Man, which was commercially successful but critically maligned. Since the burial was first reported, there had been doubts as to its veracity and scope, and it was frequently dismissed as an urban legend. The event became a cultural icon and a reminder of the video game crash of 1983; it was the end result of a disastrous fiscal year which saw Atari, Inc. sold off by its parent company Warner Communications. Though it was believed that millions of copies of E.T. were buried, Atari officials later verified the numbers to be around 700,000 cartridges of various games, including E.T. In 2014, Fuel Industries, Microsoft, and others worked with the New Mexico government to excavate the site as part of a documentary, Atari: Game Over. On April 26, 2014, the excavation revealed discarded games and hardware. Only a small fraction, about 1,300 cartridges, were recovered, with a portion given for curation and the rest auctioned to raise money for a museum to commemorate the burial.},
+  copyright = {Creative Commons Attribution-ShareAlike License},
+  langid = {english},
+  annotation = {Page Version ID: 1257211909},
+  file = {/Users/Rosa/Zotero/storage/UIVT7W6T/Atari_video_game_burial.html}
+}
+
+@article{blasserPrettyPaperRolls2007,
+  title = {Pretty {{Paper Rolls}}: {{Experiments}} in {{Woven Circuits}}},
+  shorttitle = {Pretty {{Paper Rolls}}},
+  author = {Blasser, Peter},
+  year = {2007},
+  month = dec,
+  journal = {Leonardo Music Journal},
+  volume = {17},
+  pages = {25--27},
+  issn = {0961-1215, 1531-4812},
+  doi = {10.1162/lmj.2007.17.25},
+  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},
+  keywords = {list,summarised},
+  file = {/Users/Rosa/Zotero/storage/URY2LY2U/Blasser - 2007 - Pretty Paper Rolls Experiments in Woven Circuits.pdf}
+}
+
+@phdthesis{blasserStoresMall2015,
+  type = {Master of {{Arts}}},
+  title = {Stores at the {{Mall}}},
+  author = {Blasser, Peter},
+  year = {2015},
+  address = {Middletown, CT},
+  doi = {10.14418/wes01.2.84},
+  urldate = {2025-01-31},
+  langid = {english},
+  school = {Wesleyan University},
+  file = {/Users/Rosa/Zotero/storage/SQ7WZL4S/Blasser - 2015 - Stores at the Mall.pdf}
+}
+
+@inproceedings{blevisLuxuryNewLuxury2007,
+  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,
+  pages = {296--311},
+  publisher = {ACM},
+  address = {Helsinki Finland},
+  doi = {10.1145/1314161.1314188},
+  urldate = {2025-01-05},
+  isbn = {978-1-59593-942-5},
+  langid = {english}
+}
+
+@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.},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/2ZLACHGS/Bowers and Green - All the Noises Hijacking Listening Machines for Performative Research.pdf}
+}
+
+@misc{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},
+  pages = {5--10},
+  publisher = {Zenodo},
+  doi = {10.5281/zenodo.1176713},
+  urldate = {2025-01-05},
+  abstract = {Description},
+  file = {/Users/Rosa/Zotero/storage/77GB79E3/Bowers and Archer - 2005 - Not Hyper, Not Meta, Not Cyber but Infra-Instruments.pdf}
+}
+
+@article{bowersRawDataRough,
+  title = {Raw {{Data}}, {{Rough Mix}}: {{Towards}} an {{Integrated Practice}} of {{Making}}, {{Performance}} and {{Pedagogy}}},
+  author = {Bowers, John and Richards, John and Shaw, Tim and Foster, Robin and Kubota, Akihiro},
+  abstract = {This paper describes an extended intercontinental collaboration between multiple artists, institutions, and their publics, to develop an integrated musical practice which combines experimental making, performance, and pedagogy. We build on contributions to NIME which work with art and design-led methods to explore alternatives to, for example, more engineering-oriented approaches, without loss of practical utility and theoretical potential. We describe two week-long workshop-residencies and three performance-installations done under the provocative title Raw Data, Rough Mix which was intended to encourage exploration of basic processes in physical, mechanical, electrical, electronic and computational domains to develop musical artefacts that were frugal in their resource-demands but enabled the interrogation of human/non-human relationships, performativity, musical ecologies, aesthetics, and other matters. We close by elaborating our contribution to NIME as offering an integrated practice combining making, playing and learning, which is critically informed and practically productive.},
+  langid = {english},
+  keywords = {list,prio:high},
+  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,
+  title = {Why {{Do Resistors Have A Color Code}}?},
+  author = {By},
+  year = {2020},
+  month = jan,
+  journal = {Hackaday},
+  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}
+}
+
+@book{collinsHandmadeElectronicMusic2009,
+  title = {Handmade Electronic Music: The Art of Hardware Hacking},
+  shorttitle = {Handmade Electronic Music},
+  author = {Collins, Nicolas},
+  year = {2009},
+  edition = {Second edition},
+  publisher = {Routledge},
+  address = {New York},
+  isbn = {978-0-415-99609-9 978-0-415-99873-4 978-0-203-87962-7},
+  lccn = {ML1092 .C66 2009},
+  keywords = {Construction,Electronic musical instruments,toppertje}
+}
+
+@article{collinsIntroductionComposersElectronics2004,
+  title = {Introduction: {{Composers}} inside {{Electronics}}: {{Music}} after {{David Tudor}}},
+  author = {Collins, Nicolas},
+  year = {2004},
+  journal = {Leonardo Music Journal},
+  volume = {14},
+  eprint = {1513497},
+  eprinttype = {jstor},
+  pages = {1--3},
+  publisher = {The MIT Press},
+  issn = {09611215, 15314812},
+  urldate = {2025-01-14},
+  keywords = {list,summarised}
+}
+
+@misc{CooperativeExperimentalismSharing,
+  title = {Cooperative {{Experimentalism}}: {{Sharing}} to Enhance Electronic Media},
+  urldate = {2025-01-27},
+  howpublished = {https://research-repository.griffith.edu.au/items/b8fa545b-32c9-4d68-866f-8549ead9e3ef}
+}
+
+@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},
+  volume = {10},
+  number = {1},
+  pages = {14--29},
+  issn = {2245-7755},
+  doi = {10.7146/aprja.v10i1.128184},
+  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},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/NFQC58VX/De Valk - 2021 - Refusing the Burden of Computation Edge Computing and Sustainable ICT.pdf}
+}
+
+@misc{DirtyElectronicsPopup2020,
+  title = {Dirty {{Electronics Pop-up}} for {{Collaborative Music-making}}},
+  year = {2020},
+  month = jun,
+  journal = {Dirty Electronics Pop-up for Collaborative Music-making},
+  urldate = {2025-01-16},
+  howpublished = {https://popupforcollaborativemusicmaking.wordpress.com/},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/D6EBFKZU/popupforcollaborativemusicmaking.wordpress.com.html}
+}
+
+@article{fennisOntologyElectronicWaste,
+  title = {Ontology {{Of Electronic Waste}}},
+  author = {Fennis, Maurits},
+  langid = {english},
+  keywords = {list,prio:high,summarised},
+  file = {/Users/Rosa/Zotero/storage/PZ45G9QF/Fennis - Ontology Of Electronic Waste.pdf}
+}
+
+@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.},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/4HTDFEDL/Fernandez and Iazzetta - Circuit-Bending and DIY Culture.pdf}
+}
+
+@article{fullerIntroductionAutomaticInstruments1983,
+  title = {An Introduction to Automatic Instruments},
+  author = {Fuller, David},
+  year = {1983},
+  month = apr,
+  journal = {Early Music},
+  volume = {11},
+  number = {2},
+  pages = {164--166},
+  issn = {0306-1078},
+  doi = {10.1093/earlyj/11.2.164},
+  urldate = {2025-01-05},
+  file = {/Users/Rosa/Zotero/storage/IAGI7P47/334230.html}
+}
+
+@book{gabrysDigitalRubbishNatural2011,
+  title = {Digital Rubbish: A Natural History of Electronics},
+  shorttitle = {Digital Rubbish},
+  author = {Gabrys, Jennifer},
+  year = {2011},
+  publisher = {University of Michigan press},
+  address = {Ann Arbor},
+  isbn = {978-0-472-11761-1},
+  langid = {english},
+  lccn = {363.728 8},
+  keywords = {list,prio:high,reading atm,summarised,to summarise,toppertje},
+  file = {/Users/Rosa/Zotero/storage/PZB4D642/Gabrys - 2011 - Digital rubbish a natural history of electronics.pdf}
+}
+
+@book{heimsCyberneticsGroup1991,
+  title = {The Cybernetics Group},
+  author = {Heims, Steve J.},
+  year = {1991},
+  publisher = {MIT Press},
+  address = {Cambridge, Mass},
+  isbn = {978-0-262-08200-6},
+  langid = {english},
+  lccn = {H62.5.U5 H45 1991},
+  keywords = {Cybernetics,Josiah Macy Jr. Foundation,Philosophy,Research,Science,Social aspects,Social sciences,United States},
+  file = {/Users/Rosa/Zotero/storage/F7GQ3EYL/Heims - 1991 - The cybernetics group.pdf}
+}
+
+@book{hertzArtDIYElectronics2023,
+  title = {Art + {{DIY}} Electronics},
+  author = {Hertz, Garnet},
+  year = {2023},
+  publisher = {The MIT Press},
+  address = {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},
+  keywords = {Art and electronics,Arts,Experimental methods,list,Maker movement,prio:high,Social aspects,summarised,Technology},
+  file = {/Users/Rosa/Zotero/storage/E8IXZVMU/Hertz - 2023 - Art + DIY electronics.pdf}
+}
+
+@book{hertzDisobedientElectronics,
+  title = {Disobedient {{Electronics}}},
+  author = {Hertz, Garnet},
+  file = {/Users/Rosa/Zotero/storage/8I52Q9NN/Hertz-Disobedient-Electronics-Protest-201801081332c.pdf}
+}
+
+@article{hertzZombieMediaCircuit2012,
+  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},
+  volume = {45},
+  number = {5},
+  pages = {424--430},
+  issn = {0024-094X, 1530-9282},
+  doi = {10.1162/LEON_a_00438},
+  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.},
+  langid = {english},
+  keywords = {list,summarised,toppertje},
+  file = {/Users/Rosa/Zotero/storage/K5SZIEPI/Hertz and Parikka - 2012 - Zombie Media Circuit Bending Media Archaeology into an Art Method.pdf}
+}
+
+@book{holmesElectronicExperimentalMusic2012,
+  title = {Electronic and Experimental Music: Technology, Music, and Culture},
+  shorttitle = {Electronic and Experimental Music},
+  author = {Holmes, Thom and Pender, Terence M.},
+  year = {2012},
+  edition = {4th ed},
+  publisher = {Routledge},
+  address = {New York},
+  isbn = {978-0-415-89646-7 978-0-415-89636-8 978-0-203-12842-8},
+  lccn = {ML1380 .H64 2012},
+  keywords = {Computer music,Electronic music,History and criticism},
+  annotation = {OCLC: ocn703208713},
+  file = {/Users/Rosa/Zotero/storage/HUAVMT2T/Electronic and Experimental Music.pdf}
+}
+
+@book{horowitzArtElectronics2024,
+  title = {The Art of Electronics},
+  author = {Horowitz, Paul and Hill, Winfield},
+  year = {2024},
+  edition = {Third edition, 20th printing with corrections},
+  publisher = {Cambridge University Press},
+  address = {Cambridge, New York},
+  isbn = {978-0-521-80926-9},
+  langid = {english}
+}
+
+@article{ilesMappingEnvironmentalJustice2004,
+  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},
+  volume = {4},
+  number = {4},
+  pages = {76--107},
+  issn = {1526-3800, 1536-0091},
+  doi = {10.1162/glep.2004.4.4.76},
+  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}
+}
+
+@book{illichToolsConviviality2009,
+  title = {Tools for Conviviality},
+  author = {Illich, Ivan},
+  year = {2009},
+  publisher = {Marion Boyars},
+  address = {London},
+  isbn = {978-1-84230-011-4},
+  langid = {english},
+  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}
+}
+
+@book{instituteofnetworkculturesDepletionDesignGlossary2012,
+  title = {Depletion Design: A Glossary of Network Ecologies},
+  shorttitle = {Depletion Design},
+  author = {{Institute of Network Cultures}},
+  year = {2012},
+  series = {Theory on Demand},
+  number = {8},
+  publisher = {Institute of Network Cultures},
+  address = {Amsterdam},
+  collaborator = {Wiedemann, Carolin and Zehle, Soenke},
+  isbn = {978-90-818575-1-2},
+  langid = {american},
+  keywords = {list,summarised},
+  file = {/Users/Rosa/Zotero/storage/XAC25TL3/TOD8_DEPLETION_DESIGN.pdf}
+}
+
+@article{InterchangeableParts2024,
+  title = {Interchangeable Parts},
+  year = {2024},
+  month = nov,
+  journal = {Wikipedia},
+  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}
+}
+
+@inproceedings{jangUnplannedObsolescenceHardware2017,
+  title = {Unplanned {{Obsolescence}}: {{Hardware}} and {{Software After Collapse}}},
+  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,
+  pages = {93--101},
+  publisher = {ACM},
+  address = {Santa Barbara California USA},
+  doi = {10.1145/3080556.3080566},
+  urldate = {2025-01-05},
+  isbn = {978-1-4503-4950-5},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/ZGWSKZXI/Jang et al. - 2017 - Unplanned Obsolescence Hardware and Software After Collapse.pdf}
+}
+
+@article{jordanDIYElectronicsRevealing2015,
+  title = {{{DIY Electronics}}: {{Revealing}} the {{Material Systems}} of {{Computation}}},
+  author = {JORDAN, {\relax RYAN}},
+  year = {2015},
+  journal = {Leonardo Music Journal},
+  volume = {25},
+  eprint = {43832529},
+  eprinttype = {jstor},
+  pages = {41--46},
+  publisher = {The MIT Press},
+  issn = {09611215, 15314812},
+  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 = {list,summarised}
+}
+
+@article{kastnerDomesticationGarage2019,
+  title = {The {{Domestication}} of the {{Garage}}},
+  author = {Kastner, Jeffrey},
+  year = {2019},
+  month = feb,
+  journal = {Places Journal},
+  issn = {21647798},
+  doi = {10.22269/190205},
+  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.},
+  langid = {american},
+  file = {/Users/Rosa/Zotero/storage/Q9BZWJUI/j-b-jackson-the-domestication-of-the-garage.html}
+}
+
+@article{kostakisProductionGovernanceHackerspaces2015,
+  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},
+  volume = {18},
+  number = {5},
+  pages = {555--573},
+  issn = {1367-8779, 1460-356X},
+  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.},
+  langid = {english},
+  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}
+}
+
+@article{lemmensInterviewBernardStiegler,
+  title = {Interview with {{Bernard Stiegler}}},
+  author = {Lemmens, Pieter},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/VUJHFQ4Q/Lemmens - Interview with Bernard Stiegler.pdf}
+}
+
+@inproceedings{lepawskyWorldFixersExamining2020,
+  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,
+  pages = {314--320},
+  publisher = {ACM},
+  address = {Bristol United Kingdom},
+  doi = {10.1145/3401335.3401816},
+  urldate = {2025-01-05},
+  isbn = {978-1-4503-7595-5},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/NEBEZJ9M/Lepawsky - 2020 - Towards a World of Fixers Examining barriers and enablers of widely deployed third-party repair for.pdf}
+}
+
+@inproceedings{lepri10000InstrumentsWorkshop2022,
+  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,
+  doi = {10.21428/92fbeb44.9e7c9ba3},
+  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.},
+  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,
+  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,
+  title = {Principles of {{Perma-Hybridity}}},
+  author = {Lovink, Geert},
+  urldate = {2025-01-05},
+  langid = {american},
+  keywords = {list,summarised},
+  file = {/Users/Rosa/Zotero/storage/XFGEV94M/Principles of Perma-Hybridity.pdf;/Users/Rosa/Zotero/storage/HYCEANK3/principles-of-perma-hybridity.html}
+}
+
+@book{magielsRECYCLEAlsAfval,
+  title = {{{RECYCLE}}! {{Als}} Afval Grondstof Wordt},
+  author = {Magiels, Geerdt},
+  keywords = {list,summarised}
+}
+
+@book{magnussonSonicWritingTechnologies2019,
+  title = {Sonic Writing: Technologies of Material, Symbolic and Signal Inscriptions},
+  shorttitle = {Sonic Writing},
+  author = {Magnusson, Thor},
+  year = {2019},
+  publisher = {Bloomsbury Academic},
+  address = {New York, NY},
+  isbn = {978-1-5013-1386-8 978-1-5013-1388-2 978-1-5013-1387-5},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/URF6ZN4I/Sonic Writing Technologies.pdf}
+}
+
+@article{matternMaintenanceCare2018,
+  title = {Maintenance and {{Care}}},
+  author = {Mattern, Shannon},
+  year = {2018},
+  month = nov,
+  journal = {Places Journal},
+  issn = {21647798},
+  doi = {10.22269/181120},
+  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},
+  file = {/Users/Rosa/Zotero/storage/R6T6XGMT/maintenance-and-care.html}
+}
+
+@article{matternStepStepThinking2024,
+  title = {Step by {{Step Thinking}} through and beyond the Repair Manual},
+  author = {Mattern, Shannon},
+  year = {2024},
+  month = feb,
+  journal = {Places Journal},
+  issn = {21647798},
+  doi = {10.22269/240227},
+  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},
+  keywords = {list,manual,prio:high,repair,to summarise},
+  file = {/Users/Rosa/Zotero/storage/CVR3A5FM/step-by-step-repair-manuals-political-ecology.html}
+}
+
+@article{MediaArcheologyLab2017,
+  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},
+  volume = {33},
+  issn = {20843860},
+  doi = {10.4467/20843860PK.17.030.7800},
+  urldate = {2025-01-05},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/EHFWEG5S/2017 - Media Archeology Lab Experimentation, Tinkering, Probing. Lori Emerson in conversation with Piotr M.pdf}
+}
+
+@misc{mersonSixDifficultInconvenient2021,
+  title = {Six ({{Difficult}} and {{Inconvenient}}) {{Values}} to {{Reclaim}} the {{Future}} with {{Old Media}}},
+  author = {Merson, Lorie},
+  year = {2021},
+  month = nov,
+  journal = {loriemerson},
+  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}},
+  langid = {english},
+  keywords = {list,prio:high,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}
+}
+
+@book{mindellHumanMachineFeedback2002,
+  title = {Between Human and Machine: Feedback, Control, and Computing before Cybernetics},
+  shorttitle = {Between Human and Machine},
+  author = {Mindell, David A.},
+  year = {2002},
+  series = {Johns {{Hopkins}} Studies in the History of Technology},
+  publisher = {Johns Hopkins University Press},
+  address = {Baltimore},
+  isbn = {978-0-8018-6895-5 978-0-8018-7774-2},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/X5EIETEA/Mindell - 2002 - Between human and machine feedback, control, and computing before cybernetics.pdf}
+}
+
+@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},
+  volume = {14},
+  eprint = {1513511},
+  eprinttype = {jstor},
+  pages = {83--83},
+  publisher = {The MIT Press},
+  issn = {09611215, 15314812},
+  urldate = {2025-01-14},
+  abstract = {[Every electronic appliance contains a unique sonic potential, which the author "cracks" to create music.]},
+  keywords = {list,summarised}
+}
+
+@book{oliverosSoftwarePeopleCollected2015,
+  title = {Software for {{People}}: Collected Writings 1963-80},
+  shorttitle = {Software for {{People}}},
+  author = {Oliveros, Pauline},
+  year = {2015},
+  edition = {Second Edition},
+  publisher = {Pauline Oliveros Publications},
+  address = {Kingston, NY},
+  isbn = {978-1-5175-2574-3},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/9F7HAMJ9/Oliveros_Pauline_Software_for_People_Collected_Writings_1963-80.pdf}
+}
+
+@article{parksFallingApartElectronics,
+  title = {Falling {{Apart}}: {{Electronics Salvaging}} and the {{Global Media Economy}}},
+  author = {Parks, Lisa},
+  langid = {english},
+  keywords = {list,prio:high,summarised,toppertje},
+  file = {/Users/Rosa/Zotero/storage/CAIF3ZWR/Parks - Falling Apart Electronics Salvaging and the Global Media Economy.pdf}
+}
+
+@book{pellowGarbageWarsStruggle2002,
+  title = {Garbage {{Wars}}: {{The Struggle}} for {{Environmental Justice}} in {{Chicago}}},
+  shorttitle = {Garbage {{Wars}}},
+  author = {Pellow, David Naguib},
+  year = {2002},
+  publisher = {The MIT Press},
+  doi = {10.7551/mitpress/3195.001.0001},
+  urldate = {2025-01-17},
+  isbn = {978-0-262-28135-5},
+  langid = {english}
+}
+
+@book{postmaWeggooienMooiNiet,
+  title = {Weggooien, Mooi Niet!},
+  author = {Postma, Martine},
+  isbn = {978-94-90298-06-7},
+  keywords = {list,summarised}
+}
+
+@inproceedings{raghavanMacroscopicallySustainableNetworking2016,
+  title = {Macroscopically Sustainable Networking: On Internet Quines},
+  shorttitle = {Macroscopically Sustainable Networking},
+  booktitle = {Proceedings of the {{Second Workshop}} on {{Computing}} within {{Limits}}},
+  author = {Raghavan, Barath and Hasan, Shaddi},
+  year = {2016},
+  month = jun,
+  pages = {1--6},
+  publisher = {ACM},
+  address = {Irvine California},
+  doi = {10.1145/2926676.2926685},
+  urldate = {2025-01-05},
+  isbn = {978-1-4503-4260-5},
+  langid = {english}
+}
+
+@article{remyLimitsSustainableInteraction2015,
+  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,
+  publisher = {s.n.},
+  doi = {10.5167/UZH-110997},
+  urldate = {2025-01-05},
+  keywords = {list,prio:high}
+}
+
+@article{richardsDIYElectronicMusic2013,
+  title = {Beyond {{DIY}} in {{Electronic Music}}},
+  author = {Richards, John},
+  year = {2013},
+  month = dec,
+  journal = {Organised Sound},
+  volume = {18},
+  number = {3},
+  pages = {274--281},
+  issn = {1355-7718, 1469-8153},
+  doi = {10.1017/S1355771813000241},
+  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},
+  langid = {english},
+  keywords = {list,summarised},
+  file = {/Users/Rosa/Zotero/storage/PJMVSHEX/Richards - 2013 - Beyond DIY in Electronic Music.pdf}
+}
+
+@inproceedings{richardsSpeculativeSoundCircuits2018,
+  title = {Speculative {{Sound Circuits}}},
+  booktitle = {Politics of the {{Machines}} - {{Art}} and {{After}}},
+  author = {Richards, John},
+  year = {2018},
+  doi = {10.14236/ewic/EVAC18.33},
+  urldate = {2025-01-05},
+  copyright = {http://creativecommons.org/licenses/by/4.0/},
+  langid = {english},
+  keywords = {list,prio:high,to summarise,toppertje},
+  file = {/Users/Rosa/Zotero/storage/WJS3URT5/Richards - 2018 - Speculative Sound Circuits.pdf}
+}
+
+@misc{RightRepairGiving,
+  title = {The {{Right To Repair}}: {{Giving Consumers}} the {{Ability}} to {{Fix}} Their {{Own Electronics}} - {{News}}},
+  shorttitle = {The {{Right To Repair}}},
+  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}
+}
+
+@article{rodgersPinkNoisesWomen,
+  title = {Pink {{Noises}}: {{Women}} on {{Electronic Music}} and {{Sound}}},
+  author = {Rodgers, Tara},
+  langid = {english},
+  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}
+}
+
+@misc{RoolzGeweiJagerspracheVaguea,
+  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}
+}
+
+@inproceedings{rouraCircularDigitalDevices2021,
+  title = {Circular Digital Devices: Lessons about the Social and Planetary Boundaries},
+  shorttitle = {Circular Digital Devices},
+  booktitle = {Computing within {{Limits}}},
+  author = {Roura, Mireia and Franquesa, David and Navarro, Leandro and Meseguer, Roc},
+  year = {2021},
+  month = jun,
+  publisher = {LIMITS},
+  doi = {10.21428/bf6fb269.3881c46e},
+  urldate = {2025-01-05},
+  abstract = {LIMITS '21 Paper},
+  langid = {english},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/EE6U37KD/Roura et al. - 2021 - Circular digital devices lessons about the social and planetary boundaries.pdf}
+}
+
+@misc{selwynWhatMightDegrowth2022,
+  title = {What Might Degrowth Computing Look Like?},
+  author = {Selwyn, Neil},
+  year = {2022},
+  month = apr,
+  journal = {Critical Studies of EDUCATION \& TECHNOLOGY},
+  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}},
+  langid = {english},
+  keywords = {niet gebruiken},
+  file = {/Users/Rosa/Zotero/storage/ABFRIUPV/PDF document.pdf;/Users/Rosa/Zotero/storage/9ZAFPFDB/2022 - What might degrowth computing look like.html}
+}
+
+@book{sladeMadeBreakTechnology2006,
+  title = {Made to Break: Technology and Obsolescence in {{America}}},
+  shorttitle = {Made to Break},
+  author = {Slade, Giles},
+  year = {2006},
+  publisher = {Harvard university press},
+  address = {Cambridge},
+  isbn = {978-0-674-02203-4},
+  langid = {english},
+  lccn = {609.730 9},
+  keywords = {list,prio:high},
+  file = {/Users/Rosa/Zotero/storage/HC67UT6D/Slade - 2006 - Made to break technology and obsolescence in America.pdf}
+}
+
+@incollection{sterneOutTrash,
+  title = {Out with the Trash},
+  booktitle = {Residual {{Media}}},
+  author = {Sterne},
+  isbn = {0-8166-4471-3},
+  keywords = {list,prio:high,summarised},
+  file = {/Users/Rosa/Zotero/storage/334DAPWQ/OutwiththeTrash.pdf}
+}
+
+@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},
+  doi = {10.21428/bf6fb269.8b56b095},
+  urldate = {2025-01-05},
+  langid = {english},
+  file = {/Users/Rosa/Zotero/storage/ZSGCB24X/Sutherland - 2021 - Design Aspirations for Energy Autarkic Information Systems in a Future with Limits.pdf}
+}
+
+@misc{SynthSchematicsWords,
+  title = {Synth Schematics--::-- {{Some}} Words},
+  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}}},
+  shorttitle = {Vague {{Terrain}} 19},
+  year = {2014},
+  month = jul,
+  urldate = {2025-01-26},
+  howpublished = {https://web.archive.org/web/20140723013316/http://vagueterrain.net/journal19},
+  file = {/Users/Rosa/Zotero/storage/4BKQP8SX/journal19.html}
+}
+
+@article{vanbovenHaveThatQuestion2003,
+  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},
+  volume = {85},
+  pages = {1193--202},
+  doi = {10.1037/0022-3514.85.6.1193},
+  abstract = {Do experiences make people happier than material possessions? In two surveys, respondents from various demographic groups indicated that experiential purchases-those made with the primary intention of acquiring a life experience--made them happier than material purchases. In a follow-up laboratory experiment, participants experienced more positive feelings after pondering an experiential purchase than after pondering a material purchase. In another experiment, participants were more likely to anticipate that experiences would make them happier than material possessions after adopting a temporally distant, versus a temporally proximate, perspective. The discussion focuses on evidence that experiences make people happier because they are more open to positive reinterpretations, are a more meaningful part of one's identity, and contribute more to successful social relationships.},
+  keywords = {niet gebruiken},
+  file = {/Users/Rosa/Zotero/storage/GY7RMHVZ/Van Boven and Gilovich - 2003 - To Do or to Have That Is the Question.pdf}
+}
+
+@misc{viznutPermacomputingUpdate2021,
+  title = {Permacomputing {{Update}} 2021 {\textbar}},
+  author = {{viznut}},
+  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},
+  publisher = {J. Wiley},
+  address = {New York},
+  isbn = {978-0-471-91030-5},
+  lccn = {ML55.V575 M9},
+  keywords = {Computer music,niet gebruiken},
+  file = {/Users/Rosa/Zotero/storage/YKUYA5BZ/Beauchamp - EDITORS HEINZ VON FOERSTER.pdf}
+}
+
+@article{wallendorfMyFavoriteThings1988,
+  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},
+  volume = {14},
+  number = {4},
+  eprint = {2489159},
+  eprinttype = {jstor},
+  pages = {531--547},
+  publisher = {Oxford University Press},
+  issn = {0093-5301},
+  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}
+}
+
+@misc{What2017sPotential,
+  title = {What 2017's {{Potential Component Shortage Means}} for {{Design Engineers}} - {{News}}},
+  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}
+}
+
+@misc{XXIIVVPermacomputing,
+  title = {{{XXIIVV}} --- Permacomputing},
+  urldate = {2025-01-05},
+  howpublished = {https://wiki.xxiivv.com/site/permacomputing.html?utm\_source=pocket\_shared},
+  keywords = {list,summarised},
+  file = {/Users/Rosa/Zotero/storage/QM25W9ZH/permacomputing.html}
+}

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+  column-width: auto;
+  content: normal;
+  counter-increment: none;
+  counter-reset: none;
+  cursor: auto;
+  direction: ltr;
+  display: inline;
+  empty-cells: show;
+  float: none;
+  font: normal;
+  font-family: inherit;
+  font-size: medium;
+  font-style: normal;
+  font-variant: normal;
+  font-weight: normal;
+  height: auto;
+  hyphens: none;
+  left: auto;
+  letter-spacing: normal;
+  line-height: normal;
+  list-style: none;
+  list-style-image: none;
+  list-style-position: outside;
+  list-style-type: disc;
+  margin: 0;
+  margin-bottom: 0;
+  margin-left: 0;
+  margin-right: 0;
+  margin-top: 0;
+  max-height: none;
+  max-width: none;
+  min-height: 0;
+  min-width: 0;
+  opacity: 1;
+  orphans: 0;
+  outline: 0;
+  outline-color: invert;
+  outline-style: none;
+  outline-width: medium;
+  overflow: visible;
+  overflow-x: visible;
+  overflow-y: visible;
+  padding: 0;
+  padding-bottom: 0;
+  padding-left: 0;
+  padding-right: 0;
+  padding-top: 0;
+  page-break-after: auto;
+  page-break-before: auto;
+  page-break-inside: auto;
+  perspective: none;
+  perspective-origin: 50% 50%;
+  position: static;
+  /* May need to alter quotes for different locales (e.g fr) */
+  quotes: "\201C""\201D""\2018""\2019";
+  right: auto;
+  tab-size: 8;
+  table-layout: auto;
+  text-align: inherit;
+  text-align-last: auto;
+  text-decoration: none;
+  text-decoration-color: inherit;
+  text-decoration-line: none;
+  text-decoration-style: solid;
+  text-indent: 0;
+  text-shadow: none;
+  text-transform: none;
+  top: auto;
+  transform: none;
+  transform-style: flat;
+  transition: none;
+  transition-delay: 0s;
+  transition-duration: 0s;
+  transition-property: none;
+  transition-timing-function: ease;
+  unicode-bidi: normal;
+  vertical-align: baseline;
+  visibility: visible;
+  white-space: normal;
+  widows: 0;
+  width: auto;
+  word-spacing: normal;
+  z-index: auto;
+  /* basic modern patch */
+  all: initial;
+  all: unset;
+}
+
+/* basic modern patch */
+
+#interface-header {
+  all: initial;
+}
+#interface-header * {
+  all: unset;
+}
+
+@font-face {
+  font-family: "IBM Plex Mono";
+  src: url("IBMPlex/IBMPlexMono-Text.woff2") format("woff2"),
+    url("IBMPlex/IBMPlexMono-Text.woff") format("woff");
+  font-weight: normal;
+  font-style: normal;
+}
+
+@font-face {
+  font-family: "IBM Plex Mono";
+  src: url("IBMPlex/IBMPlexMono-TextItalic.woff2") format("woff2"),
+    url("IBMPlex/IBMPlexMono-TextItalic.woff") format("woff");
+  font-weight: normal;
+  font-style: italic;
+}
+
+.interface-bar-bottom #interface-header {
+  bottom: 0;
+  top: unset;
+}
+#interface-header {
+  width: 100vw;
+  height: var(--pagedjs-header-height);
+  box-sizing: border-box;
+  background-color: #cfcfcf;
+  --color-interface-header: #222;
+  --border-color: #999;
+  --backgroung-button: rgb(195, 195, 195);
+  color: var(--color-interface-header);
+  border-bottom: 1px solid var(--border-color);
+  position: fixed;
+  top: 0px;
+  left: 0px;
+  z-index: 999999999999999999;
+  font-size: 12px;
+
+  display: flex;
+  justify-content: space-between;
+  align-items: center;
+  padding: 10px 20px;
+
+  font-family: "IBM Plex Mono";
+
+  box-shadow: 22px 7px 13px 0px rgba(153, 153, 153, 0.57);
+}
+
+#interface-header input[type="checkbox"] {
+  display: none;
+}
+
+form {
+  margin-bottom: 0;
+}
+
+/* GRID FORM --------------------------------------- */
+
+#header-group-grid {
+  width: 700px;
+}
+
+#interface-header .grid-form {
+  width: 100%;
+  display: flex;
+  align-items: center;
+  margin-bottom: 1ch;
+}
+#interface-header .grid-form h1 {
+  font-size: 14px;
+
+  width: 14ch;
+  margin: 0;
+  margin-right: 3ch;
+}
+
+#interface-header .grid-form-label {
+  display: inline-flex;
+  align-items: center;
+  justify-content: center;
+  width: 7ch;
+  padding: 3px 0;
+  border: 1px solid var(--color-interface-header);
+  border-radius: 2px;
+  cursor: pointer;
+  box-shadow: 1px 1px 0px 0px var(--color-interface-header);
+  margin-right: 5ch;
+}
+
+#interface-header .grid-form-label:hover {
+  background-color: var(--backgroung-button);
+}
+
+#interface-header .grid-form-header {
+  display: flex;
+  align-items: center;
+}
+
+#interface-header .grid-form-values-group {
+  padding-top: 0.8ch;
+}
+
+/* BASELINE GROUP --------------------------------------- */
+
+#interface-header .grid-form input[type="number"] {
+  width: 50px;
+  background-color: transparent;
+  border: 1px solid var(--border-color);
+  border-radius: 2px;
+  cursor: pointer;
+  box-shadow: 1px 1px 0px 0px #9f9f9f;
+  outline: none;
+}
+
+#size-baseline-form label {
+  margin-right: 1em;
+}
+
+#label-position {
+  margin-left: 1.5em;
+}
+
+/* BUTTONS GROUP */
+
+#header-group-right {
+  display: flex;
+  align-items: center;
+}
+
+#header-group-right > p {
+  margin-right: 5ch !important;
+  margin-top: 0 !important;
+  margin-left: 0 !important;
+  margin-bottom: 0 !important;
+  padding: 0 !important;
+  color: var(--color-interface-header) !important;
+  position: relative !important;
+  top: 0 !important;
+  left: 0 !important;
+  bottom: 0 !important;
+  right: 0 !important;
+  width: auto !important;
+  height: auto !important;
+  font-size: 12px !important;
+  line-height: 1em !important;
+}
+
+#buttons {
+  display: flex;
+  justify-content: flex-end;
+  /* width: 300px; */
+}
+
+#button-print {
+  width: 60px;
+  opacity: 0.2;
+  background: none;
+  outline: none;
+}
+
+#label-preview-toggle img {
+  width: 80%;
+  height: 80%;
+}
+
+#label-preview-toggle,
+#button-print {
+  --buttons-size: 36px;
+  display: flex;
+  align-items: center;
+  justify-content: center;
+  width: var(--buttons-size);
+  height: var(--buttons-size);
+  margin-right: 10px;
+  border: 1px solid var(--border-color);
+  border-radius: 2px;
+  cursor: pointer;
+  box-shadow: 1px 1px 0px 0px #9f9f9f;
+  padding: 0;
+  box-sizing: border-box;
+}
+
+.interface-preview #label-preview-toggle {
+  border: 2px solid var(--color-interface-header);
+}
+
+#button-print {
+  padding: 6px;
+}
+
+#label-preview-toggle:hover,
+#button-print:hover {
+  background-color: var(--backgroung-button);
+}
+
+#button-print[data-ready="true"] {
+  opacity: 1;
+  cursor: pointer;
+}
+
+@media print {
+  #interface-header {
+    display: none;
+  }
+}
+
+
+@media screen, pagedjs-ignore {
+  .pagedjs_pages{
+    padding-bottom: 20vh;
+  }
+}

pagedjs/interface.css

@@ -0,0 +1,203 @@
+/* CSS for Paged.js interface – v0.2 
+Julie Blanc - 2020
+MIT License https://opensource.org/licenses/MIT
+A simple stylesheet to see pages on screen (with baseline included) */
+
+
+/* Change the look */
+:root {
+    --color-background: whitesmoke;
+    --color-pageSheet: #cfcfcf;
+    --color-pageBox: violet;
+    --color-paper: white;
+    --color-marginBox: purple;
+    --pagedjs-crop-color: #000;
+    --pagedjs-crop-stroke: 1px;
+
+    --pagedjs-baseline: 12px;
+    --pagedjs-baseline-position: 0px;
+    --pagedjs-baseline-color: cyan;
+
+   --pagedjs-header-height: 80px;
+}
+
+.pagedjs_marks-crop{
+    z-index: 999999999999;
+}
+
+/* To define how the book look on the screen: */
+@media screen, pagedjs-ignore {
+    body {
+        background-color: var(--color-background);
+    }
+
+    .pagedjs_pages {
+        display: flex;
+        width: calc(var(--pagedjs-width) * 2);
+        flex: 0;
+        flex-wrap: wrap;
+        margin: 0 auto;
+        margin-top: var(--pagedjs-header-height);
+    }
+
+    .pagedjs_page {
+        background-color: var(--color-paper);
+        box-shadow: 0 0 0 1px var(--color-pageSheet);
+        margin: 0;
+        flex-shrink: 0;
+        flex-grow: 0;
+        margin-top: 10mm;
+    }
+
+    .pagedjs_first_page {
+        margin-left: calc(var(--pagedjs-width) - var(--pagedjs-bleed-left));
+    }
+
+    .pagedjs_page:last-of-type {
+        margin-bottom: 10mm;
+    }
+
+    .pagedjs_pagebox{
+        box-shadow: 0 0 0 1px var(--color-pageBox);
+    }
+
+    .pagedjs_left_page{
+        z-index: 20;
+        width: calc(var(--pagedjs-bleed-left) + var(--pagedjs-pagebox-width))!important;
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-crop {
+        border-color: transparent;
+    }
+    
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-middle{
+        width: 0;
+    } 
+
+    .pagedjs_right_page{
+        z-index: 10;
+        position: relative;
+        left: calc(var(--pagedjs-bleed-left)*-1);
+    }
+
+    /* show the margin-box */
+
+   
+
+    .pagedjs_margin-top-left-corner-holder,
+    .pagedjs_margin-top,
+    .pagedjs_margin-top-left,
+    .pagedjs_margin-top-center,
+    .pagedjs_margin-top-right,
+    .pagedjs_margin-top-right-corner-holder,
+    .pagedjs_margin-bottom-left-corner-holder,
+    .pagedjs_margin-bottom,
+    .pagedjs_margin-bottom-left,
+    .pagedjs_margin-bottom-center,
+    .pagedjs_margin-bottom-right,
+    .pagedjs_margin-bottom-right-corner-holder,
+    .pagedjs_margin-right,
+    .pagedjs_margin-right-top,
+    .pagedjs_margin-right-middle,
+    .pagedjs_margin-right-bottom,
+    .pagedjs_margin-left,
+    .pagedjs_margin-left-top,
+    .pagedjs_margin-left-middle,
+    .pagedjs_margin-left-bottom {
+        box-shadow: 0 0 0 1px inset var(--color-marginBox);
+    }
+
+    /* uncomment this part for recto/verso book : ------------------------------------ */
+
+    /*     
+    .pagedjs_pages {
+        flex-direction: column;
+        width: 100%;
+    }
+
+    .pagedjs_first_page {
+        margin-left: 0;
+    }
+
+    .pagedjs_page {
+        margin: 0 auto;
+        margin-top: 10mm;
+    } 
+
+    .pagedjs_left_page{
+        width: calc(var(--pagedjs-bleed-left) + var(--pagedjs-pagebox-width) + var(--pagedjs-bleed-left))!important;
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-crop{
+        border-color: var(--pagedjs-crop-color);
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-middle{
+        width: var(--pagedjs-cross-size)!important;
+    } 
+
+    .pagedjs_right_page{
+        left: 0; 
+    } 
+    */
+    
+
+    /*--------------------------------------------------------------------------------------*/
+
+
+
+    /* PREVIEW MODE */
+
+    .interface-preview {
+        background-color: black;
+        --color-pageBox: #999;
+    }
+
+    .interface-preview .pagedjs_page{
+        box-shadow: none;
+    }
+
+    .interface-preview .pagedjs_right_page .pagedjs_bleed, 
+    .interface-preview .pagedjs_left_page .pagedjs_bleed-top,
+    .interface-preview .pagedjs_left_page .pagedjs_bleed-bottom,
+    .interface-preview .pagedjs_left_page .pagedjs_bleed-left{
+        background-color: black;
+        z-index:999999;
+    }
+
+    .interface-preview .pagedjs_marks-crop, 
+    .interface-preview .pagedjs_marks-crop{
+        opacity: 0;
+    }
+
+
+    /* BASLINE -------------------------------------------*/
+
+    
+    .pagedjs_pagebox {
+       
+        background: linear-gradient(transparent 0%, transparent calc(var(--pagedjs-baseline) - 1px), var(--pagedjs-baseline-color) calc(var(--pagedjs-baseline) - 1px), var(--pagedjs-baseline-color) var(--pagedjs-baseline)), transparent;
+        background-size: 100% var(--pagedjs-baseline);
+        background-repeat: repeat-y;
+        background-position-y: var(--pagedjs-baseline-position);
+     
+    }  
+
+    .no-baseline .pagedjs_pagebox,
+    .interface-preview .pagedjs_pagebox {
+        background: none;
+    }
+
+
+    .button-print{ display: none; }
+
+    .interface-preview,
+    .no-marginboxes{
+        --color-marginBox: transparent;
+    }
+   
+}
+
+
+
+

pagedjs/interface.html

@@ -0,0 +1,42 @@
+
+<div class="reset-this" id="header-group-grid">
+    <form class="reset-this grid-form" id="baseline-form">
+        <div class="reset-this grid-form-header">
+            <h1 class="reset-this">Baseline grid</h1>
+            <input class="reset-this" type="checkbox" id="baseline-toggle" name="baseline-toggle">
+            <label class="reset-this grid-form-label" for="baseline-toggle" id="label-baseline-toggle">See</label>
+        </div>
+        <div class="reset-this grid-form-values-group" id="size-baseline-form">
+            <label class="reset-this" for="size-baseline">Size (px)</label>
+            <input class="reset-this" type="number" id="size-baseline" name="size-baseline" min="1" max="100" value="12">
+            <label class="reset-this" for="position-baseline" id="label-position">Position (px)</label>
+            <input class="reset-this" type="number" id="position-baseline" name="position-baseline" value="0">
+        </div>
+    </form>
+    <form class="reset-this grid-form" id="marginbox-form">
+        <div class="reset-this grid-form-header">
+            <h1 class="reset-this">Margin boxes</h1>
+            <input class="reset-this" type="checkbox" id="marginbox-toggle" name="marginbox-toggle">
+            <label class="reset-this grid-form-label" for="marginbox-toggle" id="label-marginbox-toggle">See</label>
+        </div>
+    </form>
+</div>
+<div class="reset-this" id="header-group-right">
+    <p class="reset-this"><span id="nrb-pages" class="reset-this"></span> pages</p>
+    <div class="reset-this header-group" id="buttons">
+        <form class="reset-this" id="preview-form">
+            <input class="reset-this" type="checkbox" id="preview-toggle" name="preview-toggle">
+            <label class="reset-this"for="preview-toggle" id="label-preview-toggle">
+                <img src="pagedjs/icon-preview.svg">           
+            </label>
+        </form>
+        <button class="reset-this" id="button-print" onclick="window.print()" data-ready="false" data-text="Print">
+            <img src="pagedjs/icon-printer.svg">           
+
+        </button>
+    </div>
+</div>
+<!-- <script>
+    interfaceEvents();
+</script> -->
+

pagedjs/interface.js

@@ -0,0 +1,195 @@
+document.addEventListener('DOMContentLoaded', (event) => {
+    let p = includeHTML();
+    p.then(() => {
+        interfaceEvents();
+    })
+   
+    
+
+
+    let flowBook = document.querySelector("#book-content");
+    let book_content = flowBook.content;
+    let paged = new Paged.Previewer();
+    paged.preview(book_content, ["style-print.css"], document.querySelector("#renderbook")).then((flow) => {
+        
+    });
+  });
+
+
+ 
+
+
+
+  function  interfaceEvents(){
+
+    let body = document.getElementsByTagName("body")[0];
+
+   
+    // set a "unique" filename based on title element, in case several books are opened
+    var fileTitle = document.getElementsByTagName("title")[0].text;
+
+        /* BASELINE ---------------------------------------------------------------------------------------------------- 
+        ----------------------------------------------------------------------------------------------------------------*/
+
+        /* Set baseline onload */
+        let baselineToggle = localStorage.getItem('baselineToggle' + fileTitle);
+        let baselineButton = document.querySelector('#label-baseline-toggle');
+        let baselineSize = localStorage.getItem('baselineSize' + fileTitle);
+        let baselinePosition = localStorage.getItem('baselinePosition');
+        let baselineSizeInput = document.querySelector('#size-baseline');
+        let baselinePositionInput = document.querySelector('#position-baseline');
+
+        if(baselineToggle == "no-baseline"){
+            body.classList.add('no-baseline');
+            baselineButton.innerHTML = "see";
+        }else if(baselineToggle == "baseline"){
+            body.classList.remove('no-baseline');
+            document.querySelector("#baseline-toggle").checked = "checked";
+            baselineButton.innerHTML = "hide";
+        }else{
+            body.classList.add('no-baseline');
+            localStorage.setItem('baselineToggle' + fileTitle, 'no-baseline');
+            baselineButton.innerHTML = "see";
+        }
+
+        /* Get baseline size and position on load*/
+        if(baselineSize){
+            baselineSizeInput.value = baselineSize;
+            document.documentElement.style.setProperty('--pagedjs-baseline', baselineSize + 'px');
+        }else{
+            localStorage.setItem('baselineSize' + fileTitle, baselineSizeInput.value);
+        }
+        baselinePositionInput.addEventListener("input", (e) => {
+        });
+        if(baselinePosition){
+            baselinePositionInput.value = baselinePosition;
+            document.documentElement.style.setProperty('--pagedjs-baseline-position', baselinePosition + 'px');
+        }else{
+            localStorage.setItem('baselineSPosition', baselinePositionInput.value);
+        }
+
+
+
+
+        /* Toggle baseline */
+        document.querySelector("#baseline-toggle").addEventListener("input", (e) => {
+            if(e.target.checked){
+                /* see baseline */
+                body.classList.remove('no-baseline');
+                localStorage.setItem('baselineToggle' + fileTitle, 'baseline');
+                baselineButton.innerHTML = "hide";
+            }else{
+                /* hide baseline */
+                body.classList.add('no-baseline');
+                localStorage.setItem('baselineToggle' + fileTitle, 'no-baseline');
+                baselineButton.innerHTML = "see";
+            }
+        });
+
+
+        /* Change baseline size on input */
+        document.querySelector("#size-baseline").addEventListener("input", (e) => {
+            document.documentElement.style.setProperty('--pagedjs-baseline', e.target.value + 'px');
+            localStorage.setItem('baselineSize'  + fileTitle, baselineSizeInput.value);
+        });
+
+
+        /* Change baseline position on input */
+          document.querySelector("#position-baseline").addEventListener("input", (e) => {
+            document.documentElement.style.setProperty('--pagedjs-baseline-position', e.target.value + 'px');
+            localStorage.setItem('baselinePosition', baselinePositionInput.value);
+        });
+
+
+         /* MARGIN BOXES ---------------------------------------------------------------------------------------------------- 
+        ----------------------------------------------------------------------------------------------------------------*/
+        let marginButton = document.querySelector('#label-marginbox-toggle');
+
+        body.classList.add('no-marginboxes');
+        
+        document.querySelector("#marginbox-toggle").addEventListener("input", (e) => {
+            if(e.target.checked){
+                /* see baseline */
+                body.classList.remove('no-marginboxes');
+                marginButton.innerHTML = "hide";
+            }else{
+                /* hide baseline */
+                body.classList.add('no-marginboxes');
+                marginButton.innerHTML = "see";
+            }
+        });
+
+
+        /* Preview ---------------------------------------------------------------------------------------------------- 
+        ----------------------------------------------------------------------------------------------------------------*/
+
+
+        document.querySelector("#preview-toggle").addEventListener("input", (e) => {
+            if(e.target.checked){
+                /* preview mode */
+                body.classList.add('interface-preview');
+            }else{
+                body.classList.remove('interface-preview');
+            }
+        });
+    
+}
+
+
+
+
+function includeHTML() {
+    var z, i, file, xhttp;
+    /* Loop through a collection of all HTML elements: */
+    /*search for elements with a certain atrribute:*/
+    let elmnt = document.getElementById("interface-header")
+    file = elmnt.getAttribute("w3-include-html");
+    let a = new Promise((resolve, reject) => {
+        if (file) {
+            /* Make an HTTP request using the attribute value as the file name: */
+            xhttp = new XMLHttpRequest();
+            xhttp.onreadystatechange = function() {
+                if (this.readyState == 4) {
+                    if (this.status == 200) {elmnt.innerHTML = this.responseText;}
+                    if (this.status == 404) {elmnt.innerHTML = "Page not found.";}
+                    /* Remove the attribute, and call this function once more: */
+                    elmnt.removeAttribute("w3-include-html");
+                    resolve();
+                }
+            }
+            xhttp.open("GET", file, true);
+            xhttp.send();
+            /* Exit the function: */
+            return;
+        }
+    });
+    return a;
+}
+
+
+
+
+
+
+
+
+
+class interfacePaged extends Paged.Handler {
+    constructor(chunker, polisher, caller) {
+        super(chunker, polisher, caller);
+    }
+
+    afterPageLayout(pageElement, page, breakToken){
+        let nbr = page.id.replace('page-', '');
+        let span = document.querySelector("#nrb-pages");
+        span.innerHTML = nbr;
+    }
+
+
+    afterRendered(pages){
+        let print = document.querySelector("#button-print");
+        print.dataset.ready = 'true';
+    }
+}
+Paged.registerHandlers(interfacePaged);
+

pagedjs/reload-in-place.js

@@ -0,0 +1,116 @@
+// Reload-in-place v1.3
+// Nicolas Taffin + Sameh Chafik - 2020
+// MIT License https://opensource.org/licenses/MIT
+// A simple script to add your pagedjs project. On reload, it will make the web browser scroll to the place it was before reload. 
+// Useful when styling or proof correcting your book. Multi docs compatible and doesn't wait for complete compilation to go.
+
+
+// console.log("reload in place");
+
+
+// separate human / machine scroll
+var machineScroll = false;
+
+// check pagedJS ended compilation
+var pagedjsEnd = false;
+
+class pagedjsEnded extends Paged.Handler {
+    constructor(chunker, polisher, caller) {
+        super(chunker, polisher, caller);
+    }
+    afterRendered(pages) {
+        pagedjsEnd = true;
+    }
+}
+Paged.registerHandlers(pagedjsEnded);
+
+// set a "unique" filename based on title element, in case several books are opened
+var fileTitle = document.getElementsByTagName("title")[0].text;
+
+function getDocHeight() {
+    var D = document;
+    return Math.max(
+        D.body.scrollHeight, D.documentElement.scrollHeight,
+        D.body.offsetHeight, D.documentElement.offsetHeight,
+        D.body.clientHeight, D.documentElement.clientHeight
+    )
+}
+function saveAmountScrolled(){
+    var scrollArray = [];
+    var scrollTop = window.pageYOffset || (document.documentElement || document.body.parentNode || document.body).scrollTop
+    if (!machineScroll) {
+        var scrollLeft = window.pageXOffset || (document.documentElement || document.body.parentNode || document.body).scrollLeft
+        scrollArray.push({ X: Math.round(scrollLeft), Y: Math.round(scrollTop) });
+        // console.log("Saved ", scrollArray);
+        localStorage[fileTitle] = JSON.stringify(scrollArray);
+    }
+}
+
+// on Load, blur or opacify the page, and try to join ASAP 
+// last saved position, or at least last compiled page
+
+window.onload = function() {
+    machineScroll= true;
+    var styleEl = document.createElement('style');
+    document.head.appendChild(styleEl);
+    var styleSheet = styleEl.sheet;
+    // uncomment one of the two options :
+    // nice but high calculation usage : blur until scrolled
+    styleSheet.insertRule('.pagedjs_pages { filter: blur(4px); }', 0); 
+    // less power consumption: low opacity until scrolled
+    //styleSheet.insertRule('.pagedjs_pages { opacity: 0.3; }', 0); 
+    var savedData = localStorage.getItem(fileTitle);
+    if (savedData) {
+        var scrollArray = JSON.parse(savedData);
+        var scrollTop = scrollArray[0].Y;
+        var scrollLeft = scrollArray[0].X;
+    } else {
+        var scrollTop = 0;
+        var scrollLeft = 0;
+    }
+    var winheight= window.innerHeight || (document.documentElement || document.body).clientHeight
+    window.currentInterval = setInterval(function(){
+        var docheight = getDocHeight();
+        
+        if ( scrollTop > 0 && scrollTop > docheight - winheight && !pagedjsEnd) {  
+            window.scrollTo(scrollLeft,docheight);
+        } else {
+            window.scrollTo(scrollLeft,scrollTop);
+            clearInterval(window.currentInterval);
+            setTimeout(function(){ 
+                window.scrollTo(scrollLeft,scrollTop);
+                machineScroll = false;
+                styleSheet.deleteRule(0);
+            }, 100);
+        }
+    }, 50);
+};
+
+// slow down a bit save position pace
+
+var slowSave = debounce(function() {
+	if(!machineScroll) { 
+        saveAmountScrolled();
+    }
+}, 100);
+
+function debounce(func, wait, immediate) {
+	var timeout;
+	return function() {
+		var context = this, args = arguments;
+		var later = function() {
+			timeout = null;
+			if (!immediate) func.apply(context, args);
+		};
+		var callNow = immediate && !timeout;
+		clearTimeout(timeout);
+		timeout = setTimeout(later, wait);
+		if (callNow) func.apply(context, args);
+	};
+};
+
+// Scroll triggers save, but not immediately on load
+
+setTimeout(function(){ 
+    window.addEventListener('scroll', slowSave);
+}, 1000);

requirements.txt

@@ -0,0 +1,11 @@
+importlib_metadata==8.5.0
+Jinja2==3.1.4
+Markdown==3.7
+MarkupSafe==3.0.2
+python-frontmatter==1.1.0
+python-slugify==8.0.4
+PyYAML==5.1
+requests==2.32.3
+text-unidecode==1.3
+zipp==3.21.0
+pypandoc==1.15

src/assets/app.js

@@ -0,0 +1,31 @@
+
+let filter = [];
+document.querySelectorAll(".csl-entry").forEach((e) => {
+    if (filter.indexOf(e.id) == -1) {
+        filter.push(e.id);
+        document.querySelector('[data-template-type="bib"]').appendChild(e);
+    } else {
+        e.parentNode.removeChild(e);
+    }
+})
+const dialog = document.querySelector("dialog");
+const closeDialog = (e) => {
+    e.stopPropagation();
+    console.log("close")
+    dialog.close();
+    document.body.removeEventListener("click", closeDialog);
+}
+const showLightbox = (e) => {
+    e.preventDefault();
+    e.stopPropagation();
+    const img = dialog.querySelector("img");
+    img.src = e.currentTarget.src;
+    img.alt = e.currentTarget.alt;
+    dialog.querySelector("p").textContent = e.currentTarget.alt;
+    dialog.showModal();
+    document.body.addEventListener("click", closeDialog, false);
+}
+document.querySelectorAll("article img").forEach((img) => {
+    console.log(img);
+    img.addEventListener("click", showLightbox);
+})

src/assets/styles/layout.css

@@ -0,0 +1,91 @@
+* {
+	box-sizing: border-box;
+}
+body,
+html {
+	margin: 0 0;
+	padding: 0 0;
+	width: 100%;
+	height: 100%;
+}
+
+article:not(article article) {
+	max-width: var(--article-w);
+	margin-right: 150px;
+	margin: 0 auto;
+	padding-right: var(--footnote-w);
+}
+
+article header {
+	padding-right: 0;
+	margin-right: calc(var(--footnote-w)*-1);
+}
+
+article header {
+	min-height: 35mm;
+}
+
+
+dialog {
+	max-width: var(--main-w);
+	height: 100%;
+	max-height: 100%;
+	border: none;
+	overflow: hidden;
+	outline: none;
+	background-color: transparent;
+	margin: 0 auto;
+	padding: 0 0;
+}
+
+dialog img {
+	width: 100%;
+	height: 100%;
+	object-fit: contain;
+	max-height: calc(100svh - 2rem);
+}
+
+dialog::backdrop {
+  background-color: transparent;
+  transition: .2s linear;
+}
+
+dialog[open]::backdrop {
+  background-color: black;
+  opacity: .5;
+}
+
+sup li:before,
+article li:has(.footnote-back):before,
+li[count]:before {
+	display: inline;
+	float: left;
+	margin-right: 1ch;
+	font-weight: bold;
+	content: attr("count");
+	content: " [" attr(count) "]";
+	color: var(--accent);
+}
+
+li[count] {
+	float: right;
+	clear: right;
+	width: var(--footnote-w);
+	margin-right: calc((var(--footnote-w) * -1));
+	padding-left: 1rem;
+	margin-top: -1em;
+	margin-bottom: 1em;
+}
+
+article:not(article article) {
+/*	padding-right: var(--footnote-w);;*/
+}
+
+
+.list--frontpage {
+	display: grid;
+	grid-template-columns: 1fr 1fr;
+	grid-gap: 1rem;
+	list-style-type: none;
+	padding: 0 0;
+}

src/assets/styles/paged-interface.css

@@ -0,0 +1,180 @@
+/* CSS for Paged.js interface – v0.4 */
+
+/* Change the look */
+:root {
+    --color-background: whitesmoke;
+    --color-pageSheet: #cfcfcf;
+    --color-pageBox: violet;
+    --color-paper: white;
+    --color-marginBox: transparent;
+    --pagedjs-crop-color: black;
+    --pagedjs-crop-shadow: white;
+    --pagedjs-crop-stroke: 1px;
+}
+
+/* To define how the book look on the screen: */
+@media screen, pagedjs-ignore {
+    body {
+        background-color: var(--color-background);
+    }
+
+    .pagedjs_pages {
+        display: flex;
+        width: calc(var(--pagedjs-width) * 2);
+        flex: 0;
+        flex-wrap: wrap;
+        margin: 0 auto;
+    }
+
+    .pagedjs_page {
+        background-color: var(--color-paper);
+        box-shadow: 0 0 0 1px var(--color-pageSheet);
+        margin: 0;
+        flex-shrink: 0;
+        flex-grow: 0;
+        margin-top: 10mm;
+    }
+
+    .pagedjs_first_page {
+        margin-left: var(--pagedjs-width);
+    }
+
+    .pagedjs_page:last-of-type {
+        margin-bottom: 10mm;
+    }
+
+    .pagedjs_pagebox{
+        box-shadow: 0 0 0 1px var(--color-pageBox);
+    }
+
+    .pagedjs_left_page{
+        z-index: 20;
+        width: calc(var(--pagedjs-bleed-left) + var(--pagedjs-pagebox-width))!important;
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-crop {
+        border-color: transparent;
+    }
+    
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-middle{
+        width: 0;
+    } 
+
+    .pagedjs_right_page{
+        z-index: 10;
+        position: relative;
+        left: calc(var(--pagedjs-bleed-left)*-1);
+    }
+
+    /* show the margin-box */
+
+    .pagedjs_margin-top-left-corner-holder,
+    .pagedjs_margin-top,
+    .pagedjs_margin-top-left,
+    .pagedjs_margin-top-center,
+    .pagedjs_margin-top-right,
+    .pagedjs_margin-top-right-corner-holder,
+    .pagedjs_margin-bottom-left-corner-holder,
+    .pagedjs_margin-bottom,
+    .pagedjs_margin-bottom-left,
+    .pagedjs_margin-bottom-center,
+    .pagedjs_margin-bottom-right,
+    .pagedjs_margin-bottom-right-corner-holder,
+    .pagedjs_margin-right,
+    .pagedjs_margin-right-top,
+    .pagedjs_margin-right-middle,
+    .pagedjs_margin-right-bottom,
+    .pagedjs_margin-left,
+    .pagedjs_margin-left-top,
+    .pagedjs_margin-left-middle,
+    .pagedjs_margin-left-bottom {
+        box-shadow: 0 0 0 1px inset var(--color-marginBox);
+    }
+
+    /* uncomment this part for recto/verso book : ------------------------------------ */
+
+    /*
+    .pagedjs_pages {
+        flex-direction: column;
+        width: 100%;
+    }
+
+    .pagedjs_first_page {
+        margin-left: 0;
+    }
+
+    .pagedjs_page {
+        margin: 0 auto;
+        margin-top: 10mm;
+    } 
+
+    .pagedjs_left_page{
+        width: calc(var(--pagedjs-bleed-left) + var(--pagedjs-pagebox-width) + var(--pagedjs-bleed-left))!important;
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-crop{
+        border-color: var(--pagedjs-crop-color);
+    }
+
+    .pagedjs_left_page .pagedjs_bleed-right .pagedjs_marks-middle{
+        width: var(--pagedjs-cross-size)!important;
+    } 
+
+    .pagedjs_right_page{
+        left: 0; 
+    } 
+    */
+    
+    
+
+    /*--------------------------------------------------------------------------------------*/
+
+
+
+    /* uncomment this par to see the baseline : -------------------------------------------*/
+
+    
+    /* .pagedjs_pagebox {
+        --pagedjs-baseline: 22px;
+        --pagedjs-baseline-position: 5px;
+        --pagedjs-baseline-color: cyan;
+        background: linear-gradient(transparent 0%, transparent calc(var(--pagedjs-baseline) - 1px), var(--pagedjs-baseline-color) calc(var(--pagedjs-baseline) - 1px), var(--pagedjs-baseline-color) var(--pagedjs-baseline)), transparent;
+        background-size: 100% var(--pagedjs-baseline);
+        background-repeat: repeat-y;
+        background-position-y: var(--pagedjs-baseline-position);
+    }  */
+   
+
+    /*--------------------------------------------------------------------------------------*/
+}
+
+
+
+
+
+/* Marks (to delete when merge in paged.js) */
+
+.pagedjs_marks-crop{
+    z-index: 999999999999;
+  
+}
+
+.pagedjs_bleed-top .pagedjs_marks-crop, 
+.pagedjs_bleed-bottom .pagedjs_marks-crop{
+    box-shadow: 1px 0px 0px 0px var(--pagedjs-crop-shadow);
+}  
+
+.pagedjs_bleed-top .pagedjs_marks-crop:last-child,
+.pagedjs_bleed-bottom .pagedjs_marks-crop:last-child{
+    box-shadow: -1px 0px 0px 0px var(--pagedjs-crop-shadow);
+}  
+
+.pagedjs_bleed-left .pagedjs_marks-crop,
+.pagedjs_bleed-right .pagedjs_marks-crop{
+    box-shadow: 0px 1px 0px 0px var(--pagedjs-crop-shadow);
+}
+
+.pagedjs_bleed-left .pagedjs_marks-crop:last-child,
+.pagedjs_bleed-right .pagedjs_marks-crop:last-child{
+    box-shadow: 0px -1px 0px 0px var(--pagedjs-crop-shadow);
+}

src/assets/styles/paged.css

@@ -0,0 +1,119 @@
+body {
+  font-size: var(--font-size-base);
+}
+
+.meta [data-generated-date] {
+  position: running(generatedDate);
+}
+
+.meta [data-publication-title] {
+  position: running(publicationTitle);
+}
+
+.meta [data-chapter-title] {
+  position: running(chapterTitle);
+}
+
+
+@page {
+  size: A5;
+  margin: 13mm 8mm;
+
+}
+
+@page :left {
+  @bottom-left {
+    content: "page " counter(page);
+  }
+
+  @top-left {
+    content: element(publicationTitle);
+    font-size: var(--font-size-base);
+    font-style: italic;
+  }
+
+  @top-right {
+    content: element(generatedDate);
+    font-size: var(--font-size-base);
+    font-style: italic;
+  }
+}
+
+@page: blank {
+  @top-left {
+    content: "blank " counter(page);
+  }
+}
+
+@page :right {
+  @top-right {
+    content: element(chapterTitle);
+    font-size: var(--font-size-base);
+    font-style: italic;
+  }
+  @bottom-right {
+    content: "right page" counter(page);
+  }
+}
+
+
+
+@page cover {
+  background: var(--accent);
+  margin-top: auto;
+  position: relative;
+
+  header {
+    position: absolute;
+    margin: 0 0;
+    top: 50%;
+    transform: translate3d(0, -50%, 0px);
+    width: 100%;
+  }
+
+  @top-right {
+    content: "coverttt";
+  }
+}
+
+@page front {
+  background: lightgrey;
+  position: relative;
+
+  @top-right {
+    content: none;
+  }
+
+  @bottom-right {
+    content: none;
+  }
+  
+
+  header {
+    position: absolute;
+    margin: 0 0;
+    top: 50%;
+    transform: translate3d(0, -50%, 0px);
+    width: 100%;
+  }
+}
+
+.header--meta {
+  display: none;
+}
+.meta:has([data-chapter-title]) {
+  break-before: page;
+}
+.page--cover {
+  page: cover;
+}
+
+[template-type="front"] {
+  page: front;
+  counter-reset: page;
+}
+
+
+.header-section-number {
+  display: none;
+}

src/assets/styles/print.css

@@ -0,0 +1,66 @@
+/*:root {
+  font-size: 16px;
+  --background: transparent;
+}
+
+@page {
+  size: A5;
+  margin: 1cm;
+  font-family: sans-serif;
+}
+
+section.level1 {
+  page: default;
+  break-before: page;
+  padding-right: calc(var(--footnote-w) + 16px);
+}
+
+section.level1:has([data-template-type="chapter"]) {
+  page: chapter;
+}
+
+section.level1:has([data-template-type="bib"]) {
+  page: bib;
+}
+
+@page chapter {
+  size: A5;
+  margin: 1cm;
+  font-family: sans-serif;
+  margin-top: 20mm;
+  margin-bottom: 20mm;
+  bleed: 60mm;
+
+  @top-center {
+    content: "This is a chapter";
+  }
+}
+
+
+
+@page bib {
+  size: A5;
+  margin: 1cm;
+  font-family: sans-serif;
+  margin-top: 20mm;
+  margin-bottom: 20mm;
+  bleed: 6mm;
+
+  text-align: right;
+  @top-center {
+    content: "This is the bibliography";
+  }
+}
+
+.no-print {
+  display: none;
+}
+
+p {
+  break-inside: avoid;
+}
+
+article h1 {
+  margin-top: 0;
+}
+*/

src/assets/styles/screen.css

@@ -0,0 +1,5 @@
+@media screen {
+	[template-type="front"] {
+		display: none;
+	}
+}

src/assets/styles/style.css

@@ -0,0 +1,46 @@
+:root {
+  --footnote-w: 170px;
+  --article-w: 800px;
+  --main-w: calc(1200px - 2rem);
+  --img-offset: -5ch;
+  --accent: red;
+  --background: floralwhite;
+  --text: black;
+  --accent: orange;
+  font-size: 11px;
+}
+
+@media (prefers-color-scheme: dark) {
+  body {
+    --background: #1b1b1b;
+    --text: white;
+    --background-invert: teal;
+    --text-invert: black;
+  }
+}
+
+body {
+  background-color: var(--background);
+  color: var(--text);
+}
+
+.m-0 {
+  margin: 0 0;
+}
+
+.d-print,
+.d-web {
+  display: none;
+}
+
+@media screen {
+  .d-web {
+    display: inline-block;
+  }
+}
+
+@media print {
+  .d-print {
+    display: inline-block;
+  }
+}

src/assets/styles/typography.css

@@ -0,0 +1,101 @@
+body {
+	font-family: "Fira Sans";
+	font-size: 16px;
+}
+h1,
+h2,
+h3,
+h4,
+h5,
+h6 {
+	margin: 0 0;
+	font-weight: bold;
+}
+
+[template-type="front"] h1 {
+	font-size: 48px;
+}
+h1 {
+	font-weight: bold;
+	font-size: 32px;
+	margin: 0 0;
+}
+
+
+h1,
+h2,
+h3 {
+	line-height: 125%;
+}
+h3 {
+}
+article {
+	line-height: 1.5;
+}
+li p {
+	margin: 0 0;
+}
+article h2, article h3, article h4, article h5 {
+	margin-top: .5rem;
+}
+a,
+a[visited] {
+	color: var(--accent);
+}
+a p {
+	color: var(--text);
+}
+ul {
+	padding-left: 2ch;
+}
+
+figure {
+	margin: 2rem 0;
+}
+article img {
+	border: 1px solid red;
+	max-width: 100%;
+
+}
+ins {
+	font-family: monospace;
+	text-decoration: none;
+	font-size: 70%;
+	background: color-mix(in srgb, LawnGreen 15%, transparent);
+	padding: 4px;
+	vertical-align: middle;
+}
+ins p {
+	display: inline;
+}
+sup li, article li:has(.footnote-back), li[count] {
+	list-style: none;
+}
+ins::before {
+	content: "+ ";
+	color: LawnGreen;
+	font-weight: bold;
+}
+[template-type="front"] h2 {
+	font-size: 20px;
+	font-style: italic;
+	font-weight: light;
+}
+sup:has(li),
+article li:has(.footnote-back),
+.footnote {
+	font-family: monospace;
+	font-size: 80%;
+	line-height: 1.5;
+}
+.csl-entry {
+	margin-top: 1rem;
+}
+
+sup li p, article li:has(.footnote-back) p {
+	margin-top: 0;
+}
+
+p {
+	break-inside: avoid;
+}

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

@@ -0,0 +1,56 @@
+---
+title: "About this guide"
+type: Chapter
+slug: true
+front: false
+---
+<span template-type="chapter"></span>
+
+<ins>Feedback Thijs: Vertellen over Catu/Repair nights, dat het in Rotterdam is. This field guide is created during and around unrepair nights held at Catu</ins>
+<ins>Feedback thijs: who is I</ins>
+<ins>How to read the guide! Dus dat het hyperlinks zijn</ins>
+
+---
+Hello! You are looking at a printed or web version of the *Field guide to salvaging sound devices*. This guide is currently being created at the (un)repair cafe in Klankschoool[^about-klankschool], and will help you in your "journey"(blergh) of becoming a hardcore hardware salvager.
+
+[^about-klankschool]: A bit about klankschool..
+
+The guide is divided in 4 chapters[^footnotes], each discussing a step in the salvaging process.
+
+1. Gathering hardware
+2. Dismantling devices
+3. Components to salvage
+4. Recipes
+
+[^footnotes]: extra context and additional notes are provided through these footnotes.
+
+## How to hack this guide
+In the true spirit of Re-Use/Re-Claim, you are hereby officially invited to make this guide your own. <span class="d-print">Grab a marker and a knife, and correct me where I'm wrong. </span> <span class="d-web"> <kbd>Ctrl</kbd> + <kbd>S</kbd> this web page and host it on your own server, or create a [pull request](theserverisdown.internetissues) for more permanent changes.
+
+## Why salvage?
+Buying new (electronic) parts and components is usually cheaper than repairing or salvaging. Even more conveniently, in the online community of DIY synthesizers, it is common practice to share a Mouser Project Cart alongside the schematics, when publishing your project, allowing forkers to buy all parts within just a few clicks. But what if that one ultra important part is no longer produced? Or you’d rather make use of all these other electronic parts that already exist?
+
+This is where *A field guide to salvaging electronic sound devices* comes into play. We’ll go trough the process of finding, unmaking and then remaking again together, using the growing pile of electronic waste[^e-waste], whilst also sometimes talking a bit about the practice of salvaging[^about-salvaging].
+
+[^e-waste]: The pile of e-waste grows at the same rate as technological innovation does, as every product update makes it older brother outdated and read for replacement.
+
+[^about-salvaging]: Salvaging, as Jennifer Gabrys describes it, is not only about the transforming discarded materials into valuable resources, but also about “engaging with the conditions that led to the dispair in the first place” (@instituteofnetworkculturesDepletionDesignGlossary2012). moet hier nog een juiste chapterdoen
+
+### Do It With Others (DIWO)
+This field guide is created during and around unrepair nights held at Catu (where you are very much invited to!). Here, we try and figure these electronics out together. Because, electronics is super difficult, and it’s advised to thread these quests together.
+
+<ins>Repair is social, Maintenance and Care tekst (@matternMaintenanceCare2018)</ins>
+
+
+
+### Reading the guide
+<ins>An invitation to add, substract, reuse and abuse this fieldguide </ins>
+<ins>Feedback Thijs mbt bovenstaande tekst: Uitleggen hoe je dat dan zou kunnen doen. </ins>
+
+
+### A few notes on safety
+<ins>Short list of safety things</ins>
+
+- Power supply - always unplug and I don’t mess with power supplies.
+- super high voltage hardware
+- Don’t drink & solder (@collinsHandmadeElectronicMusic2009)

src/content/chapters/0-gather.md

@@ -0,0 +1,45 @@
+---
+title: "Gathering"
+type: Chapter
+slug: true
+front: true
+
+---
+
+<span template-type="chapter"></span>
+When salvaging components, we are looking for abandoned hardware. Hardware that is still fine on the inside, but no longer deemed as functional by its previous owners[^no-longer-functional] in our consumer culture. These devices can be a literal goldmine[^goldmine] of working parts that could be repurposed, as their hardware probably exceeded their stylistic obsolescence[^stylistic-obsolescence].
+
+[^no-longer-functional]:The spectrum of "still fine" and "no longer deemed as functional" is very wide. Think about printers for which their specific cartridges are no longer produced, Blu-ray players, the E.T. game that was buried, that iPhone 8 with a bad battery, Spotify's "Car Thing", etc.
+
+[^goldmine]: <ins>Something about the metals/minerals to be found</ins>
+
+[^stylistic-obsolescence]: **stylistic obsolescence** The idea that objects can go out of fashion the idea, and therefore needed to be replaced every season (@sterneOutTrash)
+
+
+
+I’ve identified 3 strategies in gathering the electronic hardware. 
+
+##### 1. Browsing the streets
+I feel like with great waste “comes to you”. Keep your eyes open, look around. Actively going on waste walks has not been very fruitful for me. The success is dependent on where you live and the waste regulations and activities[^waste-activities]. Information about waste management should[^should-be-communicated] be communicated via the municipality[^unbinair-waste].
+
+[^unbinair-waste]: <ins>Hier de Unbinare tekst gebruiken mbt hidden waste en de verandering hierin. En ergens heb ik ook een andere tekst gelezen over het verstoppen van waste streams</ins>
+
+[^waste-activities]: In Rotterdam, there are various Whatsapp & Facebook groups exchanging geo loctions for great trash.
+
+[^should-be-communicated]: The municipality waste guide website & app of Rotterdam is not functioning and has not been updated since 2022.
+
+##### 2. Donations from friends & family
+As you’ll enthusiastically keep your friends & family in the loop about your salvaging endeavours, you’ll notice the phenomenon of donations. A large portion of our replaced computing devices still reside in our storage units, waiting to be of any value (@gabrysDigitalRubbishNatural2011). hier moet nog eenpagina nummer bij
+<ins>Ik zou eigenlijk nog wel meer willen weten over waarom we zoveel devices bewaren</ins>
+
+##### 3. Institutional discards
+Institutions where electronic hardware is not their day-to-day business usually[^usually-solution] do not have a systematic solution for their e-waste. Many have a system in place to replace their hardware (printers, computers, etc. ), every 5 years. The remainders are put in storage.
+
+[^usually-solution]: <ins> Is dat zo of denk je dat maar?</ins>
+
+<ins>Hier en donations from friends & family heeft ook nog iets te maken met een soort greenwashing/shift in responsibility, maar dat nog niet helemaal kunnen duiden. </ins>
+
+
+## Salvaging vs. Hoarding
+
+When inspecting a device for salvage possibilities, I try to imagine what the inside of the device looks like. What kind of components might I find? Are there any motors or moving parts? What kind of material is the device made off? What time period is it from? Which companies manufactured the device and it's parts? Do I see any use for it now? If I don’t expect much, I’ll leave it for the next person to salvage.

src/content/chapters/1-dismantling.md

@@ -0,0 +1,59 @@
+---
+title: "Dismantling"
+type: Chapter
+slug: true
+front: true
+nested: "devices"
+---
+
+### Some tools for opening devices
+![Illustration of the tools](https://placehold.co/600x400?text=Illustration+of+the+tools)
+
+For this, the following tools are recommended:
+
+- A set of screwdrivers
+- A plastic “thing” (e.g. a plectrum, or a dull plastic knife)
+- multimeter
+-
+Dependent on your device, additional specialty tools might be required, such as:
+
+- A hot air gun
+- A drill/dremmel/saw to cut away plastic
+- Apple's 10k repair tools
+
+## Opening the device
+In some cases, product manufacturers provide service manuals[^repair-manual]. These service manuals contain valuable information that can help you to understand the device and to take it apart. Unfortunately, most of the devices I’ve taken apart did not publish their service manuals, meaning we have to figure it out ourselves. Luckily, there are online communities that create their own dismantling guides[^lack].
+
+
+[^repair-manual]: ![Preview of the manual](/assets/chapters/2/trouble-shoot.png) [This](https://elektrotanya.com/panasonic_rs-768us.pdf/download.html#dl) repair manual that passed the Repair Club contains a schematic, disassembly information, parts list and multiple trouble shouting guides.
+
+[^lack]: [IFixIt](https://ifix.com/) is known for their teirdown guides online, and work in the Right to Repair movement.
+
+Let’s take a look at the device. Do you spot any screws? They might be hidden behind stickers noting you that you are now voiding your warranty[^warranty]. I found it helpful to follow the seams of the material of the device since, especially with plastics, it’s not just screws holding your device together.
+
+[^warranty]: These warranty stickers are not always legally binding. [^warranty-source]. Plus, do you have the receipt for something you found in the bin?
+
+[^warranty-source]: Aragon, N. (2024, December 17). Warranty Void Stickers: Are they legal outside the US? iFixit. https://www.ifixit.com/News/74736/warranty-void-stickers-are-illegal-in-the-us-what-about-elsewhere
+
+If you’ve managed to get a gap in a seam somewhere, stick a thin plastic “thing” in there and carefully push it along the seam. There might be tiny tabs holding the parts 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 [^black-box]. A hot air gun could help to dissolve the glue (I’m afraid of melting plastic), or you could cut out the plastic using a knife or drill.
+
+This process really is about finding small gaps in the enclosures[^black-boxism], until you’ve dismantled the entire device. Did you manage? Amazing! You're now looking at all of the inner bits and pieces of your device, made up of all kinds of materials [^inside]. 
+
+[^black-box]: These glued up personal devices are clearly not made to be opened. They are black boxes by design, designed to become obsolete @hertzZombieMediaCircuit2012. <ins>verder over black boxes (maar miss op een ander punt, bijv. bij een device specifiek)</ins>
+
+[^black-boxism]: slowly removing the outer layer of your black box, revealing the inner mechanisms.  
+
+[^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>Dit verhaal gaan ondersteunen met illustraties/foto's </ins>
+
+<ins>Maybe a suggestion to be discarded, but I would find it fun if the found devices could have a little fictional backstory -- like the airport game: 'I imagine this person (device) did this and this'. On the one hand maybe that's not what you're going for at all, but on the other hand I feel like it could a way to still acknowledge a device's history even when unknown, and in that way exercise the running theme of circulating tech.
+</ins>
+
+## Hardware to look out for, or to avoid
+
+In retrospect, i'll write here something about what to look out for and what to avoid. 
+Something about educated guessing what is inside?
+
+
+<ins>Feedback: It might be fun and insightful to add a step-by-step example of opening a device. I don't mind the longer text so much, but so far this guide has had a pretty fast pace!</ins>

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

@@ -0,0 +1,20 @@
+---
+title: "Components"
+type: Chapter
+slug: true
+nested: "components"
+front: true
+---
+
+<span template-type="chapter"></span>
+Once you've uncovered the PCB[^PCB] and other loose parts of the device[^parts], we can try to identify the various components. In general PCB's are made with either "trough hole" (THT) or "surface mount" (SMD) components. SMD components are _extremely_ tiny[^tiny] and soldered _on top of_ a PCB. Due to their size, they are really difficult to handle. Their size makes it difficult to read any type of value notation, and actually soldering SMD components is such a frustrating process.[^collapse-OS]. THT components are bigger and have "legs" which are pushed trough holes drilled in the PCB, making them easier to solder & desolder. 
+
+[^PCB]: Printed Circuit Board
+[^parts]: <ins>Illustration of all parts </ins>
+[^tiny]: <ins>how tiny, include an image</ins>
+[^collapse-OS]: <ins>reference naar Collapse OS mbt THT vs SMD en de apocalypse.</ins>
+
+There are an almost infinite number of parts[^interchangeable_part] that can be found in electronic devices. I’ve limited the field guide to the parts that I have found, and found relevant to mention, but you’re welcome to update.
+
+[^interchangeable_part]: To research [interchangable parts](https://en.wikipedia.org/wiki/Interchangeable_parts#Late_19th_and_early_20th_centuries:_dissemination_throughout_manufacturing) n.a.v. deze [post](https://northcoastsynthesis.com/news/preferred-values-for-resistors-and-capacitors/)
+

src/content/chapters/3-recipes.md

@@ -0,0 +1,18 @@
+---
+title: "Recipes (or Re-cipes, or Re-making)"
+type: Chapter
+slug: true
+front: true
+nested: "recipes"
+---
+
+<span template-type="chapter"></span>
+
+<ins>Something about how you cannot force material(Collins, N. (2004). Introduction: Composers inside Electronics: Music after David Tudor. Leonardo Music Journal, 14, 1–3. http://www.jstor.org/stable/1513497)</ins>
+
+
+Rule #17: If it sounds good and doesn’t smoke, don’t worry if you don’t understand it
+(@collinsHandmadeElectronicMusic2009)
+
+
+{{ show grid recipes}}

src/content/chapters/4-reflection.md

@@ -0,0 +1,11 @@
+---
+title: "Chapter 5: Reflection"
+type: Chapter
+slug: true
+---
+<span template-type="chapter"></span>
+
+### About the narrative of recycling
+<ins>Within recycling there is loads of greenwashing. Falling apart (Parks, n.d.)[^parksFallingApartElectronics] text gebruiken hier.</ins>
+
+[^parksFallingApartElectronics]: Parks, L. (n.d.). Falling Apart: Electronics Salvaging and the Global Media Economy.

src/content/chapters/5-bib.md

@@ -0,0 +1,10 @@
+---
+title: "References (generated)"
+type: Chapter
+slug: true
+front: false
+---
+<span template-type="bib"></span>
+
+::: {#refs}
+:::

src/content/component-inventory.csv

@@ -0,0 +1,248 @@
+ID,Amount,Name,Value,type,Date,Where,Mounting-etype
+1,1,Electrolytic capacitor,?,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+2,1,Electrolytic capacitor,??,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+3,1,Electrolytic capacitor,??,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+4,1,Electrolytic capacitor,??,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+5,1,Electrolytic capacitor,??,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+6,1,Film Capacitor,0.033 160,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+7,1,Film Capacitor,0.15 100 898,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+8,1,Film Capacitor,0.33 63,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+9,1,Film Capacitor,0.47 63,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+10,1,Film Capacitor,0.47 63 598,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+11,1,Film Capacitor,1000 160-89m,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+12,1,Electrolytic capacitor,1000 uF,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+13,1,Electrolytic capacitor,2500 uF,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+14,1,Electrolytic capacitor,25uF,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+15,1,Film Capacitor,4700 100-79m,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+16,1,Electrolytic capacitor,50uF,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+17,1,Film Capacitor,5600 100 79m,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+18,1,Film Capacitor,6500-100 89M,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+19,1,Film Capacitor,9 47 63 - 259,Capacitor,25/11/2024,Reel to Reel recorder,Through-Hole
+20,1,Not sure which type,-,Diode,25/11/2024,Reel to Reel recorder,Through-Hole
+21,1,-,3x 5 pin input,Inputs,25/11/2024,Reel to Reel recorder,Through-Hole
+22,1,-,1x 5 pin input,Inputs,25/11/2024,Reel to Reel recorder,Through-Hole
+23,1,axial-lead,10Ω,resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+24,1,axial-lead,75Ω,resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+25,1,axial-lead,460Ω,resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+26,2,axial-lead,750Ω,resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+27,1,axial-lead,1.5kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+28,2,axial-lead,10kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+29,1,axial-lead,14KΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+30,1,axial-lead,17kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+31,3,axial-lead,220Ω,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+32,1,axial-lead,3.2KΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+33,1,axial-lead,4.7KΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+34,1,axial-lead,40kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+35,1,axial-lead,50kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+36,1,axial-lead,70KΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+37,2,axial-lead,7kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+38,2,axial-lead,80kΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+39,2,axial-lead,8KΩ,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+40,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+41,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+42,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+43,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+44,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+45,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+46,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+47,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+48,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+49,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+50,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+51,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+52,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+53,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+54,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+55,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+56,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+57,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+58,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+59,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+60,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+61,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+62,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+63,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+64,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+65,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+66,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+67,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+68,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+69,1,axial-lead,To measure,Resistor,25/11/2024,Reel to Reel recorder,Through-Hole
+70,1,NPN Transistor,BC109B,Transistor,25/11/2024,Reel to Reel recorder,Through-Hole
+71,2,NPN Transistor,BC107B NPN Transistor,Transistor,25/11/2024,Reel to Reel recorder,Through-Hole
+72,1,NPN Transistor,BC183c,Transistor,25/11/2024,Reel to Reel recorder,Through-Hole
+73,1,-,S277B,Transistor,25/11/2024,Reel to Reel recorder,Through-Hole
+74,1,NPN Transistor,BC183c,Transistor,25/11/2024,Reel to Reel recorder,Through-Hole
+75,1,About 17 Unidentified parts, Unidentified, Unidentified,25/11/2024,Reel to Reel recorder,Through-Hole
+76,1,FM Tuner,5807M,Chip,12/12/2024,MP3 FM Radio,SMD
+77,1,-,7533-1,Chip,12/12/2024,MP3 FM Radio,SMD
+78,1,a digital audio processor,PT2314,Chip,12/12/2024,MP3 FM Radio,SMD
+79,1,-,A1shb,Transistor,12/12/2024,MP3 FM Radio,SMD
+80,1,motor driver for cds,CD5888,Chip,12/12/2024,MP3 FM Radio,SMD
+81,1,-,M5677,Chip,12/12/2024,MP3 FM Radio,SMD
+82,1,Flash Memory,F20 100GCP,Chip,12/12/2024,MP3 FM Radio,SMD
+83,1,-,ATMLH730,Chip,12/12/2024,MP3 FM Radio,SMD
+84,1,-,WT1V,Chip,12/12/2024,MP3 FM Radio,SMD
+85,1,-,J3Y,Transistor,12/12/2024,MP3 FM Radio,SMD
+86,3,8-stage shift-and-store bus register,74HC4094D,Chip,05/12/2024,Telephone,SMD
+87,2,-,S2A,Chip,05/12/2024,Telephone,SMD
+88,3,-,S1A,Chip,05/12/2024,Telephone,SMD
+89,1,-,N187,Transistor,05/12/2024,Telephone,SMD
+90,1,photocoupler,Lv7 356T X8,Chip,05/12/2024,Telephone,SMD
+91,1, SCHOTTKY BARRIER RECTIFIER,PJ74 SX34,Chip,05/12/2024,Telephone,SMD
+92,1,MOSFET,FR220N 711P,Chip,05/12/2024,Telephone,SMD
+93,1,-,2A,Chip,05/12/2024,Telephone,SMD
+94,1,-,572,Chip,05/12/2024,Telephone,SMD
+95,2,Bridge Rectifiers,62 HD04,Chip,05/12/2024,Telephone,SMD
+96,1,Flash memory,FLO82A 084,Chip,05/12/2024,Telephone,SMD
+97,1,An audio power IC with built-in two channels developed for portable radio cassette tape recorder with power ON / OFF switch,TA8227P,Chip,12/12/2024,MP3 FM Radio,Through-Hole
+98,1,PNP Transistor,58550 D 331,Transistor,12/12/2024,MP3 FM Radio,Through-Hole
+99,8,signal diode,1N4148,Diode,19/01/2025,Magnet Detector,Through-Hole
+100,1,-,LM324N,Chip,19/01/2025,Magnet Detector,Through-Hole
+101,1,-,TC4069,Chip,19/01/2025,Magnet Detector,Through-Hole
+102,1,PNP Transistor,C9015 c913,Transistor,19/01/2025,Magnet Detector,Through-Hole
+103,2,NPN Transistor,C9014,Transistor,19/01/2025,Magnet Detector,Through-Hole
+104,1,Unknown things that says 222j,-,-,19/01/2025,Magnet Detector,Through-Hole
+105,3,-,10nF,Capacitor,19/01/2025,Magnet Detector,Through-Hole
+106,2,-,100nF,Capacitor,19/01/2025,Magnet Detector,Through-Hole
+107,1,-,22pF,Capacitor,19/01/2025,Magnet Detector,Through-Hole
+108,1,Red LED,-,Output,19/01/2025,Magnet Detector,Through-Hole
+109,1,Trimpot,5K,Resistor,19/01/2025,Magnet Detector,Through-Hole
+110,1,Trimpot,50k,Resistor,19/01/2025,Magnet Detector,Through-Hole
+111,3,axial-lead,10K,Resistor,19/01/2025,Magnet Detector,Through-Hole
+112,3,axial-lead,1.2MΩ,Resistor,19/01/2025,Magnet Detector,Through-Hole
+113,1,axial-lead,2.2M,Resistor,19/01/2025,Magnet Detector,Through-Hole
+114,1,axial-lead,2.2K,Resistor,19/01/2025,Magnet Detector,Through-Hole
+115,1,axial-lead,470,Resistor,19/01/2025,Magnet Detector,Through-Hole
+116,1,axial-lead,1.5MΩ,Resistor,19/01/2025,Magnet Detector,Through-Hole
+117,1,axial-lead,10m,Resistor,19/01/2025,Magnet Detector,Through-Hole
+118,1,axial-lead,12M,Resistor,19/01/2025,Magnet Detector,Through-Hole
+119,1,axial-lead,100k,Resistor,19/01/2025,Magnet Detector,Through-Hole
+120,1,axial-lead,1k,Resistor,19/01/2025,Magnet Detector,Through-Hole
+121,1,axial-lead,1.8KΩ,Resistor,19/01/2025,Magnet Detector,Through-Hole
+122,1,axial-lead,330k,Resistor,19/01/2025,Magnet Detector,Through-Hole
+123,1,axial-lead,1M,Resistor,19/01/2025,Magnet Detector,Through-Hole
+124,1,axial-lead,8.2K,Resistor,19/01/2025,Magnet Detector,Through-Hole
+125,1,axial-lead,47K,Resistor,19/01/2025,Magnet Detector,Through-Hole
+126,2,Dolby-B Noise Processor,NE545B,Chip,19/01/2025,cassette recorder,Through-Hole
+127,2,Blue electrolytic capacitor,100uF 10V,Capacitor,19/01/2025,cassette recorder,Through-Hole
+128,6,Blue electrolytic capacitor,10 uF / 10V,Capacitor,19/01/2025,cassette recorder,Through-Hole
+129,2,Blue electrolytic capacitor,4.7uF / 50V,Capacitor,19/01/2025,cassette recorder,Through-Hole
+130,5,bipolar junction transistor (BJT) with an NPN-type configuration. T,C1737 67C,Transistor,19/01/2025,cassette recorder,Through-Hole
+131,3,NPN Transistor,C1312 R45F,Transistor,19/01/2025,cassette recorder,Through-Hole
+132,2,Unknown diode,-,Diode,19/01/2025,cassette recorder,Through-Hole
+133,6,Unknown capacitor,Ceramic capacitor,Capacitor,19/01/2025,cassette recorder,Through-Hole
+134,2,Ceramic capacitor,1.5nF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+135,2,Ceramic capacitor,1.8nF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+136,2,Ceramic capacitor,270 pF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+137,2,Ceramic capacitor,680 pF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+138,2,metallized polyester capacitor,100nF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+139,1,metallized polyester capacitor,47nF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+140,4,metallized polyester capacitor,23000uF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+141,2,metallized polyester capacitor,330nF,Capacitor,19/01/2025,cassette recorder,Through-Hole
+142,1,-,B0338 2526z,Transistor,24/01/2025,cassette recorder,Through-Hole
+143,3,-,C1737 67B,Transistor,24/01/2025,cassette recorder,Through-Hole
+144,6,-,C1738 69C,Transistor,24/01/2025,cassette recorder,Through-Hole
+145,8,-,C1737 69B,Transistor,24/01/2025,cassette recorder,Through-Hole
+146,2,-,C1737 68C,Transistor,24/01/2025,cassette recorder,Through-Hole
+147,1,-,C1737 65C,Transistor,24/01/2025,cassette recorder,Through-Hole
+148,1,-,C1737 67C,Transistor,24/01/2025,cassette recorder,Through-Hole
+149,7,-,BC548A P627,Transistor,24/01/2025,cassette recorder,Through-Hole
+150,1,-,BC548B P627,Transistor,24/01/2025,cassette recorder,Through-Hole
+151,1,-,BC5488 P540,Transistor,24/01/2025,cassette recorder,Through-Hole
+152,2,-,BC549C P640,Transistor,24/01/2025,cassette recorder,Through-Hole
+153,2,Capacitor,1000uF,Capacitor,24/01/2025,cassette recorder,Through-Hole
+154,1,Capacitor,220 mfd 16wv,Capacitor,24/01/2025,cassette recorder,Through-Hole
+155,1,Capacitor,2200mfd 16wv,Capacitor,24/01/2025,cassette recorder,Through-Hole
+156,3,Capacitor,68MFD 16 WV,Capacitor,24/01/2025,cassette recorder,Through-Hole
+157,12,Capacitor,4.7MFD,Capacitor,24/01/2025,cassette recorder,Through-Hole
+158,16,Blue Capacitor,4.7,Capacitor,24/01/2025,cassette recorder,Through-Hole
+159,4,Bluesss Capacitor,0.47,Capacitor,24/01/2025,cassette recorder,Through-Hole
+160,2,Blue Capacitor,15,Capacitor,24/01/2025,cassette recorder,Through-Hole
+161,2,Blue Capacitor,22,Capacitor,24/01/2025,cassette recorder,Through-Hole
+162,1,Blue Capacitor,33,Capacitor,24/01/2025,cassette recorder,Through-Hole
+163,1,Blue Capacitor,47,Capacitor,24/01/2025,cassette recorder,Through-Hole
+164,1,Blue Capacitor,68,Capacitor,24/01/2025,cassette recorder,Through-Hole
+165,6,Resistor,2.2K,Resistor,26/01/2025,cassette recorder,Through-Hole
+166,3,Resistor,27K,Resistor,26/01/2025,cassette recorder,Through-Hole
+167,3,Resistor,2.2M,Resistor,26/01/2025,cassette recorder,Through-Hole
+168,1,Blue Capacitor,22,Resistor,26/01/2025,cassette recorder,Through-Hole
+169,1,Blue Capacitor,20,Resistor,26/01/2025,cassette recorder,Through-Hole
+170,2,Resistor,220K,Resistor,26/01/2025,cassette recorder,Through-Hole
+171,5,Resistor,22K,Resistor,26/01/2025,cassette recorder,Through-Hole
+172,5,Resistor,270K,Resistor,26/01/2025,cassette recorder,Through-Hole
+173,157,unidentifief,Resistor,Resistor,26/01/2025,cassette recorder,Through-Hole
+174,43,Ceramic capacitor,Capacitor,26/01/2025,cassette recorder,Through-Hole
+175,23,Various diodes,Diode,Diode,26/01/2025,cassette recorder,Through-Hole
+176,3,coils,Coils,Misc,26/01/2025,cassette recorder,Through-Hole
+177,2,Semikron SKB 2,Misc,26/01/2025,cassette recorder,Through-Hole
+178,1,Polystyrene Capacitors,270H,Capacitor,26/01/2025,cassette recorder,Through-Hole
+179,2,Polystyrene Capacitors,330H,Capacitor,26/01/2025,cassette recorder,Through-Hole
+180,2,Polystyrene Capacitors,27n f63 86,Capacitor,26/01/2025,cassette recorder,Through-Hole
+181,2,Polystyrene Capacitors,5n6,Capacitor,26/01/2025,cassette recorder,Through-Hole
+182,2,Polystyrene Capacitors,4n7,Capacitor,26/01/2025,cassette recorder,Through-Hole
+183,2,Polystyrene Capacitors,1n1,Capacitor,26/01/2025,cassette recorder,Through-Hole
+184,7,Triangle 6?,Polystyrene Capacitors,Capacitor,26/01/2025,cassette recorder,Through-Hole
+185,2,Gloeilampjes,Output,26/01/2025,cassette recorder,Through-Hole
+186,3,Fuse,Fuse,Misc,26/01/2025,cassette recorder,Through-Hole
+187,3,potentiometer,47K,Resistor,26/01/2025,cassette recorder,Through-Hole
+188,1,Stereo Potentiometer,100K,Resistor,26/01/2025,cassette recorder,Through-Hole
+189,2,Trimpot,1K,Resistor,26/01/2025,cassette recorder,Through-Hole
+190,1,Trimpot,4K,Resistor,26/01/2025,cassette recorder,Through-Hole
+191,3,Trimpot,22K,Resistor,26/01/2025,cassette recorder,Through-Hole
+192,5,Trimpot,47K,Resistor,26/01/2025,cassette recorder,Through-Hole
+193,1,Trimpot,5K,Resistor,26/01/2025,cassette recorder,Through-Hole
+194,1,PNP Epitaxial Silicon Transisto,BD136,Transistor,26/01/2025,cassette recorder,Through-Hole
+195,6,Electrolytic capacitor,10uF 16V,Capacitor,2/2/2025,V2 Video splitter,Through-Hole
+196,39,Electrolytic capacitor,100uF 16V,Capacitor,2/2/2025,V2 Video splitter,Through-Hole
+197,20,NPN Bipolar junction transistor. It is,IMBC 547C,Transistor,2/2/2025,V2 Video splitter,Through-Hole
+198,12,General purpose NPN transistor ,2N 3904,Transistor,2/2/2025,V2 Video splitter,Through-Hole
+199,1,Trimpot,100,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+200,2,Trimpot,100K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+201,1,Trimpot,2k2,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+202,4,Diode,1n4007,Diode,2/2/2025,V2 Video splitter,Through-Hole
+203,6,unknown,unknown,Diode,2/2/2025,V2 Video splitter,Through-Hole
+204,1,unknown1,unknown,2/2/2025,V2 Video splitter,Through-Hole
+205,1,T7805CT QWT614,Voltage Regulator,2/2/2025,V2 Video splitter,Through-Hole
+206,1,7905CT QKX515,Voltage Regulator,2/2/2025,V2 Video splitter,Through-Hole
+207,24,axial-lead,1K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+208,4,axial-lead,2.7K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+209,9,axial-lead,330,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+210,19,axial-lead,150,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+211,23,axial-lead,100,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+212,5,axial-lead,100K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+213,1,axial-lead,1.5K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+214,9,axial-lead,270,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+215,2,axial-lead,10,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+216,9,axial-lead,75,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+217,2,axial-lead,10K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+218,1,axial-lead,47K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+219,1,axial-lead,390,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+220,1,axial-lead,16K,Resistor,2/2/2025,V2 Video splitter,Through-Hole
+221,1,Op Amp,TL082CN,Chip,2/2/2025,V2 Video splitter,Through-Hole
+222,1,Op Amp,OPA658P,Chip,2/2/2025,V2 Video splitter,Through-Hole
+223,4,Ceramic Capacitor,10nF,Capacitor,2/2/2025,V2 Video splitter,Through-Hole
+224,1,Ceramic Capacitor,47pF,Capacitor,2/2/2025,V2 Video splitter,Through-Hole
+225,4,Electrolytic capacitor,220uF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+226,12,Electrolytic capacitor,47uF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+227,13,Electrolytic capacitor,1uF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+228,6,Electrolytic capacitor,100uF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+229,4,Op amp,BA15218n 208 328AT,Chip,2/2/2025,Video/Audio Mixer,Through-Hole
+230,1,Voltage Comparator,CA311E H9206,Chip,2/2/2025,Video/Audio Mixer,Through-Hole
+231,1,Op Amp,072D JRC 2039B,Chip,2/2/2025,Video/Audio Mixer,Through-Hole
+232,1,Voltage regulator,79L09 A 218,Undedfined,2/2/2025,Video/Audio Mixer,Through-Hole
+233,1,PNP Transistor,106 2N3906 ,Transistor,2/2/2025,Video/Audio Mixer,Through-Hole
+234,2,NPN Transistor,C1740,Transistor,2/2/2025,Video/Audio Mixer,Through-Hole
+235,3,Electrolytic capacitor,10uF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+236,4,Schuiver,100K,Resistor,2/2/2025,Video/Audio Mixer,Through-Hole
+237,1,Schuiver,1k,Resistor,2/2/2025,Video/Audio Mixer,Through-Hole
+238,5,Button,-,Input,2/2/2025,Video/Audio Mixer,Through-Hole
+239,1,LED,-,OUTPUT,2/2/2025,Video/Audio Mixer,Through-Hole
+240,2,-,-,Diode,2/2/2025,Video/Audio Mixer,Through-Hole
+241,1,-,-,Diode,2/2/2025,Video/Audio Mixer,Through-Hole
+242,11,Video plug,,Input,2/2/2025,Video/Audio Mixer,Through-Hole
+243,3,Audio Jack,Input,,2/2/2025,Video/Audio Mixer,Through-Hole
+244,1,DC power,Input,,2/2/2025,Video/Audio Mixer,Through-Hole
+245,2,Ceramic Capacitor,100nF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+246,1,Ceramic Capacitor,1nF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole
+247,1,Ceramic Capacitor,220 pF,Capacitor,2/2/2025,Video/Audio Mixer,Through-Hole

src/content/components/capacitor.md

@@ -0,0 +1,22 @@
+---
+title: Capacitors
+type: Capacitor
+description: This is the description
+image: https://placehold.co/600x400
+usage: Capacitors stores an electrical charge, expressed in microFarads (μF), nanoFarads (nF) of picoFarads (pF).
+whereToFind: Everywhere!
+schematicSymbol: https://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Types_of_capacitor.svg/460px-Types_of_capacitor.svg.png
+alsoKnownAs: "Caps, condenser"
+---
+Capacitors come in all sizes. I’ve seen capacitors as big as a coffee cup, and the SMD ones are so small they are barely visible. They are passive components that can be found in most electronic circuits. There is a wide variety of types available, like ceramic capacitors, electrolytic capacitors, etc,  each having their own properties.
+
+Electrolytic capacitors specifically, do not age well. Fully unused they have lifespan of 2 to 3 years. There are (complicated) ways of getting them back to life, but  (@jangUnplannedObsolescenceHardware2017) recommends that they are replaced by ceramic capacitors, that have a lifespan of 100+ years.
+
+### Salvaging Capacitors safely
+Capacitors store electricity, even after being disconnected from power. Accidentally touching the legs of a charged capacitor can give you a shock. Larger capacitors, such as the ones found in camera flashes or television sets, can store a dangerous amount of electricity. Make sure to always discharge the capacitors before storing them away.
+
+### Discharging capacitors
+This process releases the electronic charge from the capacitor. I do this by connecting the two legs of a capacitor together using a screwdriver. This can cause a small spark, as you’ve just created a short circuit. As long as you stay away from the big capacitors in TV’s and camera flashes, this method is fine.
+
+### Testing capacitors
+You can verify the capacitors capacitance with a multimeter. My multimeter doesn't have a capacitance setting, but this is not a necessity. Set the multimeter continuity mode, where it'll give a beep if there is continuity. Test a discharged capacitor by touching the legs of the capacitor with the probes of the multimeter. If there is no sound, or a continuous volume/pitch, the capacitor is dead. Otherwise, it's fine.

src/content/components/chips.md

@@ -0,0 +1,19 @@
+---
+title: Chips
+type: Chip
+description: This is the description
+image: https://placehold.co/600x400
+usage: Being a black boxed monolith
+whereToFind: Everywhere!
+alsoKnownAs: "Chip, IC, Intergrated Circuit, DIP CHIP"
+---
+
+Typically, when checking out a PCB, I will immidiatly check all IC, or "Intergrated Circuits", by putting the part number in an online search engine. There are a few I'm always looking for as they are commonly used in the building of simple synthesizers, and these are **Op-Amps** and **CMOS logic chips**. Additionally, you could be lucky and discover a microcontroller, allowing you to flash your own program. To my surprise I found a microcontroller in a LED lamp, but I haven't managed to figure it out yet.
+
+## The difficulty of prototyping with IC's
+Not only are loads of schematics published online based around (oddly specific) IC's, they tend to break very fast. The number of times I've accidently put a chip in upside down, causing the + and - to be flipped, and burning out the chip within seconds. In a world of plenty you'd just replace the chip with a new one, but in the reality of working with salvaged hardware, this is not that easy.
+
+## Tiny transistors
+<ins>Materiality of chips, remainders of IC development</ins>
+en
+<ins>the chip shortage during corona</ins>

src/content/components/inputs.md

@@ -0,0 +1,8 @@
+---
+title: Inputs
+type: Inputs
+description: This is the description
+image: https://placehold.co/600x400
+---
+
+In many ways the holy grail of component salvaging! They are very practical to stack up on, as you can never have enough audio jacks, knobs, buttons, power connectors, etc. 

src/content/components/open.md

@@ -0,0 +1,8 @@
+---
+title: Open
+type: open
+description: This is the description
+image: https://placehold.co/600x400
+---
+
+

src/content/components/outputs.md

@@ -0,0 +1,10 @@
+---
+
+title: Outputs
+type: Outputs
+description: This is the description
+image: https://placehold.co/600x400
+
+---
+
+Generally, I've identified "Speakers" and "Displays" in this area. It would be great if salvaging displays was worth it, reverse engineering this is horrible.

src/content/components/pcb.md

@@ -0,0 +1,15 @@
+---
+title: PCB (Printed Circuit Board)
+type: PCB
+description: This is the description
+image: https://placehold.co/600x400
+usage: The circuit exists on the PCB
+whereToFind: Everywhere!
+alsoKnownAs: "Protoboard, breadboard, circuit"
+---
+
+Printed Circuit Boards, or PCB's, are the plates on which the circuit is placed. Although technically a PCB is not needed, as you could create all connections with just wire, they can be found everywhere. The first PCB's were added to consumer products in the 1950's. Their handdrawn traces are recognisable by their curvynes, and the PCB's are either single layer(one side) or double layer (front & back). Contemporary PCB's are digitally designed and usually multi-layer, allowing for a small footprint, but making it very difficult to repair.
+
+<ins>Book recommendation by Joak https://openlibrary.org/books/OL27176861M/The_looting_machine</a></ins>
+<ins>About the issues with PCB manufacturing and recycling it's minerals</ins>
+<ins>Material of the PCB</ins>

src/content/components/resistor.md

@@ -0,0 +1,21 @@
+---
+title: Resistors
+type: Resistor
+image: /assets/components/salvaged-resistors.webp
+usage: "A resistor limits the current going trough. This amount of resistance is expressed in Ohm Ω"
+whereToFind: Everywhere!
+schematicSymbol: https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/IEEE_315-1975_%281993%29_2.1.1.a.svg/200px-IEEE_315-1975_%281993%29_2.1.1.a.svg.png
+alsoKnownAs: "Knob, pot, potentiometer, variable resistor"
+---
+
+You’ll find many resistors in almost any electronic product and schematic. Since the most common resistor only has 2 legs, they are usually pretty simple to desolder. It’s good to have a bunch of resistors in various values at hand. In my experience, their values on schematics are usually an indicator, and you can divert slightly without too much impact on your project.
+
+Variable resistors such as *photo resistors* and *potentiometers* are fantastic. Always salvage them, and their knobs. They allow for interaction with your circuit.
+
+### Types of resistors
+- Photo resistor
+- Potentiometer
+- Slide Potentiometer
+- Trimpots
+- Thermistor
+- Film resistors

src/content/components/transistor.md

@@ -0,0 +1,17 @@
+---
+title: Transistors
+type: transistor
+description: This is the description
+image: https://placehold.co/600x400
+usage: "A transistor is a switch that is controlled trough voltage"
+whereToFind: Everywhere!
+schematicSymbol: https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/IEEE_315-1975_%281993%29_2.1.1.a.svg/200px-IEEE_315-1975_%281993%29_2.1.1.a.svg.png
+alsoKnownAs: "Knob, pot, potentiometer, variable resistor"
+---
+
+The transistor is a switch that can be operated by applying a small voltage to one of the legs, causing another leg to "open" or "close". Which leg does what is dependant on the type of transistor, which is why I always double check the datasheet. Transistors can be influenced by the ambient temprature. [^touch], and therefore are usually placed in pairs,
+cancelling each other out.
+
+[^touch]: When circuit bending, transistors are great to touch, as the heat of your finger could alter the sound.
+
+## Reading datasheets

src/content/components/unidentified.md

@@ -0,0 +1,10 @@
+---
+title: Unidentified
+type: Unidentified
+description: This is the description
+image: https://placehold.co/600x400
+---
+
+Against all odds, I've been discovering a few components that I have no idea what they are! Ideally, I'll figure it out at some point.
+
+And i'll write about how to discover this?

src/content/devices/cassette-recorder.md

@@ -0,0 +1,14 @@
+---
+excerpt: This cassette recorder has been labeled as end of life
+title: Cassette recorder
+found: 17th january 2025
+where: given
+description: This is a description
+image: "/assets/devices/casette_recorder.jpeg"
+---
+
+The cassette recorder has been donated, after Joak had to repair it one to many times. They modded the recorder to their own liking by adjusting the audio jacks. 
+<ins>Who is Joak</ins>
+At the moment, I've only started to dismantle small parts. The device contained several removable PCB's, as if they were memory cards. 
+
+I'm keen to get my hands on the tape heads and any audio related circuitry. 

src/content/devices/hard-drive.md

@@ -0,0 +1,14 @@
+---
+excerpt: Hard Drives supposed to contain magnets, which can be used in some recipes for sound devices
+title: Hard drive
+found: Years ago
+where: In my house
+image: https://placehold.co/600x400
+---
+
+These computer parts are very common, and come in a couple of standardized formats. But, useful to keep around! 
+
+The inside is esthetically very pleasing, but I'm mostly there for the magnets that are on the inside. Additionally, I wonder what can be done with the "voice coils" and other magnetic field related components, as these can be interesting sound sources when amplified. 
+
+<sup>Research lifespan of harddrives</sup>
+<sup>Materiality; volgens mij is er ook iets met een wegschrijfstrategie die goed is voor de lifespan op harddrives door het aantal rotations dat nodig is zo min mogelijk te houden?</sup>

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

@@ -0,0 +1,22 @@
+---
+excerpt: Radios are known for their bendability
+title: MP3 / FM Radio
+type: Audio device
+found: Beginning of September 2024
+where: Interaction Station Trash
+description: This is a description
+image: "/assets/devices/mp3_front.jpeg"
+---
+
+The MP3/FM Radio player was found in the trash bin at the Interaction Station. This device seems more modern than the reel to reel recorder, and I suspect it will contain some SMD components. Radio's are known for their bend-ability [^handmade-electronics]
+
+[^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. 
+Surprisingly, it turned out to be pretty simple to open, as there were only 8 screws.
+
+The PCB has SMD components. Taking these off went much faster than expected, but I'm afraid I've melted a bunch in the process. (And lost a few in transportation).
+
+On the back side of the PCB, there are some regular-sized components. I wonder why this was done this way.
+
+<ins>Radios are known for their bendability (Homemade electronics book)</ins>

src/content/devices/reel-to-reel-recorder.md

@@ -0,0 +1,14 @@
+---
+excerpt: I expect an older PCB, allowing for easier disassembladge. Hopefully the tape heads still function
+title: Reel to Reel recorder
+type: Audio device
+found: Beginning of November 2024
+where: Interaction Station Trash
+description: This is a description
+image: "/assets/reel-to-reel-recorder.jpeg"
+---
+
+The Reel to Reel Recorder was found in the trash bin at the Interaction Station. At least half of the parts were already removed. I chose to salvage this device since I could see the components were massive, which makes them easier to resolder and hopefully easier to use.
+
+Since so many parts were already removed, I'm unable to see which brand the device is from. But some of the components have a "Germany" mark.
+

src/content/devices/telephone.md

@@ -0,0 +1,11 @@
+---
+excerpt: This phone has great buttons! I want to try to make the recipe around expressive touch pads with this!
+title: Telephone
+type: Audio device
+found: Beginning of December 2024
+where: Interaction Station Trash
+description: This is a description
+image: "/assets/devices/scan_phone.jpg"
+---
+
+This phone has great buttons! I want to check the PCB for usage for the [Expressive touchpad recipe](/recipes/using-pcb-s-as-expressive-touch-pads.html)

src/content/devices/v2s-metal-detector-thing.md

@@ -0,0 +1,11 @@
+---
+image: https://placehold.co/600x400
+excerpt: This unknown device contains an oscillator circuit
+title: Magnet Detector
+type: Audio device
+found: Beginning of December 2024
+where: V2 Winter market
+description: This is a description
+---
+
+This device was obtained from the V2 Winter Market, where [V2](https://v2.nl/) handed out their unused gear. This device the backside, which made it somewhat difficult to figure out what it does. But, the circuit contains everything needed for an oscillator!

src/content/events/25-hour-radio-relay.md

@@ -0,0 +1,80 @@
+---
+boost:
+- https://newsmast.community/users/tvandradio
+description: <p>Radio WORM presents, live and direct from UBIK, everything you never
+  realised you needed to hear on the radio…for 25 hours straight.</p><p>The 25 Hour
+  Radio Relay is an all-day, all-night mix of radiomakers and sound artists of all
+  descriptions, sharing old and new work, DIY experiments and high-tech performances
+  for your collective listening pleasure.</p><p>Join us in person or listen online
+  from 5pm on Saturday 25 January as we pass the baton from performers to poets to
+  gameshow hosts to improv musicians to font designers to volkskeuken to ???, all
+  the way through to 6pm on Sunday 26 January.</p><p>Free entry, no booking required,
+  camp out with us for as long as you can handle!</p><p>BYOP (bring your own pillow,
+  yoga mat, camping mattress…)</p>
+end_datetime: 1737910800
+id: 27
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 901
+  name: 25 Hour Radio Relay
+  size: 310303
+  url: e3146e26dbf6a3e77600b885da48ebda.jpg
+  width: 1000
+multidate: true
+next: null
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Boomgaardsstraat 71, 3012 XA Rotterdam
+  id: 5
+  latitude: null
+  longitude: null
+  name: Worm
+plain_description: 'Radio WORM presents, live and direct from UBIK, everything you
+  never realised
+
+  you needed to hear on the radio…for 25 hours straight.
+
+
+  The 25 Hour Radio Relay is an all-day, all-night mix of radiomakers and sound
+
+  artists of all descriptions, sharing old and new work, DIY experiments and
+
+  high-tech performances for your collective listening pleasure.
+
+
+  Join us in person or listen online from 5pm on Saturday 25 January as we pass
+
+  the baton from performers to poets to gameshow hosts to improv musicians to font
+
+  designers to volkskeuken to ???, all the way through to 6pm on Sunday 26
+
+  January.
+
+
+  Free entry, no booking required, camp out with us for as long as you can handle!
+
+
+  BYOP (bring your own pillow, yoga mat, camping mattress…)'
+prev: 3rd-klankschool-dagandavond
+recurrent: null
+resources: []
+slug: 25-hour-radio-relay
+start_datetime: 1737820800
+tags:
+- performances
+- radio
+- relay
+- worm
+title: 25 Hour Radio Relay
+---
+
+<p>Radio WORM presents, live and direct from UBIK, everything you never realised you needed to hear on the radio…for 25 hours straight.</p><p>The 25 Hour Radio Relay is an all-day, all-night mix of radiomakers and sound artists of all descriptions, sharing old and new work, DIY experiments and high-tech performances for your collective listening pleasure.</p><p>Join us in person or listen online from 5pm on Saturday 25 January as we pass the baton from performers to poets to gameshow hosts to improv musicians to font designers to volkskeuken to ???, all the way through to 6pm on Sunday 26 January.</p><p>Free entry, no booking required, camp out with us for as long as you can handle!</p><p>BYOP (bring your own pillow, yoga mat, camping mattress…)</p>

src/content/events/3rd-klankschool-dagandavond.md

@@ -0,0 +1,46 @@
+---
+boost: []
+description: <p>Sound performances by </p><ul><li><p>Ardore</p></li></ul><ul><li><p>Dada
+  Phone &amp; Stephen Kerr &amp; joak &amp; ...</p></li><li><p>TBA!</p></li></ul>
+end_datetime: 1737666000
+id: 28
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1698
+  name: 3rd Klankschool Dag&Avond
+  size: 251857
+  url: 79ac9e1617282f521d8027737ed71cbd.jpg
+  width: 1200
+multidate: false
+next: 25-hour-radio-relay
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: "Sound performances by\n\n * Ardore\n\n * Dada Phone & Stephen\
+  \ Kerr & joak & ...\n\n * TBA!"
+prev: unrepair-cafe-2
+recurrent: null
+resources: []
+slug: 3rd-klankschool-dagandavond
+start_datetime: 1737658800
+tags:
+- klankschool
+- noise
+- performances
+title: 3rd Klankschool Dag&Avond
+---
+
+<p>Sound performances by </p><ul><li><p>Ardore</p></li></ul><ul><li><p>Dada Phone &amp; Stephen Kerr &amp; joak &amp; ...</p></li><li><p>TBA!</p></li></ul>

src/content/events/extratonal-infrastructure-16-qoa-en-primeiro.md

@@ -0,0 +1,138 @@
+---
+boost: []
+description: <p><strong>Date:</strong> Friday, 15 November 2024<br><strong>Door:</strong>
+  19:30h CET<br><strong>Start:</strong> 20:00h CET<br><strong>Entrance:</strong> 5
+  euro<br><strong>Location:</strong> Varia (Gouwstraat 3, Rotterdam)</p><p><em>November
+  is home to multiple interventions by </em><a target="_blank" href="https://extratonal.org/"><em>The
+  Platform For Extratonality</em></a><em>. During this intermediate music event we
+  welcome QOA and Primeiro, two artists with a tendency to enthrall through elemental
+  improvisations.</em></p><p><strong>QOA</strong>, is the monikor of Nina Corti, an
+  experimental electroacoustic musician, sound and visual artist from the Argentine
+  and Latin American experimental contemporary music scene. Their sound is characterised
+  by the collage of field recordings in natural environments and their multiple transformations,
+  combined with spoken word, live sampling, drones, synthesis and frequency rhythms,
+  creating an extended listening experience. Qoa is part of <strong>AMPLIFY Digital
+  Arts Initiative</strong> (Amplify D.A.I), international network of artists from
+  Argentina, Canada, Peru and the UK, supported by Mutek and British Council. This
+  year they was one of the 8th Latin American artists selected for Nicolas Jaar's
+  Ladridos project.</p><p><a target="_blank" href="https://qoa.cargo.site/">https://qoa.cargo.site/</a><br><a
+  target="_blank" href="https://qoaqoa.bandcamp.com/album/sauco-2">https://qoaqoa.bandcamp.com/album/sauco-2</a></p><p><strong>Primeiro</strong>
+  blends experimental electronics with samples of acoustic instruments and field recordings
+  made by him, exploring the dynamic relationship between sound and territories. He
+  develops intricate soundscapes with multiple layers that evoke a sense of tranquility
+  and meticulous craft. Additionally, he organizes the <strong>Feed the River</strong>
+  festival, which explores our connection with water bodies as sentient entities requiring
+  our care and nurturing, and the use of sound to foster meaningful transformative
+  dialogues.</p><p><em>This event is made possible with the kind support of Popunie
+  Rotterdam, Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds
+  Creatieve Industrie</em></p>
+end_datetime: 1731704400
+id: 6
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 1
+  - -0.88
+  height: 986
+  name: 'Extratonal Infrastructure #16: QOA en Primeiro'
+  size: 297245
+  url: 43abdc1e52982aeb9040888e2a1127c6.jpg
+  width: 986
+multidate: false
+next: sounds-of-making-xpub1-presents-protocols-for-collective-performance
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Gouwstraat 3, Rotterdam
+  id: 3
+  latitude: null
+  longitude: null
+  name: Vaira
+plain_description: 'Date: Friday, 15 November 2024
+
+  Door: 19:30h CET
+
+  Start: 20:00h CET
+
+  Entrance: 5 euro
+
+  Location: Varia (Gouwstraat 3, Rotterdam)
+
+
+  November is home to multiple interventions by The Platform For Extratonality
+
+  [https://extratonal.org/]. During this intermediate music event we welcome QOA
+
+  and Primeiro, two artists with a tendency to enthrall through elemental
+
+  improvisations.
+
+
+  QOA, is the monikor of Nina Corti, an experimental electroacoustic musician,
+
+  sound and visual artist from the Argentine and Latin American experimental
+
+  contemporary music scene. Their sound is characterised by the collage of field
+
+  recordings in natural environments and their multiple transformations, combined
+
+  with spoken word, live sampling, drones, synthesis and frequency rhythms,
+
+  creating an extended listening experience. Qoa is part of AMPLIFY Digital Arts
+
+  Initiative (Amplify D.A.I), international network of artists from Argentina,
+
+  Canada, Peru and the UK, supported by Mutek and British Council. This year they
+
+  was one of the 8th Latin American artists selected for Nicolas Jaar''s Ladridos
+
+  project.
+
+
+  https://qoa.cargo.site/ [https://qoa.cargo.site/]
+
+  https://qoaqoa.bandcamp.com/album/sauco-2
+
+  [https://qoaqoa.bandcamp.com/album/sauco-2]
+
+
+  Primeiro blends experimental electronics with samples of acoustic instruments
+
+  and field recordings made by him, exploring the dynamic relationship between
+
+  sound and territories. He develops intricate soundscapes with multiple layers
+
+  that evoke a sense of tranquility and meticulous craft. Additionally, he
+
+  organizes the Feed the River festival, which explores our connection with water
+
+  bodies as sentient entities requiring our care and nurturing, and the use of
+
+  sound to foster meaningful transformative dialogues.
+
+
+  This event is made possible with the kind support of Popunie Rotterdam,
+
+  Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and
+
+  Stimuleringsfonds Creatieve Industrie'
+prev: lets-unrepair-things-together-2
+recurrent: null
+resources: []
+slug: extratonal-infrastructure-16-qoa-en-primeiro
+start_datetime: 1731697200
+tags:
+- extratonal
+- performances
+- primeiro
+- qoa
+- varia
+title: 'Extratonal Infrastructure #16: QOA en Primeiro'
+---
+
+<p><strong>Date:</strong> Friday, 15 November 2024<br><strong>Door:</strong> 19:30h CET<br><strong>Start:</strong> 20:00h CET<br><strong>Entrance:</strong> 5 euro<br><strong>Location:</strong> Varia (Gouwstraat 3, Rotterdam)</p><p><em>November is home to multiple interventions by </em><a target="_blank" href="https://extratonal.org/"><em>The Platform For Extratonality</em></a><em>. During this intermediate music event we welcome QOA and Primeiro, two artists with a tendency to enthrall through elemental improvisations.</em></p><p><strong>QOA</strong>, is the monikor of Nina Corti, an experimental electroacoustic musician, sound and visual artist from the Argentine and Latin American experimental contemporary music scene. Their sound is characterised by the collage of field recordings in natural environments and their multiple transformations, combined with spoken word, live sampling, drones, synthesis and frequency rhythms, creating an extended listening experience. Qoa is part of <strong>AMPLIFY Digital Arts Initiative</strong> (Amplify D.A.I), international network of artists from Argentina, Canada, Peru and the UK, supported by Mutek and British Council. This year they was one of the 8th Latin American artists selected for Nicolas Jaar's Ladridos project.</p><p><a target="_blank" href="https://qoa.cargo.site/">https://qoa.cargo.site/</a><br><a target="_blank" href="https://qoaqoa.bandcamp.com/album/sauco-2">https://qoaqoa.bandcamp.com/album/sauco-2</a></p><p><strong>Primeiro</strong> blends experimental electronics with samples of acoustic instruments and field recordings made by him, exploring the dynamic relationship between sound and territories. He develops intricate soundscapes with multiple layers that evoke a sense of tranquility and meticulous craft. Additionally, he organizes the <strong>Feed the River</strong> festival, which explores our connection with water bodies as sentient entities requiring our care and nurturing, and the use of sound to foster meaningful transformative dialogues.</p><p><em>This event is made possible with the kind support of Popunie Rotterdam, Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds Creatieve Industrie</em></p>

src/content/events/extratonal-infrastructure-17-dianaband-vegetable-wife-with-jae-hyung-park-and-lucija-gregov.md

@@ -0,0 +1,161 @@
+---
+boost: []
+description: '<p>Date: Saturday, 30 November 2024</p><p>Door: 19:30h CET</p><p>Start:
+  20:00h CET</p><p>Entrance: 5 euro</p><p>Location: Varia (Gouwstraat 3, Rotterdam)</p><p>Join
+  us for a new episode in the extratonal infrastructure series - the extra in Rotterdam''s
+  cultural life. Come and watch three acts that will truly push the boundaries of
+  conventions through approaches that create unpredictability and contingencies. Be
+  on time and it is fine!</p><p>Dianaband (Dooho &amp; Wonjung) is an interdisciplinary
+  artist duo based in Seoul. In their sound performance ''Cats and Paper Boxes'' Dooho
+  plays with feedback resonance. Through various objects placed between a contact
+  microphone and mobile speakers, he creates hidden sounds, subtle coincidences, and
+  unpredictable sound events. Wonjung rides on this tidal wave with the Drawing Synthesizer,
+  an instrument where ''drawing'' is ''making sound''. Exploring the infinite possibilities
+  of drawing with paper and pencil, she manages the momentum of the spatial narrative
+  all around the space.</p><p><a target="_blank" href="https://dianaband.info/">https://dianaband.info/</a></p><p>Vegetable
+  Wife is from Seoul. She yearns for noise and noise-making beings that escape from
+  ethics and morality. She tries to strip away the many ideas attached to these sounds,
+  while simultaneously suturing them with different origins. Her sound exists inside
+  a tear-and-paste loop through synthesising, collaging, recording and mixing. With
+  visual artist Jae-hyung Park, this sound is synthesized with video to extend its
+  scape.</p><p><a target="_blank" href="https://meek-as-a-lamb.github.io/imheeju/">https://meek-as-a-lamb.github.io/imheeju/</a></p><p>Lucija
+  Gregov is a cellist, improviser, composer and programmer. She has been developing
+  projects and researching in the fields of classical music, electroacoustic music,
+  improvisation, experimental music, radio and sound art. Through many interdisciplinary
+  collaborations, Lucija seeks to push the boundaries of traditional cello playing,
+  which further extends her interpretation, technique and ideas. Her instrumental
+  cello practice is the starting point of the sonic exploration, through which, over
+  time, she disintegrated traditional techniques in order to discover a more personal
+  and sincere sound aesthetic.</p><p><a target="_blank" href="https://lugregov.com/">https://lugregov.com/</a></p><p>This
+  event is made possible with the kind support of Popunie Rotterdam, Stichting Volkskracht,
+  Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds Creatieve Industrie.</p>'
+end_datetime: 1733004000
+id: 14
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1200
+  name: 'Extratonal Infrastructure #17: Dianaband, Vegetable Wife with Jae-hyung Park
+    and Lucija Gregov'
+  size: 577770
+  url: c8e7b7851a720187cd4fce798f0405fc.jpg
+  width: 1200
+multidate: false
+next: lets-unrepair-things-together-analog-video-edition
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Gouwstraat 3, Rotterdam
+  id: 3
+  latitude: null
+  longitude: null
+  name: Vaira
+plain_description: 'Date: Saturday, 30 November 2024
+
+
+  Door: 19:30h CET
+
+
+  Start: 20:00h CET
+
+
+  Entrance: 5 euro
+
+
+  Location: Varia (Gouwstraat 3, Rotterdam)
+
+
+  Join us for a new episode in the extratonal infrastructure series - the extra in
+
+  Rotterdam''s cultural life. Come and watch three acts that will truly push the
+
+  boundaries of conventions through approaches that create unpredictability and
+
+  contingencies. Be on time and it is fine!
+
+
+  Dianaband (Dooho & Wonjung) is an interdisciplinary artist duo based in Seoul.
+
+  In their sound performance ''Cats and Paper Boxes'' Dooho plays with feedback
+
+  resonance. Through various objects placed between a contact microphone and
+
+  mobile speakers, he creates hidden sounds, subtle coincidences, and
+
+  unpredictable sound events. Wonjung rides on this tidal wave with the Drawing
+
+  Synthesizer, an instrument where ''drawing'' is ''making sound''. Exploring the
+
+  infinite possibilities of drawing with paper and pencil, she manages the
+
+  momentum of the spatial narrative all around the space.
+
+
+  https://dianaband.info/ [https://dianaband.info/]
+
+
+  Vegetable Wife is from Seoul. She yearns for noise and noise-making beings that
+
+  escape from ethics and morality. She tries to strip away the many ideas attached
+
+  to these sounds, while simultaneously suturing them with different origins. Her
+
+  sound exists inside a tear-and-paste loop through synthesising, collaging,
+
+  recording and mixing. With visual artist Jae-hyung Park, this sound is
+
+  synthesized with video to extend its scape.
+
+
+  https://meek-as-a-lamb.github.io/imheeju/
+
+  [https://meek-as-a-lamb.github.io/imheeju/]
+
+
+  Lucija Gregov is a cellist, improviser, composer and programmer. She has been
+
+  developing projects and researching in the fields of classical music,
+
+  electroacoustic music, improvisation, experimental music, radio and sound art.
+
+  Through many interdisciplinary collaborations, Lucija seeks to push the
+
+  boundaries of traditional cello playing, which further extends her
+
+  interpretation, technique and ideas. Her instrumental cello practice is the
+
+  starting point of the sonic exploration, through which, over time, she
+
+  disintegrated traditional techniques in order to discover a more personal and
+
+  sincere sound aesthetic.
+
+
+  https://lugregov.com/ [https://lugregov.com/]
+
+
+  This event is made possible with the kind support of Popunie Rotterdam,
+
+  Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and
+
+  Stimuleringsfonds Creatieve Industrie.'
+prev: lets-unrepair-things-together-4
+recurrent: null
+resources: []
+slug: extratonal-infrastructure-17-dianaband-vegetable-wife-with-jae-hyung-park-and-lucija-gregov
+start_datetime: 1732993200
+tags:
+- extratonal
+- varia
+title: 'Extratonal Infrastructure #17: Dianaband, Vegetable Wife with Jae-hyung Park
+  and Lucija Gregov'
+---
+
+<p>Date: Saturday, 30 November 2024</p><p>Door: 19:30h CET</p><p>Start: 20:00h CET</p><p>Entrance: 5 euro</p><p>Location: Varia (Gouwstraat 3, Rotterdam)</p><p>Join us for a new episode in the extratonal infrastructure series - the extra in Rotterdam's cultural life. Come and watch three acts that will truly push the boundaries of conventions through approaches that create unpredictability and contingencies. Be on time and it is fine!</p><p>Dianaband (Dooho &amp; Wonjung) is an interdisciplinary artist duo based in Seoul. In their sound performance 'Cats and Paper Boxes' Dooho plays with feedback resonance. Through various objects placed between a contact microphone and mobile speakers, he creates hidden sounds, subtle coincidences, and unpredictable sound events. Wonjung rides on this tidal wave with the Drawing Synthesizer, an instrument where 'drawing' is 'making sound'. Exploring the infinite possibilities of drawing with paper and pencil, she manages the momentum of the spatial narrative all around the space.</p><p><a target="_blank" href="https://dianaband.info/">https://dianaband.info/</a></p><p>Vegetable Wife is from Seoul. She yearns for noise and noise-making beings that escape from ethics and morality. She tries to strip away the many ideas attached to these sounds, while simultaneously suturing them with different origins. Her sound exists inside a tear-and-paste loop through synthesising, collaging, recording and mixing. With visual artist Jae-hyung Park, this sound is synthesized with video to extend its scape.</p><p><a target="_blank" href="https://meek-as-a-lamb.github.io/imheeju/">https://meek-as-a-lamb.github.io/imheeju/</a></p><p>Lucija Gregov is a cellist, improviser, composer and programmer. She has been developing projects and researching in the fields of classical music, electroacoustic music, improvisation, experimental music, radio and sound art. Through many interdisciplinary collaborations, Lucija seeks to push the boundaries of traditional cello playing, which further extends her interpretation, technique and ideas. Her instrumental cello practice is the starting point of the sonic exploration, through which, over time, she disintegrated traditional techniques in order to discover a more personal and sincere sound aesthetic.</p><p><a target="_blank" href="https://lugregov.com/">https://lugregov.com/</a></p><p>This event is made possible with the kind support of Popunie Rotterdam, Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds Creatieve Industrie.</p>

src/content/events/extratonal-special-3-sound-is-political.md

@@ -0,0 +1,126 @@
+---
+boost: []
+description: '<p>We are moved to invite you to our 3rd <a target="_blank" href="https://extratonal.org/">Extratonal
+  Special</a>: sound is political. For this edition we ask you to be present with
+  your political ears, to feel with us what it means to have a voice that is (not)
+  heard, to notice which voices are not present in the room, to desire together social
+  transformations, to listen to less heard histories, to pinch our autonomous bubbles,
+  to be touched by sound waves and connect with them consciously. This journey is
+  going to be led by our very special line up:</p><p><strong>Luca Soucant</strong>
+  will perform the lecture-performance ''The Resonance of Gender: Thinking through
+  a Feedbacking Scold’s Bridle.''Luca studies the relationship between sound, gender,
+  power, and social structures within the entanglement of the human and non-human.</p><p><a
+  target="_blank" href="https://www.lucasoudant.com/">https://www.lucasoudant.com/</a></p><p><strong>YoKolina</strong>
+  is an interdisciplinary fashion designer whose artistic practice involves stage
+  clothes, performance, and music. For Extratonal, she will bring to life her moth
+  costume, embodying an insect that deals with existence.</p><p><a target="_blank"
+  href="https://yokolina.hotglue.me/">https://yokolina.hotglue.me/</a></p><p><strong>Natalia
+  Roa</strong> is a writer, editor and interdisciplinary artist. Together with Colombian
+  percussionist <strong>Luis Orobio</strong>, she will weave a tapestry of sound,
+  rhythm, and storytelling around the concept of ashé, which are narratives and soundscapes
+  of Abya Yala that offer an alternative present to a growing dismemory. From a sonic
+  legacy, ashé signifies permanence: the constant gaze for and at the instruments,
+  the bodies, and the tunes with which enslaved people declared their emancipation,
+  blending ritual with celebration, we remember.</p><p><a target="_blank" href="https://nataliaroa.co/about">https://nataliaroa.co/about</a></p><p><em>This
+  event is made possible with the kind support of Popunie Rotterdam, Stichting Volkskracht,
+  Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds Creatieve Industrie.</em></p>'
+end_datetime: 1730494800
+id: 5
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - -0.03
+  - -1
+  height: 600
+  name: 'Extratonal Special #3: Sound Is Political'
+  size: 179457
+  url: f26012d0e6bf0ccb20941a21e69f54f6.jpg
+  width: 600
+multidate: false
+next: palestine-cinema-days-around-the-world-naila-and-the-uprising
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Gouwstraat 3, Rotterdam
+  id: 3
+  latitude: null
+  longitude: null
+  name: Vaira
+plain_description: 'We are moved to invite you to our 3rd Extratonal Special
+
+  [https://extratonal.org/]: sound is political. For this edition we ask you to be
+
+  present with your political ears, to feel with us what it means to have a voice
+
+  that is (not) heard, to notice which voices are not present in the room, to
+
+  desire together social transformations, to listen to less heard histories, to
+
+  pinch our autonomous bubbles, to be touched by sound waves and connect with them
+
+  consciously. This journey is going to be led by our very special line up:
+
+
+  Luca Soucant will perform the lecture-performance ''The Resonance of Gender:
+
+  Thinking through a Feedbacking Scold’s Bridle.''Luca studies the relationship
+
+  between sound, gender, power, and social structures within the entanglement of
+
+  the human and non-human.
+
+
+  https://www.lucasoudant.com/ [https://www.lucasoudant.com/]
+
+
+  YoKolina is an interdisciplinary fashion designer whose artistic practice
+
+  involves stage clothes, performance, and music. For Extratonal, she will bring
+
+  to life her moth costume, embodying an insect that deals with existence.
+
+
+  https://yokolina.hotglue.me/ [https://yokolina.hotglue.me/]
+
+
+  Natalia Roa is a writer, editor and interdisciplinary artist. Together with
+
+  Colombian percussionist Luis Orobio, she will weave a tapestry of sound, rhythm,
+
+  and storytelling around the concept of ashé, which are narratives and
+
+  soundscapes of Abya Yala that offer an alternative present to a growing
+
+  dismemory. From a sonic legacy, ashé signifies permanence: the constant gaze for
+
+  and at the instruments, the bodies, and the tunes with which enslaved people
+
+  declared their emancipation, blending ritual with celebration, we remember.
+
+
+  https://nataliaroa.co/about [https://nataliaroa.co/about]
+
+
+  This event is made possible with the kind support of Popunie Rotterdam,
+
+  Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and
+
+  Stimuleringsfonds Creatieve Industrie.'
+prev: lets-un-repair-things-together
+recurrent: null
+resources: []
+slug: extratonal-special-3-sound-is-political
+start_datetime: 1730487600
+tags:
+- extratonal
+- performances
+- varia
+title: 'Extratonal Special #3: Sound Is Political'
+---
+
+<p>We are moved to invite you to our 3rd <a target="_blank" href="https://extratonal.org/">Extratonal Special</a>: sound is political. For this edition we ask you to be present with your political ears, to feel with us what it means to have a voice that is (not) heard, to notice which voices are not present in the room, to desire together social transformations, to listen to less heard histories, to pinch our autonomous bubbles, to be touched by sound waves and connect with them consciously. This journey is going to be led by our very special line up:</p><p><strong>Luca Soucant</strong> will perform the lecture-performance 'The Resonance of Gender: Thinking through a Feedbacking Scold’s Bridle.'Luca studies the relationship between sound, gender, power, and social structures within the entanglement of the human and non-human.</p><p><a target="_blank" href="https://www.lucasoudant.com/">https://www.lucasoudant.com/</a></p><p><strong>YoKolina</strong> is an interdisciplinary fashion designer whose artistic practice involves stage clothes, performance, and music. For Extratonal, she will bring to life her moth costume, embodying an insect that deals with existence.</p><p><a target="_blank" href="https://yokolina.hotglue.me/">https://yokolina.hotglue.me/</a></p><p><strong>Natalia Roa</strong> is a writer, editor and interdisciplinary artist. Together with Colombian percussionist <strong>Luis Orobio</strong>, she will weave a tapestry of sound, rhythm, and storytelling around the concept of ashé, which are narratives and soundscapes of Abya Yala that offer an alternative present to a growing dismemory. From a sonic legacy, ashé signifies permanence: the constant gaze for and at the instruments, the bodies, and the tunes with which enslaved people declared their emancipation, blending ritual with celebration, we remember.</p><p><a target="_blank" href="https://nataliaroa.co/about">https://nataliaroa.co/about</a></p><p><em>This event is made possible with the kind support of Popunie Rotterdam, Stichting Volkskracht, Fonds Podiumkunsten, Gemeente Rotterdam and Stimuleringsfonds Creatieve Industrie.</em></p>

src/content/events/its-sonic-bath-daaaay.md

@@ -0,0 +1,78 @@
+---
+boost: []
+description: <p>Dear listeners, 👂<br><br>on Saturday the 23rd of November, you are
+  warmly invited to join a workshop about sonic awareness, at <a href="https://www.instagram.com/extrapractice/"
+  target="_blank">extrapractice</a> .<br>Margo is going to guide you somewhere in
+  between free musical improvisation and deep listening. We will sing, and breathe,
+  and move, and make funny noises with funny objects. 🪠<br><br>But most of all, we’re
+  going to tune in to our environment and listen. So put on your most comfy clothes
+  and come make bubbles with friends! 🫧<br><br>It begins at 13.00 and lunch is included
+  (vegan and gluten free). 🥗<br><br>5 euros of participation is asked, with 10 spots
+  available.<br><br>Send a message at marguerite.maire@outlook.fr</p>
+end_datetime: 1732424400
+id: 15
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1350
+  name: 🛀🛀🛀It’s sonic bath daaaay! 🛀🛀🛀
+  size: 213008
+  url: 607c905a35e634ef58247939c910df36.jpg
+  width: 1080
+multidate: false
+next: lets-unrepair-things-together-4
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Linker Rottekade 5a, Rotterdam
+  id: 6
+  latitude: null
+  longitude: null
+  name: ExtraPractice
+plain_description: 'Dear listeners, 👂
+
+
+  on Saturday the 23rd of November, you are warmly invited to join a workshop
+
+  about sonic awareness, at @extrapractice
+
+  [https://www.instagram.com/extrapractice/] .
+
+  Margo is going to guide you somewhere in between free musical improvisation and
+
+  deep listening. We will sing, and breathe, and move, and make funny noises with
+
+  funny objects. 🪠
+
+
+  But most of all, we’re going to tune in to our environment and listen. So put on
+
+  your most comfy clothes and come make bubbles with friends! 🫧
+
+
+  It begins at 13.00 and lunch is included (vegan and gluten free). 🥗
+
+
+  5 euros of participation is asked, with 10 spots available.
+
+
+  Send a message at marguerite.maire@outlook.fr'
+prev: lets-unrepair-things-together-3
+recurrent: null
+resources: []
+slug: its-sonic-bath-daaaay
+start_datetime: 1732363200
+tags:
+- extrapractice
+- sonic awareness
+title: 🛀🛀🛀It’s sonic bath daaaay! 🛀🛀🛀
+---
+
+<p>Dear listeners, 👂<br><br>on Saturday the 23rd of November, you are warmly invited to join a workshop about sonic awareness, at <a href="https://www.instagram.com/extrapractice/" target="_blank">@extrapractice</a> .<br>Margo is going to guide you somewhere in between free musical improvisation and deep listening. We will sing, and breathe, and move, and make funny noises with funny objects. 🪠<br><br>But most of all, we’re going to tune in to our environment and listen. So put on your most comfy clothes and come make bubbles with friends! 🫧<br><br>It begins at 13.00 and lunch is included (vegan and gluten free). 🥗<br><br>5 euros of participation is asked, with 10 spots available.<br><br>Send a message at marguerite.maire@outlook.fr</p>

src/content/events/klankschool-performances.md

@@ -0,0 +1,139 @@
+---
+boost: []
+description: '<blockquote><h3>when we have performed many thousands,<br>we shall shake
+  them into confusion, in order that we might not know,<br>and in order not to let
+  any evil person envy us,<br>when he knows that there are so many of our kisses.</h3></blockquote><p>Klankschool
+  is back in catullusweg for more performances, workshops and listening.</p><p></p><h2>6pm:
+  Klankserver longtable discussion</h2><p></p><p>Here at klankschool we have our own
+  server, running open source software to provide <a target="_blank" href="https://calendar.klank.school/">this
+  calendar</a>, <a target="_blank" href="https://funk.klank.school/library">an audio
+  sharing platform</a>, <a target="_blank" href="https://klank.school/">the website</a>,
+  <a target="_blank" href="https://live.klank.school">and more to come</a>.</p><p>This
+  evening we will introduce some of these services, show how to use them, and have
+  a longtable discussion about what it means to have an artist run server, what we
+  plan to do with it, and why we want it.</p><p><a target="_blank" href="https://calendar.klank.school/event/server-introduction">For
+  more info on the discussion, see the event.</a></p><p></p><h2>7pm: Delicious Vegan
+  Dinner</h2><p></p><h2>8pm: Performances</h2><p></p><p>... 🥁 🎹 🔌 Lukasz Moroz , Maciej
+  Müller and Tymon Kolubiński</p><p>... 🏠 Ariela Bergman "“the house that inhabits
+  you”</p><p>... 🫥 mitsitron &amp; 🌀 Stephen Kerr</p><p>... 👲🏻 🧑‍🦽 HOLLOWMIST</p><p>...
+  📱 Dada phone</p><p>... 🪠 Archibald “Harry” Tuttle</p><p>... and more</p><p></p>'
+end_datetime: 1729368000
+id: 1
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1920
+  name: 2nd KLANKSCHOOL DAG&AVOND
+  size: 1286409
+  url: a6734cfcec029795d1bfcc853137aafb.jpg
+  width: 1080
+multidate: false
+next: server-introduction
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: '> WHEN WE HAVE PERFORMED MANY THOUSANDS,
+
+  > WE SHALL SHAKE THEM INTO CONFUSION, IN ORDER THAT WE MIGHT NOT KNOW,
+
+  > AND IN ORDER NOT TO LET ANY EVIL PERSON ENVY US,
+
+  > WHEN HE KNOWS THAT THERE ARE SO MANY OF OUR KISSES.
+
+
+  Klankschool is back in catullusweg for more performances, workshops and
+
+  listening.
+
+
+
+
+
+  6PM: KLANKSERVER LONGTABLE DISCUSSION
+
+
+
+
+  Here at klankschool we have our own server, running open source software to
+
+  provide this calendar [https://calendar.klank.school/], an audio sharing
+
+  platform [https://funk.klank.school/library], the website
+
+  [https://klank.school/], and more to come [https://live.klank.school].
+
+
+  This evening we will introduce some of these services, show how to use them, and
+
+  have a longtable discussion about what it means to have an artist run server,
+
+  what we plan to do with it, and why we want it.
+
+
+  For more info on the discussion, see the event.
+
+  [https://calendar.klank.school/event/server-introduction]
+
+
+
+
+
+  7PM: DELICIOUS VEGAN DINNER
+
+
+
+
+
+  8PM: PERFORMANCES
+
+
+
+
+  ... 🥁 🎹 🔌 Lukasz Moroz , Maciej Müller and Tymon Kolubiński
+
+
+  ... 🏠 Ariela Bergman "“the house that inhabits you”
+
+
+  ... 🫥 mitsitron & 🌀 Stephen Kerr
+
+
+  ... 👲🏻 🧑‍🦽 HOLLOWMIST
+
+
+  ... 📱 Dada phone
+
+
+  ... 🪠 Archibald “Harry” Tuttle
+
+
+  ... and more
+
+
+  '
+prev: null
+recurrent: null
+resources: []
+slug: klankschool-performances
+start_datetime: 1729353600
+tags:
+- klankschool
+- live
+- noise
+- performance
+title: 2nd Klankschool Dag&Avond
+---
+
+<blockquote><h3>when we have performed many thousands,<br>we shall shake them into confusion, in order that we might not know,<br>and in order not to let any evil person envy us,<br>when he knows that there are so many of our kisses.</h3></blockquote><p>Klankschool is back in catullusweg for more performances, workshops and listening.</p><p></p><h2>6pm: Klankserver longtable discussion</h2><p></p><p>Here at klankschool we have our own server, running open source software to provide <a target="_blank" href="https://calendar.klank.school/">this calendar</a>, <a target="_blank" href="https://funk.klank.school/library">an audio sharing platform</a>, <a target="_blank" href="https://klank.school/">the website</a>, <a target="_blank" href="https://live.klank.school">and more to come</a>.</p><p>This evening we will introduce some of these services, show how to use them, and have a longtable discussion about what it means to have an artist run server, what we plan to do with it, and why we want it.</p><p><a target="_blank" href="https://calendar.klank.school/event/server-introduction">For more info on the discussion, see the event.</a></p><p></p><h2>7pm: Delicious Vegan Dinner</h2><p></p><h2>8pm: Performances</h2><p></p><p>... 🥁 🎹 🔌 Lukasz Moroz , Maciej Müller and Tymon Kolubiński</p><p>... 🏠 Ariela Bergman "“the house that inhabits you”</p><p>... 🫥 mitsitron &amp; 🌀 Stephen Kerr</p><p>... 👲🏻 🧑‍🦽 HOLLOWMIST</p><p>... 📱 Dada phone</p><p>... 🪠 Archibald “Harry” Tuttle</p><p>... and more</p><p></p>

src/content/events/lets-un-repair-things-together.md

@@ -0,0 +1,35 @@
+---
+boost: []
+description: ''
+end_datetime: 1730415300
+id: 7
+image_path: null
+isAnon: true
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: false
+next: extratonal-special-3-sound-is-political
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: ''
+prev: server-introduction
+has_log: true
+recurrent: null
+resources: []
+slug: lets-un-repair-things-together
+start_datetime: 1730394000
+tags: []
+title: let's (un) repair things together
+---
+
+### Logs
+Repaired an audio amplifier by replacing a switch, a megaphone by cleaning the battery ports, and discovered the fireworks that is blown fuses.

src/content/events/lets-unrepair-things-together-1.md

@@ -0,0 +1,41 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1731016800
+id: 10
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: false
+next: lets-unrepair-things-together-2
+online_locations: ''
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: palestine-cinema-days-around-the-world-naila-and-the-uprising
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-1
+start_datetime: 1730998800
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>

src/content/events/lets-unrepair-things-together-2.md

@@ -0,0 +1,41 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1731621600
+id: 11
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: extratonal-infrastructure-16-qoa-en-primeiro
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: lets-unrepair-things-together-1
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-2
+start_datetime: 1731603600
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>

src/content/events/lets-unrepair-things-together-3.md

@@ -0,0 +1,46 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1732226400
+id: 12
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: its-sonic-bath-daaaay
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: sounds-of-making-xpub1-presents-protocols-for-collective-performance
+recurrent: null
+has_log: true
+resources: []
+slug: lets-unrepair-things-together-3
+start_datetime: 1732208400
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>
+
+### Logs
+
+Toy keyboards are fun, especially if you apply the card method of infinite drone music. 

src/content/events/lets-unrepair-things-together-4.md

@@ -0,0 +1,48 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1732831200
+id: 16
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: extratonal-infrastructure-17-dianaband-vegetable-wife-with-jae-hyung-park-and-lucija-gregov
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: its-sonic-bath-daaaay
+recurrent: null
+resources: []
+has_log: true
+slug: lets-unrepair-things-together-4
+start_datetime: 1732813200
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>
+
+### Logs
+
+There were five of us today
+
+- The openproject instance now sends email notifications.

src/content/events/lets-unrepair-things-together-4x.md

@@ -0,0 +1,49 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1732831200
+id: 16
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: extratonal-infrastructure-17-dianaband-vegetable-wife-with-jae-hyung-park-and-lucija-gregov
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: its-sonic-bath-daaaay
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-4
+start_datetime: 1733413200
+has_log: true
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>
+
+### Logs
+
+Someone came in with a pokemon camera that could also play audio from a small SD card. However, the camera only had a small speaker, so we added an audio jack!
+Additionally, we worked on 4 casette players, all of them had issues with the belts. We'll need to order some replacement belts to get them working again. One of the casette players wouldnt turn on, but after a bit of cleaning of the battery holder, this was resolved.
+
+![Pokemon camera now has a much needed audio jack](/assets/repair-logs/pokemon.webp)

src/content/events/lets-unrepair-things-together-6.md

@@ -0,0 +1,41 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1734040800
+id: 19
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: lets-unrepair-things-together-7
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: lets-unrepair-things-together-analog-video-edition
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-6
+start_datetime: 1734022800
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>

src/content/events/lets-unrepair-things-together-7.md

@@ -0,0 +1,46 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1734645600
+id: 20
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: lets-unrepair-things-together-8
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: lets-unrepair-things-together-6
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-7
+start_datetime: 1734627600
+has_log: true
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>
+
+### Logs
+
+We explored the circuit bending of an analog video mixer, and continued installing Linux on a server from the V2 Winter Market

src/content/events/lets-unrepair-things-together-8.md

@@ -0,0 +1,41 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p>
+end_datetime: 1735250400
+id: 21
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: null
+next: unrepair-cafe
+online_locations: []
+parent:
+  id: 9
+  is_visible: false
+  recurrent:
+    frequency: 1w
+  start_datetime: 1730998800
+parentId: 9
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: Bring your (un)broken devices and sound makers!
+prev: lets-unrepair-things-together-7
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-8
+start_datetime: 1735232400
+tags:
+- klankschool
+- noise
+- repair
+title: Let's (un)repair things together!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p>

src/content/events/lets-unrepair-things-together-analog-video-edition.md

@@ -0,0 +1,45 @@
+---
+boost: []
+description: <p>Bring your (un)broken devices and sound makers!</p><p>This time, we'll
+  work with video! Analog video mixers, camera's, anything with lights.</p><p>Come
+  by!</p>
+end_datetime: null
+id: 18
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media: []
+multidate: false
+next: lets-unrepair-things-together-6
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: 'Bring your (un)broken devices and sound makers!
+
+
+  This time, we''ll work with video! Analog video mixers, camera''s, anything with
+
+  lights.
+
+
+  Come by!'
+prev: extratonal-infrastructure-17-dianaband-vegetable-wife-with-jae-hyung-park-and-lucija-gregov
+recurrent: null
+resources: []
+slug: lets-unrepair-things-together-analog-video-edition
+start_datetime: 1734022800
+tags:
+- catu
+- klankschool
+title: Let's (un)repair things together! Analog Video edition!
+---
+
+<p>Bring your (un)broken devices and sound makers!</p><p>This time, we'll work with video! Analog video mixers, camera's, anything with lights.</p><p>Come by!</p>

src/content/events/palestine-cinema-days-around-the-world-naila-and-the-uprising.md

@@ -0,0 +1,113 @@
+---
+boost: []
+description: '<p>In 2023, <strong>Film Lab Palestine</strong> had to postpone their
+  <strong>Palestine Cinema Days</strong> festival. Instead of celebrating cinema in
+  Palestine, they brought Palestine to the world in 86 cities, across 139 venues,
+  spanning 41 countries. November 2nd marks the day the Balfour Declaration was signed,
+  and in an effort to amplify Palestinian voices, we are joining <a target="_blank"
+  href="https://aflamuna.org/calls/palestine-cinema-days-around-the-world-24/"><strong>Palestine
+  Cinema Days Around The World</strong></a> and are screening Naila And The Uprising
+  directed by Julia Bacha​.</p><p>Alongside the film screening <a target="_blank"
+  href="https://www.fairtradepalestine.org/"><strong>Fairtrade Palestine</strong></a>
+  will be selling a variety of products from the West Bank, and we will have anti-colonial,
+  liberation and encampment advice zines available via <a target="_blank" href="https://www.rot-shop.com/zine-distro-fundraiser"><strong>rot
+  shop</strong></a> to copy and print your own selection from. There will also be
+  <strong>silkscreen solidarity shirts</strong> from Video for sale. All donations
+  for the zines and shirts will go directly to two families in Gaza, and grassroots
+  mutual aid initiative The Sanabel Team.</p><p><strong>Naila And The Uprising</strong><br>by
+  Julia Bacha​</p><p>Documentary, 76 mins.<br>Chronicling the remarkable journey of
+  Naila Ayesh and a fierce community of women at the frontlines, whose stories weave
+  through the most vibrant, nonviolent mobilisation in Palestinian history – the First
+  Intifada in the late 1980s.</p><p>Languages: Arabic, English, Hebrew, French.<br>Subtitles:
+  English.</p>'
+end_datetime: 1730581200
+id: 8
+image_path: null
+isAnon: true
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 778
+  name: Palestine Cinema Days Around The World - Naila And The Uprising
+  size: 165250
+  url: e79f8e017e8fdb1a603e1ed4d5a4f450.jpg
+  width: 778
+multidate: false
+next: lets-unrepair-things-together-1
+online_locations:
+- https://varia.zone/en/palestine-cinema-days-naila-and-the-uprising.html
+parent: null
+parentId: null
+place:
+  address: Gouwstraat 3
+  id: 4
+  latitude: null
+  longitude: null
+  name: Varia
+plain_description: 'In 2023, Film Lab Palestine had to postpone their Palestine Cinema
+  Days
+
+  festival. Instead of celebrating cinema in Palestine, they brought Palestine to
+
+  the world in 86 cities, across 139 venues, spanning 41 countries. November 2nd
+
+  marks the day the Balfour Declaration was signed, and in an effort to amplify
+
+  Palestinian voices, we are joining Palestine Cinema Days Around The World
+
+  [https://aflamuna.org/calls/palestine-cinema-days-around-the-world-24/] and are
+
+  screening Naila And The Uprising directed by Julia Bacha .
+
+
+  Alongside the film screening Fairtrade Palestine
+
+  [https://www.fairtradepalestine.org/] will be selling a variety of products from
+
+  the West Bank, and we will have anti-colonial, liberation and encampment advice
+
+  zines available via rot shop [https://www.rot-shop.com/zine-distro-fundraiser]
+
+  to copy and print your own selection from. There will also be silkscreen
+
+  solidarity shirts from Video for sale. All donations for the zines and shirts
+
+  will go directly to two families in Gaza, and grassroots mutual aid initiative
+
+  The Sanabel Team.
+
+
+  Naila And The Uprising
+
+  by Julia Bacha
+
+
+  Documentary, 76 mins.
+
+  Chronicling the remarkable journey of Naila Ayesh and a fierce community of
+
+  women at the frontlines, whose stories weave through the most vibrant,
+
+  nonviolent mobilisation in Palestinian history – the First Intifada in the late
+
+  1980s.
+
+
+  Languages: Arabic, English, Hebrew, French.
+
+  Subtitles: English.'
+prev: extratonal-special-3-sound-is-political
+recurrent: null
+resources: []
+slug: palestine-cinema-days-around-the-world-naila-and-the-uprising
+start_datetime: 1730570400
+tags:
+- Palestine Cinema Days
+title: Palestine Cinema Days Around The World - Naila And The Uprising
+---
+
+<p>In 2023, <strong>Film Lab Palestine</strong> had to postpone their <strong>Palestine Cinema Days</strong> festival. Instead of celebrating cinema in Palestine, they brought Palestine to the world in 86 cities, across 139 venues, spanning 41 countries. November 2nd marks the day the Balfour Declaration was signed, and in an effort to amplify Palestinian voices, we are joining <a target="_blank" href="https://aflamuna.org/calls/palestine-cinema-days-around-the-world-24/"><strong>Palestine Cinema Days Around The World</strong></a> and are screening Naila And The Uprising directed by Julia Bacha​.</p><p>Alongside the film screening <a target="_blank" href="https://www.fairtradepalestine.org/"><strong>Fairtrade Palestine</strong></a> will be selling a variety of products from the West Bank, and we will have anti-colonial, liberation and encampment advice zines available via <a target="_blank" href="https://www.rot-shop.com/zine-distro-fundraiser"><strong>rot shop</strong></a> to copy and print your own selection from. There will also be <strong>silkscreen solidarity shirts</strong> from Video for sale. All donations for the zines and shirts will go directly to two families in Gaza, and grassroots mutual aid initiative The Sanabel Team.</p><p><strong>Naila And The Uprising</strong><br>by Julia Bacha​</p><p>Documentary, 76 mins.<br>Chronicling the remarkable journey of Naila Ayesh and a fierce community of women at the frontlines, whose stories weave through the most vibrant, nonviolent mobilisation in Palestinian history – the First Intifada in the late 1980s.</p><p>Languages: Arabic, English, Hebrew, French.<br>Subtitles: English.</p>

src/content/events/server-introduction.md

@@ -0,0 +1,66 @@
+---
+boost: []
+description: <blockquote><p>The Long Table is a format for discussion that uses the
+  setting of a domestic dinner table as a means to generate public conversation. Conceived
+  in 2003 by Lois Weaver in response to the divided nature of conventional panel discussions,
+  the Long Table allows voices to be heard equally, disrupting hierarchical notions
+  of 'expertise'. It was inspired by Maureen Gorris's film <em>Antonia's Line</em>,
+  the central image of which is a dinner table getting longer and longer to accomodate
+  a growing family of outsiders, eccentrics and friends - until finally it has to
+  be moved outside. Since then, the Table has been set at institutions and festivals
+  worldwide, and invited hundreds of people to sit and share their views on myriad
+  topics. The Long Table is an open-source format; you are welcome to use it as a
+  means of generating discussion on any subject you choose.</p><p>--- <a target="_blank"
+  href="https://www.split-britches.com/long-table">https://www.split-britches.com/long-table</a></p></blockquote>
+end_datetime: 1729357200
+id: 4
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1063
+  name: 'Server Longtable '
+  size: 159728
+  url: f6c89423d8e4a15114f861ec401a4e41.jpg
+  width: 750
+multidate: false
+next: lets-un-repair-things-together
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: "> The Long Table is a format for discussion that uses the setting\
+  \ of a domestic\n> dinner table as a means to generate public conversation. Conceived\
+  \ in 2003 by\n> Lois Weaver in response to the divided nature of conventional panel\n\
+  > discussions, the Long Table allows voices to be heard equally, disrupting\n> hierarchical\
+  \ notions of 'expertise'. It was inspired by Maureen Gorris's film\n> Antonia's\
+  \ Line, the central image of which is a dinner table getting longer\n> and longer\
+  \ to accomodate a growing family of outsiders, eccentrics and friends\n> - until\
+  \ finally it has to be moved outside. Since then, the Table has been set\n> at institutions\
+  \ and festivals worldwide, and invited hundreds of people to sit\n> and share their\
+  \ views on myriad topics. The Long Table is an open-source\n> format; you are welcome\
+  \ to use it as a means of generating discussion on any\n> subject you choose.\n\
+  > \n> --- https://www.split-britches.com/long-table\n> [https://www.split-britches.com/long-table]"
+prev: klankschool-performances
+recurrent: null
+resources: []
+slug: server-introduction
+start_datetime: 1729353600
+tags:
+- klankschool
+- longtable
+- server
+title: 'Server Longtable '
+---
+
+<blockquote><p>The Long Table is a format for discussion that uses the setting of a domestic dinner table as a means to generate public conversation. Conceived in 2003 by Lois Weaver in response to the divided nature of conventional panel discussions, the Long Table allows voices to be heard equally, disrupting hierarchical notions of 'expertise'. It was inspired by Maureen Gorris's film <em>Antonia's Line</em>, the central image of which is a dinner table getting longer and longer to accomodate a growing family of outsiders, eccentrics and friends - until finally it has to be moved outside. Since then, the Table has been set at institutions and festivals worldwide, and invited hundreds of people to sit and share their views on myriad topics. The Long Table is an open-source format; you are welcome to use it as a means of generating discussion on any subject you choose.</p><p>--- <a target="_blank" href="https://www.split-britches.com/long-table">https://www.split-britches.com/long-table</a></p></blockquote>

src/content/events/sounds-of-making-xpub1-presents-protocols-for-collective-performance.md

@@ -0,0 +1,115 @@
+---
+boost: []
+description: '<p>XPUB1 (first-year students of the Piet Zwart Institute’s Experimental
+  Publishing MA) invite you to participate in their first collective public appearance:
+  a moment of making things (public). This event is free!</p><p>They write: “Through
+  a series of experiments at Radio WORM, we’ve been asking ourselves: What is radio?
+  What does it mean to “go live” and perform together? Imagine the thrill—and the
+  nerves—of creating something live, using your voice, thoughts, and experimental
+  sounds that use little to no conventional means of expression.</p><p>“We invite
+  you into a communal space where such moments can be lived together, stretching the
+  boundaries of connections through DIY sounds and self-made protocols. These protocols
+  aren’t just guidelines telling us what to do; they’re creative proposals that open
+  up space for improvisation and re-invention. We see them as tools for collaborative
+  engagement, empowering all of us to create in the moment and transform live sound
+  together.”</p><p>So jump in for recording, transforming and performing sound with
+  XPUB1! This event is for anyone who appreciates the raw, transformative power of
+  sound. Join in shaping a live moment of collective expression, where live sound
+  performance is felt, shared, and re-imagined together.</p><p>The results of these
+  collective audio experiments will be recorded onsite, and possibly used as materials
+  for future episodes of the collective’s weekly radio show, that you can hear every
+  Monday from 10am-12pm until the end of this academic year.</p><p>This event is made
+  possible with the financial support of the Network for Archives of Design and Digital
+  Culture</p>'
+end_datetime: 1732129200
+id: 13
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 560
+  name: 'Sounds of Making: XPUB1 presents Protocols for Collective Performance'
+  size: 194599
+  url: c52eafad6986d73becef0e37a2462e7c.jpg
+  width: 1000
+multidate: false
+next: lets-unrepair-things-together-3
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Boomgaardsstraat 71, 3012 XA Rotterdam
+  id: 5
+  latitude: null
+  longitude: null
+  name: Worm
+plain_description: 'XPUB1 (first-year students of the Piet Zwart Institute’s Experimental
+  Publishing
+
+  MA) invite you to participate in their first collective public appearance: a
+
+  moment of making things (public). This event is free!
+
+
+  They write: “Through a series of experiments at Radio WORM, we’ve been asking
+
+  ourselves: What is radio? What does it mean to “go live” and perform together?
+
+  Imagine the thrill—and the nerves—of creating something live, using your voice,
+
+  thoughts, and experimental sounds that use little to no conventional means of
+
+  expression.
+
+
+  “We invite you into a communal space where such moments can be lived together,
+
+  stretching the boundaries of connections through DIY sounds and self-made
+
+  protocols. These protocols aren’t just guidelines telling us what to do; they’re
+
+  creative proposals that open up space for improvisation and re-invention. We see
+
+  them as tools for collaborative engagement, empowering all of us to create in
+
+  the moment and transform live sound together.”
+
+
+  So jump in for recording, transforming and performing sound with XPUB1! This
+
+  event is for anyone who appreciates the raw, transformative power of sound. Join
+
+  in shaping a live moment of collective expression, where live sound performance
+
+  is felt, shared, and re-imagined together.
+
+
+  The results of these collective audio experiments will be recorded onsite, and
+
+  possibly used as materials for future episodes of the collective’s weekly radio
+
+  show, that you can hear every Monday from 10am-12pm until the end of this
+
+  academic year.
+
+
+  This event is made possible with the financial support of the Network for
+
+  Archives of Design and Digital Culture'
+prev: extratonal-infrastructure-16-qoa-en-primeiro
+recurrent: null
+resources: []
+slug: sounds-of-making-xpub1-presents-protocols-for-collective-performance
+start_datetime: 1732111200
+tags:
+- radio
+- worm
+title: 'Sounds of Making: XPUB1 presents Protocols for Collective Performance'
+---
+
+<p>XPUB1 (first-year students of the Piet Zwart Institute’s Experimental Publishing MA) invite you to participate in their first collective public appearance: a moment of making things (public). This event is free!</p><p>They write: “Through a series of experiments at Radio WORM, we’ve been asking ourselves: What is radio? What does it mean to “go live” and perform together? Imagine the thrill—and the nerves—of creating something live, using your voice, thoughts, and experimental sounds that use little to no conventional means of expression.</p><p>“We invite you into a communal space where such moments can be lived together, stretching the boundaries of connections through DIY sounds and self-made protocols. These protocols aren’t just guidelines telling us what to do; they’re creative proposals that open up space for improvisation and re-invention. We see them as tools for collaborative engagement, empowering all of us to create in the moment and transform live sound together.”</p><p>So jump in for recording, transforming and performing sound with XPUB1! This event is for anyone who appreciates the raw, transformative power of sound. Join in shaping a live moment of collective expression, where live sound performance is felt, shared, and re-imagined together.</p><p>The results of these collective audio experiments will be recorded onsite, and possibly used as materials for future episodes of the collective’s weekly radio show, that you can hear every Monday from 10am-12pm until the end of this academic year.</p><p>This event is made possible with the financial support of the Network for Archives of Design and Digital Culture</p>

src/content/events/unrepair-cafe-1.md

@@ -0,0 +1,49 @@
+---
+boost: []
+description: <p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See
+  <a target="_blank" href="https://unrepair.klank.school/">unrepair.klank.school</a>
+  for more details</p>
+end_datetime: 1736456400
+id: 23
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 789
+  name: (Un)Repair Cafe
+  size: 284414
+  url: 58b176cdbbf8f949537160d701393ba4.jpg
+  width: 1200
+multidate: false
+next: unrepair-cafe-server-tour
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: 'Come along to a low-key hangout where we sometimes repair stuff
+
+
+  See unrepair.klank.school [https://unrepair.klank.school/] for more details'
+prev: unrepair-cafe
+recurrent: null
+resources: []
+slug: unrepair-cafe-1
+start_datetime: 1736442000
+tags:
+- klankschool
+- noise
+- repair
+title: (Un)Repair Cafe
+---
+
+<p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See <a target="_blank" href="https://unrepair.klank.school/">unrepair.klank.school</a> for more details</p>

src/content/events/unrepair-cafe-2.md

@@ -0,0 +1,49 @@
+---
+boost: []
+description: <p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See
+  <a target="_blank" href="https://unrepair.klank.school/">unrepair.klank.school</a>
+  for more details</p>
+end_datetime: 1737666000
+id: 24
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 789
+  name: (Un)Repair Cafe
+  size: 284414
+  url: 4e3461a8b3685c53145c2e2c7d6a056f.jpg
+  width: 1200
+multidate: false
+next: null
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: 'Come along to a low-key hangout where we sometimes repair stuff
+
+
+  See unrepair.klank.school [https://unrepair.klank.school/] for more details'
+prev: unrepair-cafe-server-tour
+recurrent: null
+resources: []
+slug: unrepair-cafe-2
+start_datetime: 1737651600
+tags:
+- klankschool
+- noise
+- repair
+title: (Un)Repair Cafe
+---
+
+<p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See <a target="_blank" href="https://unrepair.klank.school/">unrepair.klank.school</a> for more details</p>

src/content/events/unrepair-cafe-server-tour.md

@@ -0,0 +1,48 @@
+---
+boost: []
+description: <p>Join us at Catu on January 16th for a tour of the klankschool server.</p><p>Threre
+  will also be some games on the theme of software.</p>
+end_datetime: 1737061200
+id: 25
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 1600
+  name: '(Un)repair cafe: Server Tour +'
+  size: 480128
+  url: 2998f35d7ebacd633144798ac4b6af74.jpg
+  width: 1200
+multidate: false
+next: unrepair-cafe-2
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: 'Join us at Catu on January 16th for a tour of the klankschool
+  server.
+
+
+  Threre will also be some games on the theme of software.'
+prev: unrepair-cafe-1
+recurrent: null
+resources: []
+slug: unrepair-cafe-server-tour
+start_datetime: 1737046800
+tags:
+- klankschool
+- server
+title: '(Un)repair cafe: Server Tour + more'
+---
+
+<p>Join us at Catu on January 16th for a tour of the klankschool server.</p><p>Threre will also be some games on the theme of software.</p>

src/content/events/unrepair-cafe.md

@@ -0,0 +1,49 @@
+---
+boost: []
+description: <p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See
+  <a target="_blank" href="https://unrepair.klank.school">unrepair.klank.school</a>
+  for more details</p>
+end_datetime: 1735851600
+id: 22
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 789
+  name: (Un)Repair Cafe
+  size: 284364
+  url: 762aca6eda6c23508e3951414fe65167.jpg
+  width: 1200
+multidate: false
+next: unrepair-cafe-1
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Catullusweg 11
+  id: 1
+  latitude: 51.8766465
+  longitude: 4.5242688
+  name: Catu
+plain_description: 'Come along to a low-key hangout where we sometimes repair stuff
+
+
+  See unrepair.klank.school [https://unrepair.klank.school] for more details'
+prev: lets-unrepair-things-together-8
+recurrent: null
+resources: []
+slug: unrepair-cafe
+start_datetime: 1735837200
+tags:
+- klankschool
+- noise
+- repair
+title: (Un)Repair Cafe
+---
+
+<p>Come along to a low-key hangout where we sometimes repair stuff</p><p>See <a target="_blank" href="https://unrepair.klank.school">unrepair.klank.school</a> for more details</p>

src/content/events/water-of-love.md

@@ -0,0 +1,122 @@
+---
+boost:
+- https://gts.varia.zone/users/varia
+description: '<p>Join us at <strong>Varia</strong> for <em>Water of Love</em>, the
+  second phase of Valentina Vella’s long-term project <em>School of Love and Chaos
+  (</em>after <em>Bad at Love</em>, a performance with Luke Deane that took place
+  in March 2024 at Paviljoen aan het water).</p><p><em>School of Love and Chaos </em>weaves
+  together themes of love and ecological threats through autofictional storytelling,
+  science fiction, poetry, and performance, using cities closely linked to water—Rotterdam,
+  New Orleans, Venice, and Rome—as its narrative landscapes. The threat of annihilation
+  (the fear of losing physical and/or emotional control) is its narrative engine.
+  At the core of this project lies a question: is there a significant correspondence
+  between the material infrastructures we live surrounded by, and our intimate lives?
+  How do the ways we, in the West, tend to handle physical survival—particularly in
+  the face of ecological threats like flooding that are exacerbated by climate change—relate
+  to how we manage romantic relationships, friendships, and community bonds? How does
+  that feel in our bodies and in the body of these imaginary and autofictional characters?</p><p><em>Water
+  of Love</em> focuses more specifically on the many ways the Netherlands has tried
+  to keep nature at bay. What does that do to our love life? Does the ocean have any
+  opinions about the Dutch? Why does the Balgstuw Ramspol look like a gigantic condom?</p><p>There
+  will be readings, there will be music, there will be completely improvised moments
+  and there will be time to ask and answer questions!</p><p>Supported by <a target="_blank"
+  href="http://www.cbkrotterdam.nl/"><u>CBK Rotterdam</u></a> (Centre for Visual Arts
+  Rotterdam)</p><p>with Valentina Vella, mitsitron, Stephen Kerr and other Klankschool
+  folks</p><p>with the kind support of Amy Gowen (HumDrumPress) as wrangler</p>'
+end_datetime: 1737149400
+id: 26
+image_path: null
+isAnon: false
+isMine: false
+is_visible: true
+likes: []
+media:
+- focalpoint:
+  - 0
+  - 0
+  height: 604
+  name: Water of Love
+  size: 210847
+  url: d1855a7804a57e27b82723ba9cec94b4.jpg
+  width: 750
+multidate: false
+next: unrepair-cafe-2
+online_locations: ''
+parent: null
+parentId: null
+place:
+  address: Gouwstraat 3
+  id: 4
+  latitude: null
+  longitude: null
+  name: Varia
+plain_description: 'Join us at Varia for Water of Love, the second phase of Valentina
+  Vella’s
+
+  long-term project School of Love and Chaos (after Bad at Love, a performance
+
+  with Luke Deane that took place in March 2024 at Paviljoen aan het water).
+
+
+  School of Love and Chaos weaves together themes of love and ecological threats
+
+  through autofictional storytelling, science fiction, poetry, and performance,
+
+  using cities closely linked to water—Rotterdam, New Orleans, Venice, and Rome—as
+
+  its narrative landscapes. The threat of annihilation (the fear of losing
+
+  physical and/or emotional control) is its narrative engine. At the core of this
+
+  project lies a question: is there a significant correspondence between the
+
+  material infrastructures we live surrounded by, and our intimate lives? How do
+
+  the ways we, in the West, tend to handle physical survival—particularly in the
+
+  face of ecological threats like flooding that are exacerbated by climate
+
+  change—relate to how we manage romantic relationships, friendships, and
+
+  community bonds? How does that feel in our bodies and in the body of these
+
+  imaginary and autofictional characters?
+
+
+  Water of Love focuses more specifically on the many ways the Netherlands has
+
+  tried to keep nature at bay. What does that do to our love life? Does the ocean
+
+  have any opinions about the Dutch? Why does the Balgstuw Ramspol look like a
+
+  gigantic condom?
+
+
+  There will be readings, there will be music, there will be completely improvised
+
+  moments and there will be time to ask and answer questions!
+
+
+  Supported by CBK Rotterdam [http://www.cbkrotterdam.nl/] (Centre for Visual Arts
+
+  Rotterdam)
+
+
+  with Valentina Vella, mitsitron, Stephen Kerr and other Klankschool folks
+
+
+  with the kind support of Amy Gowen (HumDrumPress) as wrangler'
+prev: unrepair-cafe-server-tour
+recurrent: null
+resources: []
+slug: water-of-love
+start_datetime: 1737138600
+tags:
+- performance
+- sound
+- varia
+- water
+title: Water of Love
+---
+
+<p>Join us at <strong>Varia</strong> for <em>Water of Love</em>, the second phase of Valentina Vella’s long-term project <em>School of Love and Chaos (</em>after <em>Bad at Love</em>, a performance with Luke Deane that took place in March 2024 at Paviljoen aan het water).</p><p><em>School of Love and Chaos </em>weaves together themes of love and ecological threats through autofictional storytelling, science fiction, poetry, and performance, using cities closely linked to water—Rotterdam, New Orleans, Venice, and Rome—as its narrative landscapes. The threat of annihilation (the fear of losing physical and/or emotional control) is its narrative engine. At the core of this project lies a question: is there a significant correspondence between the material infrastructures we live surrounded by, and our intimate lives? How do the ways we, in the West, tend to handle physical survival—particularly in the face of ecological threats like flooding that are exacerbated by climate change—relate to how we manage romantic relationships, friendships, and community bonds? How does that feel in our bodies and in the body of these imaginary and autofictional characters?</p><p><em>Water of Love</em> focuses more specifically on the many ways the Netherlands has tried to keep nature at bay. What does that do to our love life? Does the ocean have any opinions about the Dutch? Why does the Balgstuw Ramspol look like a gigantic condom?</p><p>There will be readings, there will be music, there will be completely improvised moments and there will be time to ask and answer questions!</p><p>Supported by <a target="_blank" href="http://www.cbkrotterdam.nl/"><u>CBK Rotterdam</u></a> (Centre for Visual Arts Rotterdam)</p><p>with Valentina Vella, mitsitron, Stephen Kerr and other Klankschool folks</p><p>with the kind support of Amy Gowen (HumDrumPress) as wrangler</p>

src/content/index.md

@@ -0,0 +1,15 @@
+---
+title: "Let's unrepair together"
+---
+
+# Let's unrepair together
+
+Hello! Every thursday we're hanging out at Cato, to unrepair together. In januari 2025 we're kickstarting a series of hangouts where we'll dive into topics like server maintainance, salvaging electronic components and making sound devices.
+
+Come hang out!
+
+{{ events upcoming repair }}
+
+
+### Past hangouts
+{{ events passed repair}}

src/content/newsletters/december.md

@@ -0,0 +1,100 @@
+---
+title: A newsletter for december
+published: false
+---
+
+# Klankbord Digest January 2025
+
+Hello and welcome to the klankbord: a discussion list for the
+klankschool community.
+
+### A brief history of Klankschool
+
+Back in Spring 2024 there were a few meetings about Klankschool at
+[Varia](https://vvvvvvaria.org), a space for everyday technology in
+the South of Rotterdam. The plan was to start building a community
+space on Wolphaertstraat where members could run classes about sound.
+People voiced their desires and talked with each other on WhatsApp.
+However, due to the upkeep of the building it was not possible to get
+started in this space. Currently, it is not clear when Klankschool
+might be able to move to the location on Wolphaertstraat. Despite
+this, activity around Klankschool has persisted.
+
+## Upcoming at Klankschool
+
+{{ events upcoming }}
+
+## Recently at Klankschool
+
+{{ events passed}}
+
+## FAQs
+
+### What is [Klankschool](https://klank.school)?
+
+Klankschool is a loose affiliation of sound artists and sonic
+practitioners based in and around Rotterdam, NL. We hangout on
+Thursday evenings in the social space at
+[Catu](https://radar.squat.net/en/rotterdam/catu). During these
+evenings people [(un)repair](https://unrepair.klank.school) audio
+devices, do circuit bending and hack away on servers. Sometimes there
+are [peformance
+evenings](https://calendar.klank.school/event/3rd-klankschool-dagandavond). Sometimes
+there's a bite to eat. Often it's a bit cold -- so layer up and bring
+your broken audio equipment! Entrance is gratis and donations are
+always welcome.
+
+### What's the purpose of this discussion list?
+
+This list offers a place to chat about experimental sound
+practices. It's a discussion list which means communication is
+multi-directional. Emails sent to klankbord@we.lurk.org are circulated
+to everyone subscribed to the list. It's good for sharing open calls,
+promoting relevant events, talking with like-minded folks, asking for
+spare electrical components etc.. The list is moderated. To contact a
+moderator directly, email klankbord-owner@we.lurk.org.
+
+### Where can I discover off-circuit, sonic events in and around Rotterdam?
+
+Klankschool's [calendar](https://calendar.klank.school) is available
+online. There are several ways of subscribing to and sharing events
+(RSS, ICS/ICAL, Fediverse, HTML embed). You can also upload your own
+events to the calendar. It's moderated by a few people who check it on
+a semi-regular basis. Please feel encouraged to
+[register](https://calendar.klank.school/register) for an account,
+this will allow you to upload events more easily.
+
+### I wrote some software for making sound, where can I share it?
+
+Check out our [gitea](https://code.klank.school)! It's a bit like
+GitHub / GitLab. Send an email to klankbord-owner@we.lurk.org if you
+want a login.
+
+### I am organising something at Klankschool, how can I spread the word?
+
+Best send an email to this mailing list about your workshop / class /
+performance and / or post it on the calendar.
+
+### Is there a membership fee? 
+
+Not at the moment.
+
+### Does Klankschool have a system for sharing sounds with other people?
+
+Watch this space! :)
+
+## Shoutouts
+
+Big thanks to
+
+**[V2_](https://v2.nl)**  
+
+**[Catu](https://radar.squat.net/en/rotterdam/catu)**  
+
+**[Varia](https://vvvvvvaria.org)**  
+
+**[Lag](https://laglab.org/)**  
+
+**[LURK](https://lurk.org)**  
+
+**[NL_CL](https://netherlands-coding-live.github.io/)**  

src/content/recipes/555.md

@@ -0,0 +1,8 @@
+---
+title: 555 Timer oscillator
+source: Horowitz, P., & Hill, W. (2024). The art of electronics (Third edition, 20th printing with corrections). Cambridge University Press.
+type: oscillator
+schematic: "/assets/recipes/555-timer.png"
+---
+
+Iets over de 555 timer

src/content/recipes/motor-synth.md

@@ -0,0 +1,24 @@
+---
+
+title: Motor Synthesizer
+description: This is the description
+---
+
+This recipe has been tested out during the Kunsthal workshop & the collicium!
+
+![A video](https://pzwiki.wdka.nl/mw-mediadesign/images/e/ea/Vitrinekast_proposal_project_3.mp4)
+
+<video width="320" controls>
+	<source src="https://pzwiki.wdka.nl/mw-mediadesign/images/e/ea/Vitrinekast_proposal_project_3.mp4">
+</video>
+
+## Schematic
+
+I need to scan again the Zine made for this.
+
+## Components
+
+- A coil
+- A magnet
+- A motor
+- A battery