The nice thing about post grad week is that you can take your sweet time experimenting.
Went into the DMC today to do a few experiments with the projectors and cameras. One thing that frustrates me with doing these experiments is the difficulty of documenting low light works… a skill I need to improve on. I have been taking footage and recordings of my learning a new piece (Etudes for solo violin by John Spence) over the last week. Today I took samples from the footage and recordings to layer and project. I found the result quite mesmerising.
Things I quite liked:
Multiple layers of very similar footage of me playing. I move from side to side a lot, shifting my weight from foot to foot, so the various layers come to gether a move apart in really interesting ways. Having multiple bows crossing the strings looked really interesting as well.
I stretched a sample of audio that I really enjoyed. It made the slight vibrato quite eerie, and amplified small bowing imperfections.
Making some loops from parts of the music that I focus on practicing. I tried to mark up the score today (I included this in the footage) so that I could remember which bits to use.
Layering the audio with a whole bunch of reverb chucked on. It mirrored the effect of layering the footage
Moments when there was sound but no visuals, and visuals of me playing but no sound
The tiny bit of me speaking! Found this by accident, but working out bowing is apparently something I do out loud! I really liked having it in there and I tried to match it up with some shots from the score.
I sat the 2 QUMI projectors on the floor and I really liked having the edge of the projection spread out on the score, I thought it kind of looked like shifting manuscript paper.
Here is the video file. I had both projectors playing the same file slightly staggered and slightly overlapping.
My creative interests lie in creating music (and art more broadly) that explores a space between repetition and dynamic systems. I enjoy playing with the tension between using static loops and engaging with responsive processes that produce a new work every time it is interacted with. I love both the sense of being absorbed in detail that looping achieves, and the serendipitous moments of an interactive or improvised system.
This has led to a diverse range of collaborations such as performing as an electric violinist and improviser, creating interactive installations, composing game soundtracks, and writing philosophy papers. My musical work draws from minimalist, post-minimalist and folk music practices, and is rooted in my practice as a violinist. I have studied composition at the Sydney Conservatorium of Music, as well as media arts and philosophy at the University of Wollongong.
Still needs work and some examples, etc.
Extra notes that I vomited onto a page:
I have been playing violin for most of my life. It has shaped my body through posture, movement, and injury. It has shaped how I listen and how I create.
I am interested in facilitating exchanges between intuitive play and research practice.
I am interested in how we create hierarchies, how larger hierarchies come to play out within creative practices, and how we create our own hierarchies within our creative practice (and how they influence each other).
Ones that you know through practice help you create something well
Ones that make the blank page less terrifying
Ones that make you listen to things you would not have been exposed to otherwise (and make you think about why that is)
My practice using loop pedals was based on an interest in building on small ideas, but also more broadly on being able to be a self-sufficient composer. I didn’t need to translate my ideas to another performer (or source them). It allowed a greater degree of exploration but also a lesser degree of exploration. My more recent work has explored the importance of collaboration for introducing elements that I could not, for helping me clarify and transform my ideas. Having to translate ideas to someone else can expand them, but is a terrifying, vulnerable process.
I recently went to a Women in Creative Arts conference, and it got me thinking a lot about how my identity is part of my artistic practice, or helps me to think about my practice and move it forward:
Impact of mental health – For me this is huge. The weird notion that a depressed artist makes great art is total bullshit. I make a art when I am healthy. If I’m depressed I can barely make it out of bed and can’t even remember why I enjoy making art. Considering this part of myself has helped me understand the importance of collaboration for breaking out of recursive loops and cycles. It has also made me more aware of the importance of taking part in community. This is a hard one, but a really important one to push myself to do. It’s healthy both for me as a human and as an artist.
Impact of gender – From being at the conference I really enjoyed thinking about (re)creating the musical canon, and discovering a long heritage of women composers and performers (as well as listening to contemporary women composers and performers).
Impact of sexuality – sexuality was one that I wasn’t sure how it impacted directly on my music, but gave me a new lens to think about anxieties I have felt about inhabiting multiple artistic spaces. This felt like it is mirrored somewhat with discussions in the bisexual community of feeling like one aspect of your identity can be used to invalidate another aspect (the pressure to just be “one or the other”). Asexuality has also given me tools to feel more comfortable in not being into certain things that everyone seems to take for granted that everyone is into.
Impact of privilege – this one is really important and a constant learning process. I am incredibly privileged to be studying at uni, to live in a stable, secure housing situation, to be able to afford to make the art I want to, to have access to resources and communities. This can relate back to engagement with community in that its important to think about voices that aren’t present and how you might help change that.
I’ve been getting a lot more into running lately, and I’m finding that there are multiple layers to why I enjoy it and they all surprisingly link back to my creative practice and research interests.
1. I enjoy as a way of trying to see where I live. It’s so easy to let it slip into the background that the Illawarra is a gorgeous place to live, and I find running to help me absorb the details of where I live. I can see these details change with the time of day, the seasons, and from year to year. It makes me think about a project by Lucas Ihlein called Bilateral Petersham, where Lucas didn’t leave the bounds of Petersham for 2 months and blogged about it daily. This sort of close, active engagement with a place really struck me, particularly as I always felt like I should be more a wanderlust, travel-bug sort of person, but often just feel that I love where I live and want to appreciate it with as much of my eyes, mind, and heart open.
2. I enjoy the act of running. A few years ago I did a talk about gaming and feminism (this is related, trust me) and I chatted about Zombies, Run! – an exercise game where you are Runner 5 of Abel Township in the zombie apocalypse. I talked about the game in relation to Iris Marion Young’s Throwing Like A Girl paper (2005), and Young’s breakdown of women’s actions having ambiguous transcendence, an inhibited intentionality, and a discontinuous unity (I’m going to have to write a whole other post to break these terms down). I wanted to show that as Zombies, Run! is a game about embodying the protagonist and focussing on a way of exercising that isn’t about how you look when you do it or how you hope exercising will make you look, it becomes a tool for relearning bodily comportment. The lead writer and designer, the ever amazing Naomi Alderman, has written about her experiences of exercise as someone who is fat, and her love of exercise for simply the enjoyment of moving her body. I loved this so much, and I love focussing on how my body feels when I run, listening for when to push harder and when I’m feeling the sort of pain which means I need to stop. It means I trust in my body and believe in my body more. Everything is political, and exercising for the love of your body in action rather to change a body that is an imperfect visual object can be a radical act.
3. I do it as part of exercises that support my practice as a violinist/violist. Being fit and strong means I can practice longer, and injury myself less. I’ve been doing work using the Alexander Technique and the Feldenkrais Method, to relearn how to hold my instruments and play. The 2 schools are similar in many ways, and they have worked in tandem with each other quite well. You do a lot of work in the Alexander Technique based on an understanding of your skeletal and muscular systems, focussing on what potential movements your body can perform and the way that movements involve your whole body as a system. Feldenkrais also involves understanding your anatomy better, but seems to be more actively trying to engage with your potential movements, doing simple movements focussing on different parts ‘leading’ the movement in order to open up your potential bodily movements beyond habitual patterns. I like the idea that through becoming stronger, fitter, more flexible, and more mindful of my movement, I am expanding my bodily possibilities (my bodily futures). I also feel like trying to take a more wholistic approach to developing my creative practice that involves working on my physical health, mental health, as well as craft and research, and being mindful of how all these elements might interact has given me a lot more avenues to explore, in a way that feels like a cohesive whole.
Working on the first assignment of creating a professional website. I already have a website, but want to use this chance to make it better. For the assignment I need:
1. a photograph of yourself (500px by 500px minimum)
I have a photo on the website, but I might look at taking a new one. It’s nice having a picture of me performing, but I’m not 100% happy with that photo.
2. a professional profile statement (250 words) that describes your practice. For example, what medium/ media do you work with? What are the ideas, concepts, and techniques you explore in your practice? What are the broader contexts or fields you work within?
This I don’t have, so that will be my priority to work on. I feel like a have a broad practice that is just starting to gel in something that isn’t just a bunch a random projects, but a practice that revolves around a few core ideas but manifests in different forms.
3. selected works (minimum 4, up to 6) showcased in a logical and consistent formatting (e.g. title of work, duration, format, and client etc.) with embedded image and media content.
I currently have an album and a single online, and I will soon have a second album. I’d like to include all 3 of these. I’d like to include the MEDA301 project (I would include the new version being made for the Yours and Owls Fringe Festival, but it won’t go up until after the due date for this assignment so I won’t have an documentation to show off). I’d also like to include the artworks I’m currently making for the Grad Show auction. I’d also like to showcase some of the work I’ve done in the music box project (a new music group with emerging performers and composers). That will make 6 works, which is the upper limit for this assignment.
4. a biographical statement (100 – 150 words) or abridged CV that summarises your tertiary education background, skills, works, and key achievements etc.
I have a short bio on the website, but I’ll definitely update it for this. I’m not sure how to make this separate from my professional profile statement, but it’s something I will ask Jo & Mat about.
I had a look through some of the sites that were listed on the MEDA blog, and the designer’s websites were unsurprisingly the best. I also liked bios that gave a little bit of personal detail as well as broader life and art mile stones. Some gave very little information and others gave too much. I much preferred websites that broke up the content, rather than giving it to you all at once. I really liked Chris Anderson’s website, Jess Cochrane’s website, and Sha’an d’Anthes’ website (although she didn’t seem to have a bio on the website). I really like the website the music box project has, and I quite like the about section.
In our first workshop we discussed “craft” and made Venn diagrams to try and tease out the relationship between Craft, Research, and Art. We had a great discussion about what sort of things fit where, and what shape it might take. I really like Venn diagrams, as they are basically visual logic.
I also really liked this definition of craft that came up:
‘A basic human impulse: the desire to do a job well for its own sake’
– Richard Sennet, The Craftsman
What role does a goal have in the distinction between invention & innovation?
What role does a goal have in the distinction between art & craft?
I also really liked these ideas from Massumi:
“the body doesn’t coincide with its present – the body coincides with its potential”
“we are the sum of our potential becomings”
In week 2 we looked at what theory is, how it is different from research, and how we might do it. Chloe had a really good definition that was something like “a collection of discourses surrounding a practice”. This is different to research in the sense that it usually is a more critical, generative practice, whereas research is more of a collecting, collating, contextualising practice. You can do research as part of doing theory, which helps to be a more informed, contextualised theory. You can also do theory as part of research by critically engaging with the information you find.
We did some ‘ad hoc’ theorising on the Future (our theme for the semester). Our group talked about time (how we experience it and know it exists), causality (do the present and past cause the future?), and agency/free will (can we make choices in the present that effect the future?). We discussed the Future as a term set up in opposition to the Past and the Present. That understanding it in terms of the New and the Unseen, was also setting it up in opposition to the Old and the Seen. We chatted to Jo about the way that narratives and different mediums can enable us to experience time differently, and therefore the future differently. We discussed how the future means possibilities. We discussed the way that we can perceive the world in terms of our bodily possibilities. We can can hold multiple possibilities at once, and also extend out to multiple futures (1 minute, 1 day, 1 year, 1 century into the future). We discussed the idea that asking what is the future and what is in the future are different questions (is the future a container that holds things?).
Ideas that stood out to me:
The future as a set of bodily possibilities. I have been practicing Alexander Technique and Feldenkrais, movement/postural techniques that focus on bodily possibilities, as part of my practice as an (injured & injury prone) violinist. This could be an interesting way to make more fleshed out connections between my different areas of creative practice. I’ve also studied texts like Iris Marion Young’s Throwing Like a Girl, that draw on feminism and phenomenology, that could be interesting to draw on here too. I could also draw on Massumi, since he came up in both weeks.
Media/Narratives can enable us to experience time differently.
Holding multiple future possibilities at once.
When we switched groups, there was a term on our new sheet that I didn’t recognise and could easily find from a quick google: biogram. We split it to bio- and -gram to try to understand it, bio- coming from Greekbíos meaning life, and –gram from the Greek grámma meaning somethingwrittenor drawn. Mat pointed us in the right direction to Brian Massumi’s work, so that will be some research for the coming weeks.
In the class-wide discussion we chatted about data and who has our data and why we are so happy to give our data up. Mat was raising the idea of companies like Google potentially “knowing” us better than we do ourselves – if Google can vote better (more “truthfully”) than we can, what does that mean for democracy? For me this also raised the question of how do companies collect data, and an understanding that the method of collecting will itself effect the data (there is no “raw” data in the sense of without cultural baggage).
We also discussed VR, and Mat brought up [what was this persons name??]. We discussed the illusion of community when we are actually isolated (social media) and the illusion of isolation when we are actually in community (VR, immersive technologies), and finding a new space for play. I need to find more information about this.
This did make me think of research that is happening in the UOW philosophy department by Anco Peeters on enactive approaches to VR.
What we are wired to see when we look at the world is not a model of the world, or even the world ‘as it is’. The world we perceive is one in which potential actions to be performed by us stand out, as psychologist J.J. Gibson already argued in The Ecological Approach to Visual Perception (1979). The world we perceive affords certain actions: a button is there to be pushed, a chair to sit upon, an apple to be eaten. The reason why embodied gaming works has such a wow-factor is because it plays into our tendency to perceive the world as something with which to be engaged. Using the controller of a Rift or Vive means becoming that much more immersed in a reality that invites you to act in it. And that is why this VR evolution can have so much more of an impact that previous developments had. For this to go all the way, it is important that tech developers realize it is not the resolution of the graphics that makes VR immersive (though it helps): it is the way the interface connects the human to the virtual reality.
Jo also talked about research regarding dementia, theorising that dementia patients experience a loss the future because they lose the past. There was discussion about the sense of continuing self (the Star Trek transporter problem came up). This felt related to some reading and thinking I have been doing lately about experiencing time whilst depressed. Some of it is along the lines of “time standing still”, or being unable to properly imagine that things might get better, or have ever been better. Being ‘stuck’ in the present feels like it describes how hard it is to motivate yourself to do anything, even things you love doing. It can be virtually impossible to get into a state of ‘flow’. Even more immediate futures and possibilities are cut off. Depression Quest was a game that portrayed this cutting out of possible actions.
Other research notes
Marie-Laure Ryan keeps cropping up in my research – with regards to thought experiments, narratives, hypertexts, VR, and doubtless more subjects to come.
Jasmine mentioning a creative interest in thought experiments and the text on What is Literature? both fed completely into a paper I am writing with my partner on the narrative elements of thought experiments and how they sit in relation to other narrative forms. Sometimes things line up in the oddest of ways.
My favourite part! Everything comes together! Problems arise and creative solutions are found! The work comes together!
We learn new skills, like how to tie fishing line so it doesn’t slip:
We use a crap tonne of cable ties to make everything neat. We learn that not all spray paint works well on plastic cabling (oops!).
We got most of the set up done on the Friday, leaving the Arduino components for Monday. It was so lovely being able to set up over multiple days and not have to take it down in between. It made us realise how important it was to have time to sit with the work in the space and make small tweaks and adjustments.
Maya collected the footage we all took over the session to make this awesome process video:
We made some notes over coffee for the presentation:
An exploration/meditation on the tonal qualities of water dripping into pots and incandescent bulbs in lampshades.
Inspired by Storm Room by Janet Cardiff and George Miller, this work focused on the drip of a leaky roof (or the illusion of one).
The lampshades came about through exploration of lighting options for the pots. The work slowly evolved to become more of a conversation between the lights and the sounds.
The lights and sounds activate and interact one another through two Arduino boards. An audience member can add sound or light to the system, but the work continues to interact with itself once the people have left. This raises questions about what role a person needs play in an interactive artwork.
The ecology of the system brings back environmental themes that were discussed early in the process. The water (or absence of it) and electricity take on new symbolic meanings.
Reflecting on the work and process: we liked the polyrhythmic nature of the original versions and would like to have spent more time getting the sound to return to this state.
The presentation went well. It was really nice to have the chance for some of our classmates to come in to sit and enjoy our artwork for a while in the morning. We made a couple of adjustments to the LightTriggersSound Arduino patch before the presentation, and noted that we could “tune” the artwork by subtly adjusting the position of the sensors as well as the programming.
We will be putting together a proposal and budget to give to Your and Owls to hopefully do a bigger version for their fringe festival. This would be an amazing opportunity and I’m going to try and jump on it straight away with the documentation we have collected over the last few days.
The last MEDA301 class! I won’t miss the 8:30am Monday start, but I’m sad the class is coming to an end.
Our artwork feels like it is coming together, but there is still so much to do and to reflect on. Each iteration we do throughs up more questions and possibilities to go in new directions.
We got 2 of the lights working with the Arduino, but didn’t get to playing around with the frequencies they were listening for. We found that having at least one light permanently on looked more effective, otherwise the space was totally dark most of the time. We also want to add more lampshades that don’t have lights in them. This will also mirror the way that some of the pots don’t make sounds.
We experimented with the layout of a cluster and found that it looked quite effective in the middle of the room. This of course took away some of the effectiveness of being able to move through the pots, or tell that they were coming from different places. So this becomes a question of what we want from the sound.
Jo also asked if we needed to hide the wires (the lampshades in particular had wires hanging EVERYWHERE). This was a really interesting question. The hanging wires did look quite interesting. The wires on the ground were quite directional (they all crawled over to the laptop in the corner, but more could be added to sprawl off to different corners. Adding more or not, it would stop people from moving around the whole work. It also adds another conceptual element to the work. Instead of very isolated, suspended pots and lampshades, suddenly they are very visibly connected.
We tried different coloured materials on the floor to cover, but they were not super effective. Matt suggested creating a small low stage and that we could borrow his. The group decided we would like to try a circular stage though, so Maddie is making a circular stage for next week.
We have also only got the lights being interactive (different lights turning on for different frequencies of sound). We haven’t got the sound interacting with the light yet. A couple of issues with making the sound interactive;
It’s easy to make the lights react to different frequencies in order to make them not all the same. What do we make the different sounds reactive to? Different colours (wavelengths)? I’m not sure the work would have the same feel with different colours. It feels important to have some sort of difference between the trigger conditions to avoid all the sounds just playing at once, loosing the nice polyrhythm thing we have going on.
Does having the sound react to light take something away from the original idea with the sound?
We are meeting up next Monday to continue work on it, so I will use that chance to ask Glenn about the second Arduino.
So we got the Arduino sound sensing working this week, we just need to grab some lights and cables from bunnings to set it up. It seems the solution for the sound will be to output keyboard strokes and map them to samples in Ableton Live, which means we will definitely be going for a wired solution. To that end, we need to think more carefully about how we are going to cover the wires. There is a place that makes carpets nearby and they always have offcuts in the bin outside that we could raid.
Things we need for next week:
4 light cables that can attach to lampshades and plug into extension cable (Jasmine has one already)
4 incandescent bulbs (make sure they plug into the right light sockets)
Samples of different sheets/carpets to use on the ground
Pots with holes drilled into them
Non-bulking audio cables (instead of the cobbled together cables with 3 adaptors on them that I’ve been using)
Key triggered, shorter drip samples
I need to create shorter drip samples (with only 1 drip in each), make them key triggered, work out randomisation in each Ableton channel.
I also need to get non-bulky cables and work out what size hole I need to make for them to fit through. I was also going to make a little sock for the speakers out of some old stockings so that they are more invisible. I don’t really want to destroy the nice tins, but the green pots are unusable anyway. I have a metal bucket at home that already has a hole drilled in it, so I can use that. I only have 5 speakers, so I need 1 more water receptacle. Preferably something metal, rather than plastic, so the sound it is making “makes sense”.
Having to create a floor covering means we need to think about what kind of flooring would work for this. We quite liked the shadows cast by the pots, so something that still picks that up would be great. Carpet tiles could also work as something that we could stagger the edge of for an interesting visual effect.
So it felt like we had a break through this week. We set it all up pretty quickly thanks to the hooks I brought in, which meant we could move and adjust the lampshades easily. We sat in the art work and moved things around, tried some new things, and chatted about what we thought about it. It did feel a bit like we were butting up against a wall though. I was trying to strike a balance between disagreeing with elements I didn’t like, and making sure that people felt comfortable to contribute ideas. I’m happy to push for things I think are interesting and against things I think are uninteresting because I want to work on something I’m invested in exploring. But I also realised that some of the most interesting things to explore can come out of the dialogue between us.
As usual, discussions with Jo & Matt were incredibly helpful. Here are my notes:
Jo disrupted the setup by putting out lampshades on the floor, putting a pot upside down, hanging a pot.
Matt suggested hanging more lampshades, experimenting with a lampshade cluster.
The narrative doesn’t need to be a linear narrative.
The sound was forming a sort of tone poem. All the pots are slightly different as are the lampshades. The sounds are all slightly different, so perhaps we want slight variations in the light.
Light coming through the lampshade creates the different light tones, perhaps hanging the lampshades upside down so the light shines through the pattern.
We liked the really stripped back element; we only had pots and lampshades.
We tried using lights on the floor to simulated a slightly ajar door, or cracks in the wall. It didn’t really work so we scrapped it and moved on.
Jo really liked that we had taken up the whole space. It gave the artwork a lot more space and meant you could move through it.
Matt suggested that instead of trying to think of ways that the lamps and pots speak to each other conceptually, we could make them materially speak to each other and interact. Light sensors in the pots and sound sensors in the lights (probably using Arduino).
Super keen to try this last point. I’ve never done Arduino before, but there is no time like the present to learn!
Last week we tried having an interacted ripple projection on the floor as well at the pots, but we decided there was too much going on and it complicated the work too much. This week we experimented with set design more. We added Maya’s pouffe to the scene and played around with different heights and lights in them. We quite liked the effect of having the lights & lampshade & pouffe, but the feedback from Jo and Matt was that they weren’t sure how the lampshades and pots fit together. They seem to be hinting at a narrative, but we don’t have a solid idea of what that narrative is yet.
So aside from bringing in extra materials we want to experiment with, we all need to be thinking about narrative/conceptual ideas that are being or could be explored.
I’m wary of the broad brush stroke kind of message that can be attached to things (the idea that was thrown out about focussing on frivolous aesthetic things like lampshades while the roof leaks being a metaphor for our inaction on climate change). It feels a bit empty and slapped on to me. There are a lot of artworks that come with very similar global messages. While it’s important to recognise that this is a product of the era we are in, it means that super general messages don’t have a big emotional impact. I quite like artworks that focus on a small detail that is part of a wider narrative. For example, there is an installation in Angel Place (in Martin Place, Sydney CBD) of hanging birdcages, accompanied by birdsong of all the species that lived in the area before the city. Broader ideas of displacement and the environment can stem from this focus. It feels far more effective to use a detail to engage someone in a broader political narrative (and all narratives are political).
This is a really specific kind of narrative that can be a part of this artwork, however, it could be more aesthetic. The relationship between sound and light. Absence vs presence. Parallel between sound vs silence and light vs dark. Is this narrative still political? These dualities/binaries are quite western, and often stem from particularly philosophies that link to other binary understandings of things like mind/body or gender.
The rhythm that can be found in everyday details. The importance of having both absence & presence in order to have rhythm. How is this narrative political? Ideas about rhythm are very culturally driven, via music and art and dance.
The stage design that has emerged so far has been one that only uses a few items to hint at the broader room. Drawing our focus and attention to very specific details of the room. How is this narrative political? Theatre is also going to vary through the culture we are embedded in. The objects we pick are going to be embedded into a broader cultural narrative. The pots are for a specific set of cultural eating practices. The tins are in English and from a particular era. The Flour/Sugar/Tea/Rice labels also bring up colonialization, exploitation, trade, resources, world hunger, and position us in a particular location in those spaces.
Absence of water. We experimented a little with different light sources so that the light isn’t coming from the lampshades, like the water isn’t really dripping. Absence of water can be highly political. The poisoning of Flint’s water in Michigan. Access to clean water in all sorts of places in the world. Our reliance of water to survive. Our bodies are mostly made of water.
This could be contrasted with ubiquity. Water is everywhere (just has questions of access), and light is also something we have everywhere.
Illusions. The illusion of something being there that isn’t. The illusion of something being wrong that isn’t. The illusion of something floating.
Decay. The roof is leaking. The light bulbs might flicker. The lampshades and pots are old. Questions of socio-economic class and disposable income needed for repairs. Things returning to a “state of nature”. Perhaps having “holes in the roof” that the rain is coming through. Light streaming through the holes could mess with our perception of being in a storm. This relates back to illusion and absence.
Lampshades became popular with the first electric lighting, to shield people from the “harsh glare” of electric lights. There were various iterations that came before them in street lamps. So they are a way that people adjusted to new technology. Various forms of rooves have always had leaks (even today, though that is less important). Shielding our eyes from something. The pots aren’t really shielding us from anything. They are protecting something though. Could the pots be on cherished objects? The pouffe, a book, etc.
Using pots and tins to catch water is an everyday way that we repurpose objects to adjust to a new situation. What else do we repurpose?
If electricity goes out we have specifically designed objects (torches, candles).
On the technical side of things, this class I almost got the Bluetooth speakers working, but I think they are going to be a bit too inconsistent to use. Jo suggested small MP3 players. I haven’t be able to find small cheap ones. She suggests browsing AdaFruit, Alibaba, or DX for stuff if I can’t find it locally.
List of things to bring to the next class
S hooks – bought from Bunnings. Actually ended up getting chain with hook links.
Wool? Wire? String? For hanging lampshades. Something strong, but easy to adjust.