IndieWeb Summit 2019

gRegor Morrill gregorlove.com

Day 2 of Weird Web October! Prompt: CSS

gregorlove.com/site/assets/misc/2024-wwo-02.html

#WeirdWebOctober #indieweb #css

October 2, 2024 12:44pm -07:00

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Jonathan LaCour cleverdevil.io/profile/cleverdevil

at Amazon Go

October 1, 2024 7:38am -07:00

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Aaron Parecki aaronparecki.com

The Westin Bellevue

at The Westin Bellevue

September 30, 2024 4:50pm -07:00

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Aaron Parecki aaronparecki.com

Portland International Airport (PDX)

at Portland International Airport (PDX)

September 30, 2024 1:10pm -07:00

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fluffy beesbuzz.biz

You Need a Portfolio (and So Do I)

September 25, 2024 9:08am -07:00

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        "html": "<img alt=\"\" src=\"https://res.cloudinary.com/mariposta/image/upload/w_1200,c_limit,q_65/art-gallery.jpg\" /><h2>Somewhere along the way to becoming Extremely Online, we\u2019ve lost the art of curation. It\u2019s time to reclaim our artistic truths.</h2>\n\n<p>On occasion, truth be told, I\u2019m not so swift on the uptake. You see, it <em>finally</em> came to me as I sat musing on the nature of the work I\u2019ve been focusing on a great deal this year across several unrelated disciplines. When I list out these efforts all together, you\u2019ll immediately spot the pattern\u2014hence my sudden <em>smack-that-forehead</em> moment of epiphany:</p>\n\n<ul><li><a href=\"https://theinternet.review/\">The Internet Review</a>, my rebooted &amp; coalesced blog combining over 25 years of writing on tech topics</li>\n  <li><a href=\"https://yarred.bandcamp.com/album/subterranean\">Subterranean</a>, my album release of  newly-freshened electronic music compositions spanning 20 years</li>\n  <li><strong>Essential Life Photography</strong> (currently in the works!), my curated portfolio of photographs taken over the past seven years I\u2019ve lived in Oregon.</li>\n</ul><p>Obvious, isn\u2019t it? And yet these were all <em>separate</em> efforts which I didn\u2019t give much thought to in terms of their conceptual <em>interconnectedness</em>\u2026<strong>until now!</strong></p>\n\n<p>If I might put a theme on it, I could call it <strong>Rebel Without a Timeline</strong>. In all of these cases (perhaps least obvious for The Internet Review which is still primarily a blog format), the primordial desire is to break out of the confines of the \u201creverse-chronological timeline\u201d and showcase work which encompasses months, years, and even decades of effort in a curated fashion. Fact is the Internet isn\u2019t so good at that\u2014not any more at least. The validity of the \u201cdeath of the homepage\u201d narrative has been hotly contested for a long time, and I don\u2019t wish to litigate that here, but it\u2019s hard to deny that the <em>primary format</em> by which people consume content online is\u2014as Netscape once established\u2014<strong>What\u2019s New</strong>.</p>\n\n<p>No matter which social media platform you use, no matter which email newsletters you subscribe to, no matter how you choose to bookmark and follow creators\u2014it\u2019s all about <strong>What\u2019s New</strong>. Even algorithmic timelines which are somewhat non-linear nearly always favor recency. You might see a post from a day or two ago, but you certainly won\u2019t see something from months or years ago\u2014unless that\u2019s been intentionally shared by an individual. <em>Maybe</em> something older will surface in a \u201crelated\u201d section (most notably on YouTube), but it\u2019s an exception to the rule.</p>\n\n<h3>Streams Makes Sense, But They\u2019re Also Missing Something</h3>\n\n<p>Content streams, feeds, whatever you want to call them\u2014they make sense. They really do. There\u2019s a reason that\u2019s what publishing on the Internet is built around, by and large.</p>\n\n<p>But streams miss out on a vital aspect of creativity. Streams are lacking in <em>context</em>. Streams are lacking in <em>legacy</em>. And streams are lacking in <em>relationships</em> between disparate pieces of content.</p>\n\n<p>When you visit an art gallery, <strong>you\u2019re participating in multiple layers of experience</strong>. The most basic and obvious layer is when you\u2019re looking at one piece of art at a time, which I might call <em>singular attention</em>. This painting. That sculpture. This photograph. That projection.</p>\n\n<p>But beyond that, you\u2019re experiencing the layer of <em>comparison</em>. This painting <strong>as compared to</strong> that sculpture <strong>as compared to</strong> this photography <strong>as compared to</strong> that projection.</p>\n\n<p>But at a higher level still is the layer of <em>compilation</em>. All of the art in the gallery has been compiled together into an exhibit. And the exhibit itself could be considered a form of art. Why did the curator choose these pieces, and not other pieces? Why are they placed where they are placed? What is the larger story being told through this collection of created artifacts?</p>\n\n<p>The unfortunately reality of online streams is that the layer of comparison is completely random, and the layer of compilation is missing entirely. When you open Mastodon, or Threads, or YouTube, or whatever: sure, you\u2019re seeing a bunch of different works compiled together, but <em>nobody is doing the compiling</em>. It\u2019s either the <strong>almighty algorithm</strong>, or <strong>mere recency</strong> based on who you follow. That\u2019s it. Thus there\u2019s no meaning to the compilation. There\u2019s no \u201creason\u201d I\u2019m seeing this post next to that post. Sometimes there is humor to be found in the accidental contrast\u2014people may post screenshots of how two posts next to each other afforded a moment of happenstantial comedy. But it was never <em>designed</em> to be that way.</p>\n\n<h3>What\u2019s Worth Curating?</h3>\n\n<p>It could be argued that few posts on social media would even ever rise to the level of warranting curation in a particular gallery-style collection in the first place. And that\u2019s fair. But some of what we post on social media <em>is</em> art, straight up. We post our paintings, our songs, our sculptures, our knitted sweaters, our poems, our prose essays, our dance moves, and on and on and on. Yet who is compiling any of this art? How can we compare things in a way which brings a higher sense of meaning?</p>\n\n<p>This <em>loss of meaning</em>, <em>loss of fidelity</em> in the experience of \u201cart in digital spaces\u201d has been weighing on me. <strong>A lot.</strong> I think it may be subconsciously contributing to my growing unease that simply \u201cbeing very online\u201d is rather bad for my mental health. Even while I\u2019m compelled to <em>post, post, post</em> my creative works online, I often lack the satisfaction I think I will get out of it.</p>\n\n<p><strong>On social media, we\u2019re all just shouting in the wind.</strong></p>\n\n<p>And so I <em>crave</em> a more curated experience, and in many cases a more \u201cmeatspace\u201d experience. I find myself going out to listen to live music more often. I find myself wanting to visit art galleries and museums IRL. I find myself wanting to attend meetups in which I can converse with just a few people about <strong>real ideas which make sense in the real world</strong>.</p>\n\n<p>But what can we do, beyond all that, to make our online experiences of art better?</p>\n\n<p>As a starting point, I think we can attempt to reorient ourselves around the concept of the <strong>portfolio</strong>.</p>\n\n<h3>A Portfolio is a Gallery of One</h3>\n\n<p>Some forms of art lend themselves to portfolio-making better than others. For example, an album is essentially a portfolio of music from a particular epoch. A non-fiction book could be considered a portfolio of related essays.</p>\n\n<p>But no matter what kind of art you create, <strong>you need a portfolio</strong>. (And probably several at least!) This is what I\u2019m beginning to realize more and more as I evaluate all of the different projects I\u2019m involved in. The \u201creverse-chron\u201d format of blogs and social media is beginning to <strong>crush my spirit</strong>, and I desperately want to start focusing on how I can surface various collections of thematically-similar creations.</p>\n\n<p><strong>First of all, you\u2019ll almost certainly need a professional website.</strong> Your Instagram profile is not a photography portfolio. Your \u201ctop posts\u201d category on your blog is not a writing portfolio. And your Bandcamp homepage is not a musical portfolio.</p>\n\n<p>Secondly, you\u2019ll need to start diving into the different themes of your work over the years. You might need to set aside some time to review past work and jot down ideas of what you like or don\u2019t like about different pieces (as well as what stand out in terms of \u201ckeywords\u201d). Sure, maybe you\u2019ve taken lots of photos of flowers over the years, but what <em>kinds</em> of flowers? Are there certain colors you gravitate to? Are there certain angles? Certain photographic styles? Certain species? Expand your thought processes beyond the rote work which goes into each piece, and start to approach your work as if <em>you</em> were the curator of a gallery. How might you put an exhibit together? What would it <em>say</em>? What would it <em>mean</em>? Which conscious decisions would you make as you separate the wheat from the chaff? How might you be showcased <strong>as an artist</strong>?</p>\n\n<p>One aspect of this I sometimes think about is how the \u201cstream\u201d often prompts us to want to put out only \u201cpretty\u201d art. Because if you were to post a single artwork which is \u201cugly\u201d in some confrontational or countercultural or aesthetic way, it might just get \u201crejected\u201d in the constant flow of online content which tends to promote conformity to norms. Case in point: if I simply mentioned \u201cthe Instagram look\u201d in photography, you\u2019d know <em>exactly</em> what I\u2019m talking about\u2026</p>\n\n<p>But in a curated collection, you could put a pretty piece and an ugly piece side-by-side\u2014the <em>contrast</em> between the two being of primary importance. Some of Phil Collins\u2019 solo albums come to mind here: I noticed the tracklist often ping-pongs between a \u201chit single\u201d which is palatable to the masses, and a \u201cweird song\u201d which nobody would ever suggest is Top 10 Radio material. In a world where a Phil Collins is just posting clips of singles on TikTok or whatever, I\u2019m not sure the \u201cweird songs\u201d would land all that often. When I listen to some modern albums where every song sort of just sounds the same and nothing stands out in any particular way, <strong>I wonder if this sort of dynamic is at play</strong>.</p>\n\n<p>So I\u2019d recommend being a bit bold in your portfolio selection process. I\u2019m just starting this process with my photography, so I\u2019m excited to see what kind of contrast I can bring out, which sorts of <em>non-sequiturs</em> I can put on display. I fear my own work has trended \u201cpretty\u201d over the years because I\u2019m always thinking of what might land on social media, rather than what I could say that\u2019s provocative or even distasteful. <strong>It\u2019ll be a challenge certainly, and quite probably inform how I approach my craft going forward.</strong></p>\n\n<h3>Outatime</h3>\n\n<p>One of the enduring tropes of sci-fi stories is the <em>fish-out-of-water</em> sensation of time travel. I think we love time travel scenarios because it wreaks havoc on our sense of linear progression. We typically live our lives with a this, then this, then this, then this, then this mindset. Once you time travel, you have to completely reorient yourself around a new narrative of what <em>was</em> true, what <em>is</em> true now, and what <em>might be</em> true tomorrow.</p>\n\n<p>A portfolio is in essence a demonstration of artistic time travel. On my new album <a href=\"https://yarred.bandcamp.com/album/subterranean\">Subterranean</a>, that is doubly true, as the origin point for the compositions stem from 2004, 2008, and 2015\u2014with new elements and arrangements mixed in across the last several years. I can\u2019t think of any other music project I\u2019ve ever worked on which \u201cspanned decades\u201d quite like this, and it was <strong>enormously fun</strong>. I almost lament having to start on my next album project composing in a typical linear fashion. Perhaps I\u2019ve been spoiled by <a href=\"https://jaredwhite.com/about#musician\">my past life performing in folk and classical music settings</a> where you\u2019re always re-interpreting compositions and styles from quite literally hundreds of years ago. There\u2019s a sublime humanist joy to that I can\u2019t quite capture anywhere else.</p>\n\n<p>But I digress. My takeaway here is for you to <strong>enjoy some time travel of your own</strong>. Get familiar once more with your older work, with additional styles and ideas you might have once pursued. Look for points of contrast between styles, eras, and moods. See what sorts of stories you might tell with your work when these contrasting elements come together in a new and unique fashion. Publish an artistic experience online that\u2019s more than simply fuel for the social media streams. And then repeat this process from time to time, forging new <em>compilations</em> as your career progresses.</p>\n\n<p>The art of curation has in many ways been lost to those of us who are Extremely Online\u2122. <strong>We need to reclaim our artistic truths, and thereby reclaim our creative power.</strong></p>\n\n<p><br /></p>\n\n<p><em>Photo credit: <a href=\"https://unsplash.com/photos/person-looking-at-painting-jqh0GEvuNBY?utm_content=creditShareLink&amp;utm_medium=referral&amp;utm_source=unsplash\">Antenna on Unsplash</a></em></p>\n\n\n\n  <br /><p>\n    \n      <a href=\"https://jaredwhite.com/tag/lifehacks\">#lifehacks</a>\n    \n      <a href=\"https://jaredwhite.com/tag/creativity\">#creativity</a>\n    \n  </p>",
        "text": "Somewhere along the way to becoming Extremely Online, we\u2019ve lost the art of curation. It\u2019s time to reclaim our artistic truths.\n\nOn occasion, truth be told, I\u2019m not so swift on the uptake. You see, it finally came to me as I sat musing on the nature of the work I\u2019ve been focusing on a great deal this year across several unrelated disciplines. When I list out these efforts all together, you\u2019ll immediately spot the pattern\u2014hence my sudden smack-that-forehead moment of epiphany:\n\nThe Internet Review, my rebooted & coalesced blog combining over 25 years of writing on tech topics\n  Subterranean, my album release of  newly-freshened electronic music compositions spanning 20 years\n  Essential Life Photography (currently in the works!), my curated portfolio of photographs taken over the past seven years I\u2019ve lived in Oregon.\nObvious, isn\u2019t it? And yet these were all separate efforts which I didn\u2019t give much thought to in terms of their conceptual interconnectedness\u2026until now!\n\nIf I might put a theme on it, I could call it Rebel Without a Timeline. In all of these cases (perhaps least obvious for The Internet Review which is still primarily a blog format), the primordial desire is to break out of the confines of the \u201creverse-chronological timeline\u201d and showcase work which encompasses months, years, and even decades of effort in a curated fashion. Fact is the Internet isn\u2019t so good at that\u2014not any more at least. The validity of the \u201cdeath of the homepage\u201d narrative has been hotly contested for a long time, and I don\u2019t wish to litigate that here, but it\u2019s hard to deny that the primary format by which people consume content online is\u2014as Netscape once established\u2014What\u2019s New.\n\nNo matter which social media platform you use, no matter which email newsletters you subscribe to, no matter how you choose to bookmark and follow creators\u2014it\u2019s all about What\u2019s New. Even algorithmic timelines which are somewhat non-linear nearly always favor recency. You might see a post from a day or two ago, but you certainly won\u2019t see something from months or years ago\u2014unless that\u2019s been intentionally shared by an individual. Maybe something older will surface in a \u201crelated\u201d section (most notably on YouTube), but it\u2019s an exception to the rule.\n\nStreams Makes Sense, But They\u2019re Also Missing Something\n\nContent streams, feeds, whatever you want to call them\u2014they make sense. They really do. There\u2019s a reason that\u2019s what publishing on the Internet is built around, by and large.\n\nBut streams miss out on a vital aspect of creativity. Streams are lacking in context. Streams are lacking in legacy. And streams are lacking in relationships between disparate pieces of content.\n\nWhen you visit an art gallery, you\u2019re participating in multiple layers of experience. The most basic and obvious layer is when you\u2019re looking at one piece of art at a time, which I might call singular attention. This painting. That sculpture. This photograph. That projection.\n\nBut beyond that, you\u2019re experiencing the layer of comparison. This painting as compared to that sculpture as compared to this photography as compared to that projection.\n\nBut at a higher level still is the layer of compilation. All of the art in the gallery has been compiled together into an exhibit. And the exhibit itself could be considered a form of art. Why did the curator choose these pieces, and not other pieces? Why are they placed where they are placed? What is the larger story being told through this collection of created artifacts?\n\nThe unfortunately reality of online streams is that the layer of comparison is completely random, and the layer of compilation is missing entirely. When you open Mastodon, or Threads, or YouTube, or whatever: sure, you\u2019re seeing a bunch of different works compiled together, but nobody is doing the compiling. It\u2019s either the almighty algorithm, or mere recency based on who you follow. That\u2019s it. Thus there\u2019s no meaning to the compilation. There\u2019s no \u201creason\u201d I\u2019m seeing this post next to that post. Sometimes there is humor to be found in the accidental contrast\u2014people may post screenshots of how two posts next to each other afforded a moment of happenstantial comedy. But it was never designed to be that way.\n\nWhat\u2019s Worth Curating?\n\nIt could be argued that few posts on social media would even ever rise to the level of warranting curation in a particular gallery-style collection in the first place. And that\u2019s fair. But some of what we post on social media is art, straight up. We post our paintings, our songs, our sculptures, our knitted sweaters, our poems, our prose essays, our dance moves, and on and on and on. Yet who is compiling any of this art? How can we compare things in a way which brings a higher sense of meaning?\n\nThis loss of meaning, loss of fidelity in the experience of \u201cart in digital spaces\u201d has been weighing on me. A lot. I think it may be subconsciously contributing to my growing unease that simply \u201cbeing very online\u201d is rather bad for my mental health. Even while I\u2019m compelled to post, post, post my creative works online, I often lack the satisfaction I think I will get out of it.\n\nOn social media, we\u2019re all just shouting in the wind.\n\nAnd so I crave a more curated experience, and in many cases a more \u201cmeatspace\u201d experience. I find myself going out to listen to live music more often. I find myself wanting to visit art galleries and museums IRL. I find myself wanting to attend meetups in which I can converse with just a few people about real ideas which make sense in the real world.\n\nBut what can we do, beyond all that, to make our online experiences of art better?\n\nAs a starting point, I think we can attempt to reorient ourselves around the concept of the portfolio.\n\nA Portfolio is a Gallery of One\n\nSome forms of art lend themselves to portfolio-making better than others. For example, an album is essentially a portfolio of music from a particular epoch. A non-fiction book could be considered a portfolio of related essays.\n\nBut no matter what kind of art you create, you need a portfolio. (And probably several at least!) This is what I\u2019m beginning to realize more and more as I evaluate all of the different projects I\u2019m involved in. The \u201creverse-chron\u201d format of blogs and social media is beginning to crush my spirit, and I desperately want to start focusing on how I can surface various collections of thematically-similar creations.\n\nFirst of all, you\u2019ll almost certainly need a professional website. Your Instagram profile is not a photography portfolio. Your \u201ctop posts\u201d category on your blog is not a writing portfolio. And your Bandcamp homepage is not a musical portfolio.\n\nSecondly, you\u2019ll need to start diving into the different themes of your work over the years. You might need to set aside some time to review past work and jot down ideas of what you like or don\u2019t like about different pieces (as well as what stand out in terms of \u201ckeywords\u201d). Sure, maybe you\u2019ve taken lots of photos of flowers over the years, but what kinds of flowers? Are there certain colors you gravitate to? Are there certain angles? Certain photographic styles? Certain species? Expand your thought processes beyond the rote work which goes into each piece, and start to approach your work as if you were the curator of a gallery. How might you put an exhibit together? What would it say? What would it mean? Which conscious decisions would you make as you separate the wheat from the chaff? How might you be showcased as an artist?\n\nOne aspect of this I sometimes think about is how the \u201cstream\u201d often prompts us to want to put out only \u201cpretty\u201d art. Because if you were to post a single artwork which is \u201cugly\u201d in some confrontational or countercultural or aesthetic way, it might just get \u201crejected\u201d in the constant flow of online content which tends to promote conformity to norms. Case in point: if I simply mentioned \u201cthe Instagram look\u201d in photography, you\u2019d know exactly what I\u2019m talking about\u2026\n\nBut in a curated collection, you could put a pretty piece and an ugly piece side-by-side\u2014the contrast between the two being of primary importance. Some of Phil Collins\u2019 solo albums come to mind here: I noticed the tracklist often ping-pongs between a \u201chit single\u201d which is palatable to the masses, and a \u201cweird song\u201d which nobody would ever suggest is Top 10 Radio material. In a world where a Phil Collins is just posting clips of singles on TikTok or whatever, I\u2019m not sure the \u201cweird songs\u201d would land all that often. When I listen to some modern albums where every song sort of just sounds the same and nothing stands out in any particular way, I wonder if this sort of dynamic is at play.\n\nSo I\u2019d recommend being a bit bold in your portfolio selection process. I\u2019m just starting this process with my photography, so I\u2019m excited to see what kind of contrast I can bring out, which sorts of non-sequiturs I can put on display. I fear my own work has trended \u201cpretty\u201d over the years because I\u2019m always thinking of what might land on social media, rather than what I could say that\u2019s provocative or even distasteful. It\u2019ll be a challenge certainly, and quite probably inform how I approach my craft going forward.\n\nOutatime\n\nOne of the enduring tropes of sci-fi stories is the fish-out-of-water sensation of time travel. I think we love time travel scenarios because it wreaks havoc on our sense of linear progression. We typically live our lives with a this, then this, then this, then this, then this mindset. Once you time travel, you have to completely reorient yourself around a new narrative of what was true, what is true now, and what might be true tomorrow.\n\nA portfolio is in essence a demonstration of artistic time travel. On my new album Subterranean, that is doubly true, as the origin point for the compositions stem from 2004, 2008, and 2015\u2014with new elements and arrangements mixed in across the last several years. I can\u2019t think of any other music project I\u2019ve ever worked on which \u201cspanned decades\u201d quite like this, and it was enormously fun. I almost lament having to start on my next album project composing in a typical linear fashion. Perhaps I\u2019ve been spoiled by my past life performing in folk and classical music settings where you\u2019re always re-interpreting compositions and styles from quite literally hundreds of years ago. There\u2019s a sublime humanist joy to that I can\u2019t quite capture anywhere else.\n\nBut I digress. My takeaway here is for you to enjoy some time travel of your own. Get familiar once more with your older work, with additional styles and ideas you might have once pursued. Look for points of contrast between styles, eras, and moods. See what sorts of stories you might tell with your work when these contrasting elements come together in a new and unique fashion. Publish an artistic experience online that\u2019s more than simply fuel for the social media streams. And then repeat this process from time to time, forging new compilations as your career progresses.\n\nThe art of curation has in many ways been lost to those of us who are Extremely Online\u2122. We need to reclaim our artistic truths, and thereby reclaim our creative power.\n\n\n\n\nPhoto credit: Antenna on Unsplash\n\n\n\n  \n\n    \n      #lifehacks\n    \n      #creativity"
    },
    "name": "You Need a Portfolio (and So Do I)",
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Jared White jaredwhite.com

That is one cool cat hanging out at Ankeny Square in #Portland. (And ironically, he’s red hot! 🔥) #OregonExplored

September 21, 2024 12:54pm -07:00

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Jared White jaredwhite.com

I’m always trying to take pictures of the glorious hanging baskets of #flowers we have here in #Portland and surrounding towns all summer. But the photos never do them justice.

I finally got a good angle, thanks to my #NikonZfc and 40mm prime, and went with a bit of a Wes Anderson vibe in post. How’d I do? ☺️ #OregonExplored

September 12, 2024 10:26am -07:00

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        "html": "<img alt=\"\" src=\"https://pxscdn.com/public/m/_v2/4580/586f75268-5004eb/53NN3qIEPRMf/zRH4bHEib0ZIKUjV0XryExlTTR7dh9bXsD0FY4qx.jpg\" /><p>I\u2019m always trying to take pictures of the glorious hanging baskets of <a href=\"https://jaredwhite.com/tag/flowers\">#flowers</a> we have here in <a href=\"https://jaredwhite.com/tag/portland\">#Portland</a> and surrounding towns all summer. But the photos never do them justice.</p>\n\n<p>I finally got a good angle, thanks to my <a href=\"https://jaredwhite.com/tag/nikonzfc\">#NikonZfc</a> and 40mm prime, and went with a bit of a Wes Anderson vibe in post. How\u2019d I do? \u263a\ufe0f <a href=\"https://jaredwhite.com/tag/oregonexplored\">#OregonExplored</a></p>",
        "text": "I\u2019m always trying to take pictures of the glorious hanging baskets of #flowers we have here in #Portland and surrounding towns all summer. But the photos never do them justice.\n\nI finally got a good angle, thanks to my #NikonZfc and 40mm prime, and went with a bit of a Wes Anderson vibe in post. How\u2019d I do? \u263a\ufe0f #OregonExplored"
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    "post-type": "note",
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gRegor Morrill gregorlove.com

Want to read: The Fifth Sacred Thing by Starhawk (ISBN 9780553373806)

“To carry a burden was to be alive”

via chronicelle’s TikTok

September 24, 2024 11:49am -07:00

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    "content": {
        "text": "Want to read: The Fifth Sacred Thing by Starhawk (ISBN 9780553373806)\n\n\u201cTo carry a burden was to be alive\u201d\n\nvia chronicelle\u2019s TikTok",
        "html": "<p>Want to read: <span class=\"p-read-of h-cite\"><a class=\"u-url\" href=\"https://gregorlove.com/isbn/9780553373806\">The Fifth Sacred Thing</a> by <span class=\"p-author\">Starhawk</span> (ISBN <span class=\"p-uid\">9780553373806</span>)</span></p>\n\n<blockquote class=\"h-cite\">\u201cTo carry a burden was to be alive\u201d</blockquote>\n\n<p>via <a href=\"https://www.tiktok.com/@chronicelle/video/7416829375854824735\">chronicelle\u2019s TikTok</a> </p>"
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    "post-type": "note",
    "_id": "42343676",
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fluffy beesbuzz.biz

The unrelenting passage of time

September 22, 2024 2:23pm -07:00

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Aaron Parecki aaronparecki.com

Any German speakers want to tell me if my instinct on this is correct?

"Ganz kleine Nachtmusik" is the name of a piece of music by Mozart that was just discovered. (He later titled a piece "Eine kleine Nachtmusik")

The English press about this is translating it as "Very little night music" which seems wrong? I feel like either "Quite small night music" or "Completely small night music" would be more accurate.

When does "ganz" change from "quite" to "completely"? Is it ambiguous here?

#music #german #language

September 20, 2024 10:29pm -07:00

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        "german",
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        "text": "Any German speakers want to tell me if my instinct on this is correct?  \n\n\"Ganz kleine Nachtmusik\" is the name of a piece of music by Mozart that was just discovered. (He later titled a piece \"Eine kleine Nachtmusik\") \n\nThe English press about this is translating it as \"Very little night music\" which seems wrong? I feel like either \"Quite small night music\" or \"Completely small night music\" would be more accurate. \n\nWhen does \"ganz\" change from \"quite\" to \"completely\"? Is it ambiguous here?",
        "html": "Any German speakers want to tell me if my instinct on this is correct?  <br /><br />\"Ganz kleine Nachtmusik\" is the name of a piece of music by Mozart that was just discovered. (He later titled a piece \"Eine kleine Nachtmusik\") <br /><br />The English press about this is translating it as \"Very little night music\" which seems wrong? I feel like either \"Quite small night music\" or \"Completely small night music\" would be more accurate. <br /><br />When does \"ganz\" change from \"quite\" to \"completely\"? Is it ambiguous here?"
    },
    "author": {
        "type": "card",
        "name": "Aaron Parecki",
        "url": "https://aaronparecki.com/",
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Progress on the iPod project!

at okta

at Amazon Go

at The Westin Bellevue

at Portland International Airport (PDX)

Rock on! Stream on!

Computer inventory

Concert reminder!

You Need a Portfolio (and So Do I)

Upcoming music stuff

The unrelenting passage of time