from Logan's Ledger on Life

There are some roads that don’t seem to end.

Fourteen hours to Orange Beach turned into fifteen… then fifteen and a half. Rain. Traffic. Fuel stops. Stiff legs. Aching backs. Coffee that quit working hours ago. Every mile seemed to ask the same question:

“Are you sure you want to keep going?”

And then it hit me.

That’s the Christian life.

This journey to heaven isn’t a Sunday afternoon drive. It’s a marathon across mountains. Sometimes the tank runs dry. Sometimes your soul is weary. Sometimes you have to pull over, stretch your faith, refill your spirit, wipe the rain off the windshield, and keep moving.

But you don’t quit.

Because on the other side of this wilderness is a river.

The Jordan.

Beyond that river lies our Promised Land—not the shadow, but the substance. No more pain. No more tears. No more funerals. No more hospitals. No more cancer. No more graves.

Just Jesus.

Perfect peace.

Perfect rest.

Perfect joy.

That is why every difficult mile is worth it.

Now hear me carefully.

The book of Hebrews gives one of the strongest warnings in all of Scripture. If a person knowingly and finally turns away after fully embracing Christ, Hebrews 6 describes an unimaginably serious condition. That passage should never make us casual about our walk with God. It should make us cling to Christ with all our hearts.

That reality is why I care so deeply about people.

Just today I walked up to a man and shared what I believed God had put on my heart.

I told him,

“God is a God of second chances… and third… and fourth… and fifth. Peter denied Jesus three times, yet Jesus came looking for Peter. He didn’t throw him away. He restored him. Then He said, ‘Feed My sheep.’

“So even if you’ve had one failed ministry after another, there’s one thing God is better at than you…

Reconciliation.

The same Jesus who went after Peter is going after you.”

I gently tapped him on the chest.

He smiled and said,

“That’s funny… people have told me that my whole life.”

But I could tell…

He heard the words.

He hadn’t yet received them.

I walked away thinking,

“Lord… I failed.”

Then the Holy Spirit whispered something I’ll never forget.

“You didn’t fail. I haven’t finished.”

Then it became crystal clear.

The Holy Spirit said He would bring back to that man’s remembrance every prophetic word, every sermon, every conversation, every warning, every invitation, every moment someone had spoken truth into his life.

One after another.

Like arrows stored in a quiver.

Not forgotten.

Waiting.

Then the Lord reminded me of something else.

When I first saw that man, I was comfortable on the balcony.

I almost stayed there.

I thought,

“What if this isn’t really You?”

Finally, I obeyed.

I went downstairs.

He was gone.

I searched another place.

Nothing.

A third place.

There he was.

Then he disappeared again.

It almost felt as though God was making me search—asking one simple question:

“How much do you care?”

At last I found him.

I delivered the message.

The results?

Those belonged to God.

That’s when the Holy Spirit settled the matter forever.

“Conviction is My responsibility. Obedience is yours.”

What freedom there is in those words.

We are not called to change hearts.

We are called to speak truth.

We are not responsible for the harvest.

We are responsible for planting the seed.

We are not the Holy Spirit.

He is.

So tonight I pray for my friend.

I pray those words keep echoing through his soul.

I pray Peter’s story becomes his story.

Because the God who restored a broken fisherman is still walking shorelines today…

Still calling wandering sons…

Still restoring broken servants…

Still saying,

“Follow Me.”

 
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from Faucet Repair

25 June 2026

Ordinal air (working title): this is one of the more rewarding paintings I've made in a while. Inner and outer alignment. Based on some tiny paper Earth lanterns I saw receding into Tyler's room from the staircase at our flat. Delicate duplicate planets hanging in the thick summer air, intermittently nudged and spun by the wind from the fan out of sight at the other end of the room.

Ordinal data is a categorical, statistical data type where the variables have natural, ordered categories and the distances between the categories are not known.

I've been looking at a lot of Bellmer's drawings and prints again this week, specifically his engravings from his Mode d'Emploi (1967) portfolio. There's one particular piece from the seven in that collection—a small one (roughly 4x6 inch plate) titled Ways of Daring—that I think I can trace a lot of the thinking around this work to in retrospect. Its weblike line work masterfully gets at something similar to how I'm trying to establish structures that allow planes to interact beyond their pictorial functionality. Or, more simply, how line can be a simultaneously cohering and fragmenting force. It's also emotionally laid bare yet confounding in the way that I like. In the bottom right there appears to be a baby (or two) engrossed in something. A step up and to the left are two more figures wrapped around and bound to each other like a Christo sketch, possibly in a sexual position (probably; it's Bellmer). Up and to the right from them, almost in the middle of the composition, is a more muddled group of figures, to my eyes an orgiastic heap. Pulling away from them toward the top right corner is an inscrutable knotty cluster, maybe limb-like. And at the top left, almost floating but for one planar line by his knees, is what looks like a kneeling figure with a beaked nose. An upward growth and a deconstruction, phases linked and estranged.

Back to my painting—it occurs to me that a part of it could also be a swipe at the emotional register of time passing in the 5,000 mile space between two opposite poles. Here are some selected lyrics from “Picture of Return” by Superfan:

The time that’s blowing me through Deflated surroundings Putting appearance underneath the skin

Breaking at the corners The room acting as my witness To manipulated order I’m wishing his face was never a picture of return

 
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from Unattributed

Sometimes I cannot, for the life of me, understand what spammers are thinking. For that matter, I am not even certain they have more than a single brain cell left. Take this one for example, sending eight messages in a single minute:

Eight spam messages in a single minute Eight spam messages in a single minute

Now, look, I get it. They are really trying to get attention. But really, do they think this message will actually accomplish anything?

The contents of the spam message

I mean seriously, all of these messages just hit my spam filter and got dumped into a folder for me to double-check.

But, if it was just these eight messages I might have forgiven it as a one-off, drive-by spamming. But no, that was just the spam from tonight. They've been at this for two weeks now. Every few days they drop by the site that has that contact form, spam eight messages at me, and move on.

I mean, it would be funny if it weren't so pathetic: there are fifty-six messages from this spammer in my folder. And they've been doing this exact same thing every time: spam eight messages and then move on.

But, they are trying to be a bit strategic… They don't do it every day. It seems they are on some kind of rotation: doing their spamming once every two-three days. Like that is going to make any kind of difference???

Do they really think this going to work? Does it ever work on anyone? I mean, I just have to wonder: where are their brain cells hiding?

There are a total of one hundred and sixty-six messages in my spam folder. They make up fifty-six of them, that is over one third of the spam messages in that folder. Guess it makes the cleanup all that much easier.

<delete>

 
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from longshineboitech.com

June 2026

The global pharmaceutical industry continues to place greater emphasis on supply chain resilience, quality management, and reliable sourcing of pharmaceutical raw materials. As pharmaceutical manufacturers expand production capacities and develop new therapies, demand for dependable suppliers of active pharmaceutical ingredients (APIs) and pharmaceutical intermediates remains strong.

Growing Demand for Pharmaceutical Raw Materials

Pharmaceutical companies worldwide are increasingly seeking long-term partnerships with suppliers capable of providing stable production, consistent quality, and technical support. Active pharmaceutical ingredients, pharmaceutical intermediates, peptides, and specialty chemicals continue to play a critical role in drug development and manufacturing.

Industry experts indicate that supply chain reliability has become one of the most important factors when selecting pharmaceutical suppliers.

Expansion of Peptide and Specialty Pharmaceutical Markets

The pharmaceutical market has experienced growing interest in peptide-based products, metabolic therapies, and specialty pharmaceutical compounds. Manufacturers and sourcing companies continue to expand product portfolios to support evolving market requirements.

Demand has increased for:

  • Pharmaceutical APIs
  • Pharmaceutical intermediates
  • Peptide products
  • Fine chemicals
  • Specialty pharmaceutical materials

These product categories support pharmaceutical research, development, and commercial manufacturing activities.

Quality and Supply Stability Remain Key Priorities

Pharmaceutical companies increasingly evaluate suppliers based on:

  • Product quality
  • Manufacturing capabilities
  • Technical support
  • Supply chain stability
  • Global logistics capabilities

Reliable suppliers help reduce production risks and support continuous manufacturing operations.

China's Role in Pharmaceutical Manufacturing

China remains an important manufacturing center for pharmaceutical APIs, intermediates, peptides, and fine chemicals. Established manufacturing infrastructure, experienced technical teams, and efficient supply chains continue to support global pharmaceutical markets.

International buyers frequently seek manufacturing partners capable of providing both product quality and long-term supply reliability.

Longshine Boitech Supports Global Pharmaceutical Supply

Longshine Boitech supplies pharmaceutical APIs, pharmaceutical intermediates, peptides, veterinary products, and fine chemicals to customers worldwide.

The company provides:

  • Professional sourcing support
  • Quality management solutions
  • Technical assistance
  • Supply chain services
  • Global export capabilities

By supporting pharmaceutical and chemical companies with reliable products and sourcing solutions, Longshine Boitech contributes to the growing demand for high-quality pharmaceutical materials.

Looking Ahead

As pharmaceutical innovation continues to advance, demand for reliable suppliers of APIs, intermediates, peptides, and fine chemicals is expected to remain strong. Companies that combine manufacturing expertise, quality management, and dependable supply chains will continue to play an important role in the global pharmaceutical industry.

Website: www.longshineboitech.com

Keywords: pharmaceutical supply chain, pharmaceutical API supplier, pharmaceutical intermediates manufacturer, pharmaceutical raw materials supplier, pharmaceutical manufacturing, Longshine Boitech.

 
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from Ennui Vagaries

The amazing GAMENOTE keyboard, in all its gamery goriness.The amazing GAMENOTE keyboard, in all its gamery goriness.

Introduction

So, if you were to ask me why I got into mechanical keyboards, the picture above would be the explanation. This is the Havit “GAMENOTE” keyboard (aka the KB512L). This keyboard is responsible for me spending a little over a year in a mechanical keyboard rabbit hole.

Now, let's be clear: this was not a good keyboard. It had a hollow sound to it. The stabilizers rattled. The keycaps were thin and felt horrible. The RGB was junk. The switches were some off-brand clicky blue switches that pinged and didn't feel all that good to type on. There was no wireless connectivity.

I wrote extensively about this keyboard here: 71-Keys Review: Havit KB512L.

And yet, I could find some good in it. The first thing was: it was cheap: $25-30 USD. Another thing: it had a removable cable. And, above everything else was that layout.

That layout is what drew me in. The moment I was able to reach the Del key without moving my hands from the home row position, I was sold. The fact was, by compacting the TKL layout in this manner, they had come up with a dream layout for touch typists who'd learned to type on a typewriter and were taught to not move our hands, only our fingers.

The Next Keyboard

But there were serious issues with the keyboard, including one issue that wasn't easy to solve: the switches. I managed to take the keyboard apart and fix several issues: I shimmed and lubricated the stabilizers, I added foam to dampen the sound, and I replaced the keycaps with a nice set of PBT caps.

All of this fixed most of my problems with the keyboard. I wasn't concerned with wireless connections. I set the RGB to a solid color or turned it off completely. But, there was the one big issue: the switches.

I could have really put some more effort into it: desoldered the old switches, installed sockets and new stabilizers, and then new switches. But, honestly, that would have been many hours of work and I really hadn't done any soldering for over 20 years. This was a skill set that I wasn't interested in relearning.

So, I started looking at other keyboards. And, I tried a few… A Leopold TKL that was styled like an IBM Model M keyboard, and a Durgod TKL keyboard that was highly recommended. And both of them were much better keyboards, but they suffered from the same issue: the switches. I just didn't care for them, and I didn't want to desolder them to install sockets and new switches.

Then I found a keyboard that changed things for me: a CIY TKL keyboard:

The CIY TKL Keyboard with custom keycaps installed. (Photo: Unattributed, License: CC BY-NC-SA 4.0)The CIY TKL Keyboard with custom keycaps installed. (Photo: Unattributed, License: CC BY-NC-SA 4.0)

True to its name (CIY means “Customize It Yourself”) it had features that made it worthwhile to work on, and was only $45 USD. The big differences? The upper cover was magnetic and just popped of, and the switches were hot swappable. It still wasn't wireless, and the RGB was junk, but neither of those features were of interest to me.

I spent some time with this keyboard. I modded it pretty heavily: adding foam, taping the bottom of the PCB, upgrading the stabilizers, and replacing the switches and keycaps. And it was a decent little keyboard overall. But, it didn't scratch that one itch the GAMENOTE had started: I wanted that compacter layout.

Then it happened… I found a keyboard that was nearly perfect for me.

The Feker 71 Key

The Feker Dopokey Keyboard with custom keycaps (Photo: Unattributed, License: CC BY-NC-SA 4.0)The Feker Dopokey Keyboard with custom keycaps (Photo: Unattributed, License: CC BY-NC-SA 4.0)

So, let's be clear. There were definitely shortcomings to this keyboard. As widely reported the case had pretty loud ping. The mounting system was pretty standard posts, so there was no give to the keyboard. The plate was steel, so it felt pretty hard. Some people also reported having problems with the stabilizers being sticky. Mine weren't sticky, but they were a bit stiff, which I was able to remedy with a little lubricant. Finally, the software was buggy at best – it worked for setting the RGB, but didn't work for key mapping or macros.

But, here's the thing: for me ninety-five percent of the feel of a keyboard is in the keycaps and switches. I don't worry about the plate or the mounting as much. And, I did, with a set of Kaihl Box Jade switches, and the Akko keycaps as pictured I found this keyboard to be extremely usable. It quickly became my favorite keyboard.

Others who have modified this keyboard have thought that it wasn't worth it. Given what they were trying to do with it (i.e., trying to change the feel of the keyboard by modifying the mounting system), I would tend to agree. However, if all you want to do is deaden the sound, fix the ping, and either tune or replace the stabilizers, I would disagree with that assessment. And that was the camp I was in.

However, there is one issue all the modders mention that I encountered as well, and I haven't worked on: the case screws. For some reason the screws Feker used were made from really soft metal which makes it difficult to remove them without stripping the head or the screw itself. One day I will get around to working on them, and I will find replacement screws so they aren't a problem in the future.

But, even without fixing the pinging, and deadening the sound of the case, I still liked the keyboard. So much that I used it for over a year. And, in fact, I now have a small collection of these keyboards. There were several variants of this model. Including one labeled as a “Mengmoda” keyboard with brass accents, and a frosted acrylic version of this keyboard.

But after a year or so, I set this keyboard aside. Why? And what am I using now?

The Kisnt KN85

Kisnt KN85 with custom keycaps (Photo by Unattributed, License CC BY-NC-SA 4.0)Kisnt KN85 with custom keycaps (Photo by Unattributed, License CC BY-NC-SA 4.0)

After a while there was one thing that I found lacking in the Feker 71-Key keyboard: a dedicated row of function keys. Now most of the time this isn't a big deal. My focus on typing documents (stories, essays, emails, etc.) didn't require the use of function keys.

However, as I got more into certain games (ahem Minecraft) I started missing those keys. Also, it always seemed better to me to have media controls on the function keys. In fact, I started scanning the different sites occasionally to see if anyone had produced a keyboard with the layout of the Feker, but added the function keys back in.

So, when I saw the Kisnt keyboard pop up on Amazon, and it was under $50 I didn't even think it was a risk. I couldn't look at a $50 keyboard that so closely matched my desired layout and think that I couldn't make it into something decent (assuming the screws weren't made from really soft metal).

When it came in, I was in for a bit of a surprise: Kisnt had done an excellent job producing an entry level enthusiast keyboard. The chassis is solid and doesn't flex. The keycaps had a really nice feel. The switches were a light-medium weight, pre-lubed tactile switch. And, they had filled the keyboard with sound deadening foam, giving the whole thing a nice pop sound profile.

And it's a dual mode keyboard: wired and wireless. The wireless part uses a 2.4Ghz USB dongle, which can be stored in the bottom of the keyboard when not in use. And, much to the delight of the modding community: south facing LED's.

Within a few minutes of testing it, I had to know: how would it sound and feel with my Kaihl Box Jade switches, and my favorite White-on-Black keycaps? Well, the result is what is picture above. And, I have to say, it was still a great keyboard, even if the sound profile changed a bit (but I expected that).

There are only two things I don't like about this keyboard: (1) the extra gap between the main part of the keyboard, and the navigation cluster, and (2) the placement of the Home and Del keys, which I would swap. (Unfortunately their software only supports Windows and Mac, so my Linux system is out of luck, unless it will work under Wine.)

But, I decided that I liked this keyboard so much that I bought a second one. The second one is the black version. It now how my Kaihl Box Jade switches, and White-on-Black keycaps. The one from the picture above has the gray / blue keycaps with a set of customized Akko Sponge switches (I lubed them and installed 3 stage springs, the same weight as the Box Jade switches) which I use for gaming.

Conclusion

So there you have it. This is where I am at now. While I made it sound like this was a straight progression from Havit→CiY→Feker→Kisnt it wasn't. I've tried lots of other keyboards along the way, many of which were as bad, and in some cases worse, than the Havit keyboard. And some of them were technically better, but didn't quite work out… But those are stories for other articles.

I mentioned in About Ennui Vagaries that I had abandoned keyboards, or at least No Thoccs Aloud because other reviewers / outlets were working on the same ideas that I had, and they had more resources. And while that is true, there is another aspect to this.

I think I have a different set of values than many people engaging in hobbies. I don't believe in “grail” items. I don't believe in spending unnecessarily to get what I want. I don't believe in form over function. And I most certainly don't see something like a keyboard as a luxury item.

Given that today you can spend $20 and get a keyboard that will work reliably, any additional money that you spend has to bring significant improvement to you in some measurable manner. For me taking a $50 keyboard, tossing $25 worth of switches, and $25 dollar keycaps into it is a worthwhile expense only because it is significantly better than a $20 no name keyboard. The aesthetics are something that come from just making good choices along the way.

And, that's where I am now with my keyboards. No Thoccs Aloud is dead, long live No Thoccs Aloud via Ennui Vagaries.

 
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from 00692285

There is a sense that many Americans get when they visit other countries abroad. It’s a sense that in some places outside the US there is just something different about the way people live and enjoy life. The writer Gary Shteyngart attributes this to something called sensualism. Sensualism is a sort of hedonist impulse to enjoy life through the senses. It is the appreciation of craft, of human creativity, typified by the enjoyment of good food, drink, clothes, and arts. It is made possible by robust communities tied together by strong families and governmental systems that nurture the artisanal over the mass-produced. It is also something considered in short supply in American culture, and by extension modern secular culture. Writers like Shteyngart argue that American culture has strayed away from sensualism in favor of ruthless optimization—things like looksmaxxing and the endless pursuit of health and wellness optimization all point to the same soulless, corporate haze that has come to define much of what we consume. What’s the point of a living a life that’s optimized to the max if you can’t enjoy it?

When I hear the term sensualist, I do somewhat recognize a few of its traits in me. I too prefer the artisanal over the corporate. I too believe that American culture has favored optimization and efficiency over beauty. I find workout culture and health tracking tedious and not-fun. Shteyngart advocates for more sensualism—that we don’t have enough sensualism in our society. To me, the choice between going for a run or sitting in a hot tub is obvious—I’d rather not run. Yeah, I get it. Working out is healthy and can extend your life, but who cares how long your life is if you’re just going to spend it running and working out all the time?

people working out

Despite my disdain for health-optimization and workout-culture, sensualism presents its own problems. I love sensual pleasures. I love good food, I love a good hot tub. I like buying and enjoying things like clothes and gadgets. I like music (sometimes) and I like tobacco. These are all wonderful sensory pleasures that I often seek out but when I do I’m usually burned by how fleeting and unrewarding these experiences ultimately are. They never last and they never seem to be enough. Even worse, the more I seek them out the more unsatisfactory they become—not to mention the various negative downstream effects they accumulate on the mind and body.

Often times I find myself in the middle between these two impulses, unsatisfied by both. Optimization makes me feel like a soulless robot constantly needing training and upgrades to extend a life filled with more training and upgrades. Sensualism and all its material pleasures leave me in a constantly dissatisfied state too. A state that is always chasing the next hit. It is exhausting and unfulfilling.

It is only natural for humans to want to do more of the things they like. So often we believe the more we do of one thing the more we gain from it—more sensualism, more optimization. In these modern times, I often see so many of us running around doing more and more trying to wrest some state of bliss that will never come. The idea of sensualism is nice, it’s attractive; it feels like the answer to what feels like a soulless amalgam of corporate slop.

My more Buddhist impulses tell me to find a middle way—neither the life of an ascetic, nor the life of a hedonist. The answer according to the Buddha is not to entirely reject sensual pleasures and live the life of an ascetic, but to recognize, embody, and acknowledge that all of life is transient and fleeting. It is the realization that there is nothing outside of the self that will ever be fulfilling—neither material pleasures nor optimization, so just stop.

But even practiced meditators can fall into the trap of believing that the more you meditate, or the more you acknowledge the transient nature of material desire, the more enlightened you’ll be. Like one Buddhist monk put it, “You have to stop believing that meditation will do anything for you.” But this is truly infuriating to hear, and a mind bogglingly difficult concept to practice concretely. So difficult, in fact, it can cause people to abandon meditation entirely. The reason it’s so difficult is because it is unnatural for us to not be seeking—to want to do more of something.

Perhaps we shouldn’t be fighting the natural human urge to look for something out there. The human urge to seek is not a weakness, nor is it a defect to be eliminated in order to find fulfillment. The human urge to seek is our spiritual engine. We have a natural impulse to do more of something in order to reap its rewards. The perennial problem of the human condition is that our natural urge to seek is almost always directed at the wrong things—things that can never fulfill us in the way we need. So our seeking needs to be channelled—it needs to be redirected.

For me, personally, I’ve found that Islam offers precisely the road map to channel this urge to seek and learn. But that’s just me. Others find it in the other Abrahamic traditions and that’s fine too. But this isn’t about which religion is better or worse, it’s simply to offer the idea that when our urge to seek is channeled to God, Allah, the Ultimate Reality, whatever you might want to call Him, sensualism arises naturally. When we seek out God’s grace, forgiveness, blessings, the material offerings of the world become gifts to be grateful for. We slow down and savor them. We appreciate them as gifts and not a means to an end. Seek God, not sensualism; sensualism will arise out of that.

So now when I sit in a hot tub enveloped in the warm, luxurious pulses of the jets, I recognize that it’s not the hot tub that will save me. The hot tub is a gift given to me. I say thank you—thank you for letting me be alive in this very moment. Thank you for everything that’s come together in this precise way to allow me to enjoy this, even if only for a moment. That is sensualism.

 
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from EpicMind

Browne: A Girl Writing; The Pet Goldfinch

Vor einigen Jahren begann ich wieder, regelmässig von Hand zu schreiben. Nicht aus Nostalgie, nicht aus Skepsis gegenüber digitalen Werkzeugen. Mein Alltag spielt sich weitgehend am Bildschirm ab, und ich möchte das nicht ändern. Doch immer dann, wenn ich etwas wirklich verstehen, durchdenken oder entscheiden möchte, greife ich zum Notizbuch.

Diese Gewohnheit entstand zunächst aus einem praktischen Impuls. Mit der Zeit stellte ich fest, dass sie etwas verändert: Gedanken werden klarer. Zusammenhänge treten deutlicher hervor. Schwierige Entscheidungen wirken weniger überwältigend. Lange hielt ich das für eine persönliche Eigenheit. Heute spricht einiges dafür, dass dahinter mehr steckt.

Wir schreiben heute wahrscheinlich mehr als jede Generation vor uns – Nachrichten, E-Mails, Kommentare, Suchanfragen. Gleichzeitig schreiben wir immer seltener von Hand. Schreiben ist für viele zum reinen Übertragungsmedium geworden. Dabei gerät leicht in Vergessenheit, dass es ursprünglich noch eine andere Funktion hatte: Gedanken zu entwickeln.

Schreiben als Denkform

Wer schreibt, hält Gedanken nicht einfach fest. Häufig entstehen sie erst während des Schreibens.

Jeder kennt die Erfahrung: Eine Idee wirkt im Kopf überzeugend. Erst wenn man versucht, sie aufzuschreiben, werden Unklarheiten sichtbar. Argumente müssen geordnet, Begriffe präzisiert, Zusammenhänge hergestellt werden. Schreiben zwingt zu Entscheidungen. Gerade deshalb eignet es sich so gut zum Denken.

In der Schreibforschung gilt diese Erkenntnis seit Langem als weitgehend unbestritten: Schreiben ist nicht nur Kommunikation, sondern ein kognitiver Prozess. Während wir schreiben, strukturieren wir Wissen, entdecken Widersprüche, entwickeln neue Perspektiven. Das Blatt Papier wird gewissermassen zum Gesprächspartner.

Philosophen wussten das schon lange. Seneca schrieb Briefe, die zugleich Selbstgespräche waren. Marcus Aurelius führte Aufzeichnungen, die nicht für andere bestimmt waren, sondern für ihn selbst – ein Denken in Schrift. Das Notizbuch war kein Archiv, sondern ein Werkzeug.

Die Stärke der Langsamkeit

Von Hand zu schreiben ist langsamer. Genau darin liegt einer ihrer grössten Vorteile. Die geringere Schreibgeschwindigkeit zwingt dazu auszuwählen. Gedanken werden verdichtet statt bloss übertragen. Informationen werden verarbeitet, bevor sie notiert werden.

Neurowissenschaftliche Untersuchungen zeigen, dass Handschrift komplexe Netzwerke im Gehirn aktiviert: Erinnerungen werden abgerufen, sprachlich formuliert und gleichzeitig durch feinmotorische Bewegungen begleitet. Vor einigen Tagen habe ich hier über eine Studie berichtet, die Unterschiede zwischen dem Lesen auf Papier und auf Tablets untersuchte. Dort ging es vor allem um räumliche Orientierung und Integrationsprozesse beim Lesen [1]. Auch beim Schreiben spricht deshalb einiges dafür, dass physische Medien Denkprozesse anders unterstützen als digitale Werkzeuge – wenn auch vermutlich aus teilweise anderen Gründen. Hinzu kommt ein weiterer Effekt: Die Verlangsamung der Handschrift zwingt dazu, Gedanken stärker zu verdichten. Wer verstehen statt lediglich dokumentieren möchte, kann gerade davon profitieren.

Gedanken ordnen, Gefühle verstehen

Besonders interessant – und in der öffentlichen Diskussion bisher wenig beachtet – ist ein anderer Aspekt: Schreiben hilft nicht nur dabei, Wissen zu strukturieren, sondern auch Emotionen.

Bereits in den 1980er-Jahren entwickelte der Psychologe James Pennebaker das Konzept des expressiven Schreibens. Menschen schrieben über belastende Erfahrungen – nicht um literarische Texte zu verfassen, sondern um Erlebtes zu verarbeiten. Zahlreiche Untersuchungen zeigen, dass dieses Schreiben helfen kann, belastende Gedanken einzuordnen und ihre psychische Wirkung zu verringern [2].

Der Mechanismus ist erstaunlich einleuchtend: Solange Gedanken im Kopf kreisen, bleiben sie diffus. Sobald sie in Worte gefasst werden, erhalten sie eine Form. Das Problem verschwindet dadurch nicht. Aber es wird greifbarer.

Emily Rónay Johnston von der University of California, Merced verweist auf neuere neurowissenschaftliche Arbeiten, die darauf hindeuten, dass bereits das bewusste Benennen von Gefühlen Hirnregionen aktiviert, die an Planung und Selbststeuerung beteiligt sind, während die Amygdala, zuständig für Bedrohungs- und Angstreaktionen, ruhiger werden kann [3]. Wer Gefühle aufschreibt, reagiert weniger impulsiv und gewinnt Abstand zur Situation. Vielleicht erklärt das, weshalb viele Menschen intuitiv zu Papier greifen, wenn sie sich über etwas ärgern. Ein nie abgeschickter Brief, einige Seiten im Tagebuch: Sie lösen das Problem nicht. Aber sie schaffen Ordnung im eigenen Denken.

Papier als Denkraum

Hier liegt die eigentliche Stärke des Papiers. Ein Bildschirm eignet sich hervorragend zum Speichern, Suchen und Organisieren. Papier lädt zum Erkunden ein: Pfeile entstehen zwischen Gedanken. Begriffe werden eingerahmt. Skizzen verbinden sich mit Stichworten. Ganze Seiten werden zu Landkarten des Denkens. Nicht selten entdecke ich Zusammenhänge erst, weil sie räumlich vor mir liegen.

Diese räumliche Freiheit lässt sich zwar digital nachbilden; aber sie fühlt sich anders an. Papier fordert keine Benachrichtigungen, kennt keine geöffneten Tabs und bietet keine Suchfunktion. Gerade dadurch zwingt es dazu, beim Gedanken zu bleiben.

Papier für das Denken, digital für das Verwalten

All das ist kein Plädoyer für analoges Arbeiten. Für Recherche, Archivierung und Zusammenarbeit sind digitale Werkzeuge den meisten Papierlösungen deutlich überlegen – und ich möchte darauf nicht verzichten.

Der Fehler liegt nicht darin, dass wir digital arbeiten. Er liegt darin, dass wir fast alles digital erledigen. Nicht jede Tätigkeit stellt dieselben Anforderungen. Wer Informationen verwalten möchte, ist mit dem Computer gut beraten. Wer nachdenken, planen oder schwierige Entscheidungen vorbereiten will, ist es oft mit Papier.

Seneca und Marcus Aurelius schrieben nicht, weil Papier Wissen konserviert. Sie schrieben, weil Schreiben ihnen half, zu denken. Das Schreiben war Teil des Denkens. Und es ist das bis heute.

Ein Notizbuch ersetzt weder Fachliteratur noch digitale Werkzeuge. Aber es erfüllt eine Aufgabe, die diese nur begrenzt übernehmen können: Es schafft einen Raum, in dem Gedanken langsam genug werden, um Gestalt anzunehmen.

Papier ist langsam. Gerade deshalb eignet es sich für jene Tätigkeiten, bei denen Geschwindigkeit nicht das Ziel ist. Wer schreibt, hält Gedanken nicht bloss fest. Er entwickelt sie. Und manchmal ordnet er dabei nicht nur seine Ideen, sondern auch sich selbst. Papier eignet sich zum Denken. Der Computer zum Verwalten des Gedachten.


💬 Kommentieren (nur für write.as-Accounts)


Fussnoten [1] K. Umejima, Y. Sunada und K. L. Sakai, „Manga reading on paper vs. digital devices: Prospective effects on core and supportive integration processes in the brain“, PLOS ONE, 3. Juni 2026. [Online]. Verfügbar: https://doi.org/10.1371/journal.pone.0349778.

[2] J. W. Pennebaker und J. F. Beall, „Confronting a traumatic event: Toward an understanding of inhibition and disease“, Journal of Abnormal Psychology, vol. 95, no. 3, pp. 274–281, 1986. https://psycnet.apa.org/doi/10.1037/0021-843X.95.3.274.

[3] E. R. Johnston, „Writing builds resilience by changing your brain, helping you face everyday challenges“, The Conversation, 2026. [Online]. online: https://theconversation.com/writing-builds-resilience-by-changing-your-brain-helping-you-face-everyday-challenges-265188.

Bildquelle Henriette Browne (1829–1901): A Girl Writing; The Pet Goldfinch, Victoria and Albert Museum, London, Public Domain.

Disclaimer Teile dieses Texts wurden mit Deepl Write (Korrektorat und Lektorat) überarbeitet. Für die Recherche in den erwähnten Werken/Quellen und in meinen Notizen wurde NotebookLM von Google verwendet.

Topic #Erwachsenenbildung | #ProductivityPorn

 
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from Dave Amis

I’m sitting here writing this piece, dripping with sweat. We’re (hopefully) coming towards the end of a few days of what to me feels like a period of unprecedented heat here in the UK. It’s not just the temperature, it’s the humidity which feels like it’s off the scale. This has been sapping my energy levels in a way I’ve never experienced before. I’m normally pretty active but over the last few days, I’ve not felt like doing anything. All I can focus on is getting through the day, staying hydrated and resting as best I can.

I’m seventy years old. I’m a Boomer/Generation Jones – a generation which feels like it’s becoming one of the most despised ones yet. I personally hate inter-generational strife, not least because of the way it’s whipped up so that we’re all pitted against each other as part of the strategy of divide and rule being implemented by the shady psychopaths who presume to rule over us. Anyway, that’s a piece for another time, a long piece as well…

I mention my age because I lived through the long hot summer of 1976. A number of Boomers have been accused of harking back to their experiences of the long, hot summer of 1976 in the UK, saying that they ‘just got on with it’ and moaning at people being ‘snowflakes’ in the current heatwave. Yes, some Boomers have been saying this. I’m emphatically not one of them! I also think that some people have been making up stories about Boomers coming out with some utter crap about 1976 because they’ve got themselves sucked into this pointless inter-generational conflict.

The long hot summer of 1976 was an ordeal, that’s for sure. People did die because of the heat. There was a drought and water shortages were something we had to deal with. There were numerous wildfires on the hills and moors. There was a simmering undercurrent of tension as the cracks in the social contract started to become clear to see. The riot at the end of the Notting Hill Carnival on the August Bank Holiday weekend was a taste of what was to come over subsequent decades. As was the start of the punk movement when disaffected youth started to kickback against what they saw as stifling social mores.

There’s a lot of misplaced nostalgia amongst some of my age group for 1976 in particular and the 1970s in general. Misplaced because any objective assessment of that decade can tell you that in all honesty, it was pretty shite. Why there is this misplaced nostalgia is probably the subject of yet another piece that needs to be written…

The one thing the summer of 1976 was not and that’s as hot, humid and sodding uncomfortable as the last few days have been. This is the first time in the seventy years I’ve been alive that I’ve experienced a combination of heat and humidity that is as debilitating as this. I’m saying this as someone who, apart from a few issues with having to use catheters to urinate, is in reasonably good health. For anyone who’s not in good health, this combination of heat and humidity is bad news, quite possibly deadly.

From buildings designed to retain heat in the winter months through to a lack of air conditioning, we’re simply not equipped to deal with the conditions that are being inflicted upon us at the moment. This is not just homes but also schools, colleges and a range of other public buildings. Then there’s the seeming lack of any contingency planning to deal with the consequences of this heat and humidity. Also, the general enshittification of modern life that leaves all of us more vulnerable to adverse impacts from climate events as the systems we have break down and fail to cope with them.

I’ve had reason to walk along our local high street a few times over the last few days and it’s like a ghost town. It almost felt like the early days of the lockdown of 2020. A number of schools have had to close because their buildings are not designed to cope with these conditions. A number of cafes and coffee shops have shut their doors over the last few days. I honestly don’t blame them. How can anyone expect a chef to slave away in a kitchen when the temperature, in old money, is going to be over 100F? A number of shops closed early because come the afternoon, the high street was pretty much empty. What is the point of keeping a shop with no air conditioning open if no one is coming in through the door?

If anyone one is having a moan about all of this, they seriously need to take a long hard look at themselves in the mirror. Also, if anyone in the ‘truther’ community is having a moan about the mini-lockdown that has taken place, they need to take some time out to think about how that moaning contributes to the strategy of divide and rule, and consider that they may in fact be a part of the problem.

As for the causes of this heatwave, there isn’t a debate about it. Well, not a reasoned debate that allows for nuance and grey areas. There’s been a lot of tribalist trench warfare that’s stood in for a rational, fact based discussion about the weather we’ve been experiencing recently. One the one hand, there are those who are convinced that we’re now experiencing the payback for what they think is unchecked global warming. On the other hand, there’s the ‘drill baby, drill’ crowd claiming that global warming is utter tosh and that industrial civilisation should carry on unchecked. Then there are a fair number of us not falling for getting dragged into this trench warfare because it only serves the agenda of the shady psychopaths in the background who wield the real power and want us divided.

What I will add are my observations from looking up at the sky over the last few days where I am in Keynsham, on the border between Somerset and Gloucestershire. On Monday (22.6), the day started off with a sky that looked as though high level aircraft were drawing up a giant grid for a game or two of noughts and crosses. As to whether the trails from these aircraft were chemtrails or contrails is the subject of a slanging match – reasoned debate doesn’t really enter into that. As Monday proceeded, those trails merged to form a blanket of cloud. One that kept getting darker and darker until come the evening, a massive thunderstorm which had been slowly tracking its way up from Devon finally hit us, making its mark with a lot of flash flooding across the region.

Thunderstorms normally help to clear the air a bit. This one didn’t. Tuesday, Wednesday and today saw a hazy, milky blue sky. Only just about blue though because of the haze. Not the kind of sky I remember seeing during the long hot summer of 1976. As already mentioned, these three days also gave us a degree of humidity I’ve never experienced before in my life.

I’ve been looking up into the daytime sky since Tuesday and guess what – I’ve not seen a single trail coming out the back of a high flying aircraft. Have all the airlines ceased to fly? I don’t think so. What appears to have ceased for the moment is the pumping out of anything that would form a trail. What it subjectively feels like we’ve got is a haze that’s keeping the heat in to the point it’s becoming unbearable. As this piece is merely my initial thoughts on what has been a weird few days, I’ll admit that the proposition that the weather is somehow being engineered is one that needs further investigation. Suffice to say, I’m keeping an open mind on this.

Then in the middle of all of this weather related weirdness Kier Starmer resigns as the Prime Minister of the UK. Stepping forward in a bid to assume that role is one Andy Burnham, the former mayor of Greater Manchester and as of Thursday 18th June, the elected MP for the constituency of Makerfield after a by-election was called following the ‘departure’ of the previous incumbent. At the time of writing, no other candidate has thrown their hat into the ring so it looks like a straightforward coronation for Burnham as leader of the Labour Party and the Prime Minister of the UK. Starmer was obviously deemed a liability by the shadowy bastards in the background pulling the strings, hence the rushed coronation of Burnham, someone they think will be a more effective World Economic Forum stooge.

Since 2016, we’ve had David Cameron, Theresa May, Boris Johnson, Liz Truss, Rishi Sunak (all Tories) and Kier Starmer (Labour) as Prime Ministers who have been and gone. The (dis)United Kingdom is starting to look like a basket case, isn’t it? All part of a strategy of controlled demolition that’s designed to wean us mere plebs off of the illusion of democracy? That’s certainly something to consider isn’t it?

As the title of this piece states, it has been a weird week and, it’s not over. I just thought it was worth getting my initial thoughts about how weird it’s been written down for posterity. Essentially, this is me thinking out loud while writing what to all intents and purposes is a mere snapshot in time. Which essentially applies to quite a few pieces I’ve written over the years. The question is, how long will it be before ‘events’ play out and make this piece redundant? Only time can tell. Anyway, I’ve flagged up a few themes that deserve some deeper investigation. More will follow, trust me on that...

 
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from An Open Letter

Today I called out of work because I was emotionally feeling that drained. If I’m being completely honest I don’t really wanna get into it right now, and so I just won’t. I will say that I do feel like I am seeing tangible growth in myself, both in the way that I handle communication, and in the way that I respect my need for time or space before I handle something, as opposed to acting out of emotion.

I went to the gym and I felt really weak because I’m sick and drained, and when I got home after doing other stuff I decided I might as well just take a Polaroid of my body because I was walking around shirtless and I kind of did like the way that I looked. Or at least it felt like it was a familiar thought to feel happy with how I look even if I don’t necessarily fully feel it. And I was hoping that have a nice Polaroid would make me feel good, but on the first one my face was in it and I didn’t know and so I wasn’t making any real expression and I look psychotic and I don’t like the way I look there. I was going to throw away the Polaroid, even though in my scrapbook I have kept every Polaroid even the ones that don’t develop or developed poorly. I decided to try to use my lighter to get the photo to essentially sensor my face, but it ended up just burning the Polaroid. I felt like it was almost poetic in a sense, the burn marks over my face to cover my insecurities and to try to mask it with my body. And it feels almost like intentional objectification of myself, as a way to distract from flaws. To provide my own value in such a clear unconnected sense.

 
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from Hiroaki Satou's Music Blog

There is a genre called post-rock. Layers of sound interweave, guitars stack upon guitars, and textures emerge that seem impossible for any ordinary band to produce. Since Godspeed You! Black Emperor and Mogwai earned their worldwide reputations, the genre has been associated with a certain kind of grandeur — sound accumulated in the studio, effects piled on effects, sonic architecture meticulously constructed in a DAW. That became one of post-rock's defining templates.

But a band from Kent, Ohio called The Six Parts Seven did something else entirely.

Human Beings, Gathered Together, Making Sound

The Six Parts Seven was founded in 1995 by the Karpinski brothers — Allen on guitar and Jay on drums. Tim Gerak joined as a second guitarist in 1997, and from there the lineup remained fluid, though the three of them stayed at the core.

Their instrumentation was distinctive: multiple clean-toned (undistorted) electric guitars, bass, and drums, joined by electric lap steel guitar, vibraphone, grand piano, and occasionally viola or trumpet. Rather than strumming chords, each instrument carried a single-note melodic line, and the sound arose from the way those lines intertwined.

What matters is that this was not the product of DAW-based overdubbing — it was the sound of real musicians gathered in a real studio. Everywhere and Right Here (2004) was recorded at Magnetic North in Cleveland. Little live footage survives, so the full picture is hard to verify from video alone. But this is not music assembled from dozens of retakes and edited together in a DAW. It is the sound of people in a room, listening to each other, playing — and that is what gives it its particular texture.

Suicide Squeeze Records, and Silence

The Six Parts Seven released their records on Suicide Squeeze Records, an independent label founded in Seattle in 1996. It began with singles from Elliott Smith and Modest Mouse, and over time its roster came to include The Black Keys, Russian Circles, and Iron & Wine — a label with genuine standing in the indie world.

And yet The Six Parts Seven never broke through.

The fact that their music was regularly used as background and transition music on NPR's All Things Considered says everything about where they stood. The music played. The name never stuck. One reviewer put it plainly: the band tended to be overlooked because it had no vocalist. Sigur Rós, he noted, owed much of its popularity to the presence of a singer — even one singing in Icelandic that almost no one could understand, that voice created a kind of gravity. Whether Six Parts Seven would ever cross that invisible line, he wasn't sure.

In 2008, the band went on indefinite hiatus.

Everywhere and Right Here (2004)

This is their finest work. Eight instrumental tracks, most running over five minutes, drawing the listener quietly deeper through repetition and subtle variation.

“What You Love You Must Love Now.” “Already Elsewhere.” “A Blueprint of Something Never Finished.” The titles function like poetry. The music speaks only in sound, and leaves its resonance only in sound. The sweet tone of the lap steel, the clear ring of the vibraphone, the layered harmonics of multiple guitars moving together. All of it achieved without electronics, through nothing but human performance.

Further Listening

Things Shaped in Passing (2002) was their first album for Suicide Squeeze. The vinyl pressing was limited to 500 copies — a modest release by any measure — yet one Discogs commenter called it “one of the most important instrumental rock albums ever recorded.” With the addition of lap steel and piano, it was the first record to capture the band's sound in its fully realized form. AV Club described it as offering “the attentive listener a brief mental vacation to a stark but scenic landscape.”

Casually Smashed to Pieces (2007) was their final studio album, recorded at Studio Litho in Seattle and the Ice House in Akron, Ohio, with a wide cast of guest musicians. The band entered hiatus the following year.

There is music that was never spoken of loudly, yet existed with an unmistakable completeness. The Six Parts Seven were that kind of band.

 
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from Hiroaki Satou's Music Blog

post-rockというジャンルがある。多重レイヤーの音が絡み合い、ギターが幾重にも重なり、通常のバンド編成では不可能なはずのテクスチャーが広がる音楽だ。Godspeed You! Black EmperorやMogwaiが世界的な評価を得て以降、このジャンルはある種の「壮大さ」と結びついて語られることが多い。スタジオで音を積み上げ、エフェクトを重ね、DAWで緻密に構築された音の建築物——それがpost-rockのひとつの定型になった。

だが、オハイオ州Kentから現れたバンド、The Six Parts Sevenはまったく異なるやり方でそれをやってのけた。

人間が集まって、音を鳴らした

The Six Parts Sevenは1995年、KarpinskiブラザーズのAllen(ギター)とJay(ドラム)によって結成された。1997年にギタリストのTim Gerakが加わり、以降はメンバーが流動しながらも核となる三人を中心に活動を続けた。

このバンドの楽器編成が独特だった。複数のクリーントーン(歪みなし)エレキギター、ベース、ドラム。そこにエレクトリック・ラップスティールギター、ビブラフォン、グランドピアノ、ときにビオラやトランペットまで加わる。コードをかき鳴らすのではなく、それぞれの楽器が単音のメロディラインを担い、それが絡み合うことでサウンドが立ち上がる。

重要なのは、これがDAWによる多重録音ではなく、実際に複数のミュージシャンがスタジオに集まって演奏した音だということだ。2004年のアルバム Everywhere and Right Here はクリーブランドのMagnetic Northスタジオで録音されている。ライブ映像がほとんど残っていないため、その全貌を映像で確認することは難しい。だが少なくとも、DAWで何十テイクも録り直して組み上げたような音ではない。人間が部屋に集まり、耳を傾け合いながら鳴らした音がそのまま作品になっている——その手触りが、このバンドの音楽の本質だ。

Suicide Squeeze Records、そして静寂

The Six Parts Sevenが在籍したSuicide Squeeze Recordsは、1996年にシアトルで設立されたインディーレーベルだ。Elliott SmithやModest Mouseのシングルから始まり、The Black Keys、Russian Circles、Iron & Wineなども名を連ねた、インディー界では誠実な評価を得るレーベルだった。

それでも、The Six Parts Sevenの音楽は届かなかった。

NPRの報道番組 All Things Considered のBGMや転換音楽として彼らの曲が使われていたという事実が、その立ち位置を象徴している。音楽は流れた。でも名前は残らなかった。あるレビュアーはこう書いている——「ボーカリストがいないせいで、このバンドはいつも見過ごされてきた。Sigur Rósがあれほど人気なのは、誰もアイスランド語を理解できなくてもヴォーカリストの存在がある種の引力を生むからだ。Six Parts Sevenがその見えない線を越えられるかどうか、私にはわからない」と。

2008年、バンドは活動休止状態に入った。

Everywhere and Right Here(2004)

このアルバムが彼らの到達点だ。8曲、いずれもインストゥルメンタル。5分を超える曲が多く、反復とわずかな変化によって聴き手を静かに深いところへ連れていく。

「What You Love You Must Love Now」「Already Elsewhere」「A Blueprint of Something Never Finished」——曲名自体が詩のように機能している。音だけで語り、音だけで余韻を残す。ラップスティールの甘い音色、ビブラフォンの澄んだ響き、複数のギターが作る立体的なハーモニー。これだけの楽器を、エレクトロニクスに頼らず人間の演奏で成立させている。

合わせて聴くべき作品

Things Shaped in Passing(2002)はSuicide Squeeze移籍後の初作。ヴァイナルは500枚限定プレスという小さなリリースながら、Discogsでは「インストゥルメンタル・ロック史上最も重要なアルバムのひとつ」という声もある。ラップスティールとピアノが加わり、バンドのサウンドが最初に完成した形で記録された一枚だ。AV Clubはこのアルバムを「注意深く聴く者にとっては、荒涼としながらも美しい風景への短い精神的な旅」と評した。

Casually Smashed to Pieces(2007)は最後のスタジオアルバム。シアトルのStudio Lithioとオハイオのアクロンで録音され、多くのゲストミュージシャンを迎えた集大成的な作品。バンドはこの翌年に活動休止に入る。

大きな声で語られることなく、しかし確かな完成度とともに存在した音楽がある。The Six Parts Sevenはそういうバンドだった。

 
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from The disconnect blog

Have you ever heard the argument that we use paper money because of how heavy metal is? You wouldn’t want to lug around all of that heavy gold would you? Well that argument is pretty silly because there were banks that people used and checks were normal. But if you want to carry around your paper dollars or gold coins it’s now heavier and MUCH bulkier to carry around all that paper. Check out the numbers below. We’ll go over USD for this fun mathematical exercise. Each bill denomination is very close in size and weight.

  • 6.890922 inches cubed for a stack of 100 dollar bills
  • .06890922 inches cubed per dollar bill
  • each bill weights about 1 gram
  • 0.1064 inches cubed for one troy oz gold
  • each troy oz gold = 31.1 grams
  • 1.544060432 bills = same volume as 1 troy oz gold
  • 31 bills = same weight as one troy oz gold
  • USD value 1913 = $20.67 per oz (creation of the private federal reserve central banks)
  • revalued 1934 to $35 per oz
  • gold standard ended 1971 $40+ per oz (beginning of petrodollar)

So up to this point it was a decent argument. As the dollar has plummeted in value this argument has become more and more ridiculous. Maybe that’s why you don’t hear people say it as much today. I have heard this argument recent enough and I wanted to see how legitimate it is anymore.

Today 1oz gold is around $4,000. It peaked around $5,600 before the Iran war, or conflict, or whatever that all is.

4,000 $1 bills = one troy oz gold value today

  • 2,590 X space of one gold coin
  • 128.6 X weight of one gold coin

200 $20 bills = one troy oz gold value today

  • 129.5 X space of one gold coin
  • 6.43 X weight of one gold coin

40 $100 bills = one troy oz gold value today

  • 25.9 X space of one gold coin
  • 1.29 X weight of one gold coin

Wish more people wanted to use gold and silver now and skip the fraudulent fiat paper.

Further information:

The Creature from Jeckyll Island: A Second Look at the Federal Reserve – book by G. Edward Griffin

Century of Enslavement: The History of the Federal Reserve – documentary by James Corbett

 
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from Hiroaki Satou's Music Blog

serph is a Tokyo-based electronic musician. Since his debut in 2009, he has built a sonic world unlike anyone else's, drawing on jazz, techno, classical, and film music. At the heart of his music lies a layered melodic architecture — multiple instruments trading a single phrase, passing it hand to hand — combined with an density of editing that defies comparison. Early years spent making music out of hunger, in near-total solitude. A life-changing encounter through the N-qia project. And in 2026, the release of Destiny Land, an album made with something lighter in its step. This article traces the arc of serph as a musician.

This article revisits serph, who was featured in an earlier post: “Three Incredible Japanese Indie Musicians You Need to Hear”. That piece left too much unsaid, so this is a dedicated deep dive.

Who Is serph?

serph is a solo project by a man based in Tokyo. He debuted in 2009 with accidental tourist, an album completed just three years after he began learning piano and composition. Since then, he has released work at a steady and prolific pace. Drawing on jazz, techno, classical, film music, and progressive rock, he has built a sound that is entirely his own.

Early Masterwork ①: vent

vent, released in 2010, was the album that introduced serph's musical voice to the world.

What makes it unusual is how the instruments behave. Rather than a single instrument carrying a melody from beginning to end, multiple instruments take turns — passing the phrase between them, layering as they go. A piano states a motif, a synth picks it up, strings weave in, a woodwind adds the accent. Before you realize it, a full architectural structure of sound has risen around you.

To call it escapism would be to underestimate how precisely this escape has been designed.

Early Masterwork ②: Heartstrings

Heartstrings (2011) is the album most widely recognized as serph's defining work.

What stands out is the sheer density of sound. In three or four minutes, he packs in more than most producers would attempt in twice the time. serph himself put it plainly in an interview: “I want to cram in the feeling of being alive — that sense of 'music is incredible' — into three or four minutes.” And: “I probably won't be going in a minimal direction.”

The Same Music Sounds Different Depending on Where You Hear It

Something worth saying plainly: this music is not the same experience on every playback system. On cheap speakers or earphones, the sheer volume of sound can collapse into a wall of noise. The layered textures, the depth of the space, the placement of each instrument — these only resolve into something you can actually hear when the system is up to the task.

That serph chose to make music this dense — knowing what it would mean for commercial reach — says something about the kind of artist he is. He knew this road didn't lead to mainstream success. He took it anyway.

Why He Remains Unknown Outside Japan

Looking at the broader scene that emerged from the noble label, two peers stand out for their international reach: kashiwa daisuke and world's end girlfriend. kashiwa daisuke released his debut on the German label onpa, and in 2009 toured eight cities across Europe including a performance at Berghain in Berlin. world's end girlfriend, operating through his own Virgin Babylon Records, had Seven Idiots distributed in the US and UK via the London-based Erased Tapes Records, with licensing across Asia.

What these two have in common is a particular kind of sound — music that sits at the intersection of crushing intensity and near-ambient space. That combination translates into the post-rock and shoegaze vocabularies that English-language media know how to reach for. Pitchfork can place it. So can The Wire.

serph's music resists that framing entirely. The melodic layering, the density of the edits — it doesn't fit neatly into post-rock, ambient, or electronica as those terms are used internationally. Pitchfork has never reviewed him. Neither has Rolling Stone or AllMusic. Heartstrings has 46 ratings on Rate Your Music and around 5,700 listeners on Last.fm. Those numbers bear no relationship to the quality of what's there.

The reason serph is unknown outside Japan is not a question of quality. It is that his music refuses to sit inside any category that already exists.

Below, for comparison: an early work by kashiwa daisuke, and one of the more accessible tracks from world's end girlfriend.

Work That Costs Everything

Anyone who has made music with a DAW will understand this intuitively.

Stacking dozens of sounds onto a single track, adjusting the volume, panning, EQ, and timing of each one individually, then balancing the whole — this is work that demands enormous concentration and enormous amounts of time. A single bar can take hours to complete. That serph has reported making around 300 tracks a year gives some sense of what this commitment actually looks like.

Now add the knowledge that the work will not be commercially rewarded. Choosing to build music at a density that overwhelms most playback systems means giving up on most potential listeners from the start. Maximum effort, minimum return — and yet the work continues. In that sense, calling it a life-or-death undertaking is not an exaggeration.

Before his debut, serph said this: “I make music every day to satisfy a kind of mental hunger.” He was isolated, socially adrift, unable to find his place. Music was the only space where he was allowed to exist. That hunger was what produced the density.

The Encounter That Changed Everything: N-qia

To understand how serph's music changed, you have to understand N-qia.

Around 2010, a vocalist named Nozomi sent a message to serph through MySpace: “Please let me sing.” He listened to her demo without high expectations, then met her, and they started making music together. That was N-qia — and later, a marriage.

In a 2016 CINRA interview, serph described what the encounter meant: “Meeting her, I rediscovered a version of myself that could be open and uncomplicated. The suspicion I'd carried for so long just gradually loosened.”

In an earlier interview, he had described making music from a place of “mental hunger.” That hunger had roots — isolation, a sense of not belonging, accumulated self-negation. Music was the “escape.” But Nozomi slowly changed that structure.

By 2018, he was saying: “I used to say I made music out of hunger. Now it's the complete opposite.”

The music he had made at such cost, having mastered it completely, was beginning to feel lighter.

2026: Destiny Land

On March 6, 2026, serph released Destiny Land — eleven tracks, his latest album.

The density is still there. So is the layered architecture that has defined his sound since Heartstrings. But something has shifted. There is a looseness to it, a sense that the music is being made from a different place than it once was — not from hunger, but from something more like fullness.

Beyond the Flood

serph's music makes demands of the listener's equipment. That is not a barrier — it is an invitation.

He chose density over accessibility, craft over commerce, and kept choosing it through years when the choice cost him enormously. That commitment is audible in every track. And now, for the first time, the music carries something the early work didn't quite have: the sound of someone who has come through the other side.

Listen to Destiny Land on the best system you have access to.

 
もっと読む…

from Hiroaki Satou's Music Blog

概要 serphは東京を拠点とする電子音楽家だ。2009年のデビュー以来、ジャズ、テクノ、クラシック、映画音楽を横断しながら、他の誰にも似ていない音響世界を構築してきた。その音楽の核心にあるのは、重層的な楽器の交代によるメロディーの構築と、常人離れした密度のエディットだ。商業的成功とは相容れない道を選び、飢餓感の中で作り続けた初期。N-qiaという活動を通じた人生の転換。そして2026年、肩の力が抜けた新作Destiny Landのリリース——この記事はserphという音楽家の軌跡を追う。

この記事は以前掲載した「もっと知られてほしい日本のインディーミュージシャン3組」でserphを取り上げたが、紹介しきれなかった部分が多かったため、改めて単独で掘り下げることにした。

serphとは

serphは東京在住の男性によるソロ・プロジェクト。2009年、ピアノと作曲を始めてわずか3年で完成させたアルバム『accidental tourist』でデビュー。以来、コンスタントに作品をリリースし続けている。ジャズ、テクノ、クラシック、映画音楽、プログレなど多彩な要素を取り込みながら、独自の音響世界を構築してきた電子音楽家だ。

初期の傑作①:vent

2010年リリースの2ndアルバム『vent』は、serphという音楽家の輪郭を世に知らしめた作品だ。

この作品の特異さは、楽器の使い方にある。ひとつのhttps://write.as/hiroaki-satou/yin-nohong-shui-nini-reru-serphnoshi-jie/editメロディーラインを単一の楽器が担うのではなく、複数の楽器が交代でそのメロディーを受け渡しながら、重層的に積み上げていく。ピアノが提示したフレーズをシンセが引き継ぎ、そこにストリングスが絡み、管楽器がアクセントを加える——気づけば音の建築物が目の前にそびえ立っている。

初期の傑作②:Heartstrings

2011年の『Heartstrings』は、serphの代表作として広く認知されている。

この作品で顕著なのは、音の密度の凄まじさだ。3〜4分という短い尺の中に、これでもかと音が詰め込まれている。serph自身、インタビューでこう語っている——「3、4分の中で、とにかく生きている実感というか、音楽ヤバい!という感覚をぶち込みたい」「ミニマルな方向は自分はたぶん行かない」と。

再生環境が変わると、別の音楽になる

正直に言っておきたいことがある。この音楽は、再生環境によって全く異なる体験をもたらす。安価なスピーカーやイヤフォンでは、音の洪水に飲み込まれて轟音になってしまうことがある。細部に折り重なった音の層、空間の奥行き、各楽器の定位——それらはある程度の再生環境があって初めて解像度を持って聴こえてくる。

それほどまでに緻密なエディットを施した音楽が商業的に成功しにくいことは、serph自身が誰よりもよく知っているはずだ。それでもその道を選び、極め続けた。

なぜ海外で知られていないのか

同じnobleレーベルから生まれた日本エレクトロニカのシーンを見渡すと、kashiwa daisukeとworld's end girlfriendはいずれも海外との接続に成功している。kashiwa daisukeはデビュー作をドイツのonpaレーベルからリリースし、2009年にはベルリンのBerghainを含む欧州8都市でツアーを行った。world's end girlfriendは自身のレーベルVirgin Babylon Recordsを拠点にしながら、UK拠点のErased Tapes Recordsが欧米での配給を担い、アジア各国でもライセンスされた。

両者に共通するのは音楽性だ。暴力的なまでの音圧と、アンビエントに近い空間感の共存——それは言語を超えてポストロックやシューゲイザーの文脈で受容されやすい音楽だった。Pitchforkをはじめとする英語圏メディアもこの文脈で語ることができる。

serphの音楽はその構造が根本的に異なる。重層的な楽器の交代と、濃密なメロディックエディットは、ポストロックやアンビエントの文脈に単純には収まらない。PitchforkもRolling StoneもAllMusicも、serphを取り上げたことがない。Rate Your MusicでのHeartstringsの登録数は46件、Last.fmのリスナー数は約5,700人にとどまる。この数字は、その音楽の完成度とはおよそ釣り合わない。

serphが海外に知られていない理由は、音楽の質の問題ではない。その緻密さが、既存のカテゴリに収まることを拒んでいるからだ。

Daisuke Kashiwaの初期の代表作

World’s ends girlfriendsの曲の中でもポップで聴きやすい作品の一つ

命懸けの作業

DTMで音楽を作ったことがある人なら、直感的にわかることがある。

ひとつのトラックに何十もの音を重ね、それぞれの音量・定位・EQ・タイミングを微調整し、全体のバランスを整える作業は、集中力と時間の消耗が極めて激しい。一小節を仕上げるのに何時間もかかることがある。serphが年間300曲ほど制作していると語っているのは、その作業量の凄まじさを物語っている。

さらに、その緻密さが商業的成功と相容れないことをserph自身が知っている。再生環境によっては轟音になるほどの密度で音を重ねるということは、大多数のリスナーへの訴求を最初から手放すことを意味する。労力は最大、リターンは最小——それでも作り続けるという選択は、精神的なコストという意味でも、命懸けの作業と呼ぶに値する。

デビュー前、serphはこう語っていた。「精神的な飢餓感を満たすために毎日曲を作っている」。孤独と社会的不適合感の中で、音楽だけが唯一の居場所だった。その飢餓感が、あの密度を生み出していた。

N-qiaという出会い

serphの音楽の変遷を語るとき、N-qiaというユニットを避けることはできない。

2010年頃、MySpaceでボーカリストのNozomiから「歌わせてください」というメッセージが届いた。serphは軽い気持ちで音源を聴き、会い、一緒に音楽を作り始めた。それがN-qia——後に夫婦ユニットになる出会いだった。

2016年のCINRAのインタビューで、serphはその意味をこう語っている。「彼女と出会って、素直でいられる自分を再発見して、猜疑心みたいなものがどんどんほぐされました」。

デビュー前、serphは「精神的な飢餓感を満たすために毎日曲を作っている」と語っていた。その飢餓感がどこから来ていたか——孤独、社会への不適合感、自己否定の蓄積。音楽はその「逃げ場」だった。

しかしNozomiとの出会いは、その構造を少しずつ変えていった。2018年のインタビューでは「飢餓感で音楽を作ってるという話をしたと思うんですけど、今は真逆なんですよ」と語っている。

命懸けで作り続けた音楽が、その道を極めたことで、少しずつ軽くなっていった。

2026年新作:Destiny Land

2026年3月6日、serphは新作アルバム『Destiny Land』を11曲でリリースした。

『Heartstrings』以来の密度と、N-qia以降に獲得した軽やかさが共存している。重層的な音の構築はそのままに、どこか肩の力が抜けた感触がある。飢餓感ではなく、充足から生まれた音楽の手触りだ。

音の洪水の先に

serphの音楽は、再生環境を要求する。それは敷居ではなく、招待状だと思う。

轟音になりうるほどの密度で音を重ね、商業的な成功とは相容れない道を選び、それでも作り続けてきた。そのストイックさが音楽に染み込んでいる。そして今、その音楽はかつての飢餓感ではなく、解放の感触を帯びはじめている。

Destiny Land を、できれば良い環境で聴いてほしい。

 
もっと読む…

from Hiroaki Satou's Music Blog

On May 29, 1997, in Memphis, Tennessee, Jeff Buckley walked down to Wolf River — a tributary of the Mississippi — with a friend. He was in town recording his second album. He waded into the water fully clothed and disappeared. His body was found six days later. He was thirty years old. The autopsy found no alcohol or drugs in his system. The fact that he was still dressed when he entered the water is among several details that have never been fully explained. That mysterious end has only deepened the legend of a man who left behind just one album.

That album was Grace, released in 1994.

A Music of Unlikely Mixtures

Jeff Buckley was born in 1966 in Anaheim, California. His father was the folk singer Tim Buckley, but Jeff was raised apart from him and the two had almost no relationship. He eventually made his way to New York, where he built a following playing solo at a small East Village club called Sin-é, and signed with Columbia Records. Grace came out in August 1994.

What makes Grace such a singular record is its musical promiscuity. The hard rock intensity of Led Zeppelin, the soul and jazz of Nina Simone, the spiritual vocal ecstasy of Pakistani qawwali singer Nusrat Fateh Ali Khan — all of it was somehow channeled through one voice and one guitar. Buckley once described himself in his own press bio as “the warped lovechild of Nina Simone and all four members of Led Zeppelin.”

The album's most celebrated track is a cover of Leonard Cohen's “Hallelujah.” Cohen wrote the original in 1984, a work dense with religious and poetic weight. Buckley's direct reference point, however, was not Cohen's version but the spare 1991 recording by former Velvet Underground member John Cale — piano only, stripped of the synth-heavy original arrangement. Buckley took that as his starting point and rebuilt the song into something entirely his own: sensual, almost unbearably fragile, yet emotionally overwhelming. Today, when people say “Hallelujah,” they mean Buckley's version. The cover has eclipsed the original.

“Lover, You Should've Come Over” is perhaps the most purely lyrical moment on the record — the side of Buckley that was above all a songwriter. The vocal delicacy and the density of the words occupy the same space without crowding each other.

Why Britain Claimed Him

Grace sold poorly in the United States on release. In Britain, the reaction was different. Critics recognized something singular in it immediately, and a devoted audience followed. David Bowie cited it in Pulse as one of the albums he would take to a desert island. Bono called Buckley “a pure drop in an ocean of noise” in the U2 fanzine Propaganda and dedicated multiple shows on the PopMart tour to him.

Part of what drew British audiences to Buckley was the nature of his voice itself. A staggering four-octave range, an absolute commitment to emotional honesty, and the freedom to move between falsetto and full-throated power without it ever sounding mannered — it spoke directly to what British rock in that moment was reaching for.

Legacy Part One: Thom Yorke and “Fake Plastic Trees”

On September 1, 1994, Radiohead and their producer John Leckie attended a Jeff Buckley show at The Garage in London. They were in the middle of recording The Bends and struggling. Buckley played alone — just a Telecaster and a pint of Guinness. Bassist Colin Greenwood later recalled it in an interview with Uncut: “It was just fucking amazing, really inspirational.”

The next day, Yorke went back into the studio and recorded “Fake Plastic Trees” alone on acoustic guitar. He played three takes and then burst into tears. He didn't want to use the recordings — “too vulnerable,” he said. His bandmates convinced him otherwise. Those takes became the final version. Producer Leckie described what the Buckley concert had unlocked: “It made him realize you could sing in a falsetto without sounding dripping.”

Legacy Part Two: Chris Martin and “Shiver”

In a 2008 interview on BBC Radio 1, Coldplay's Chris Martin was asked about the band's debut single “Shiver.” His answer was unambiguous: “It's a blatant Jeff Buckley attempt. Not quite as good, that's what I think. We were 21 and he was very much a hero, and as with those things it tends to filter through.”

In a separate interview, Martin went further: “One of the key people who's responsible for us being a band is probably Jeff Buckley. His music was so powerful — that's when we were getting the band together, and I certainly found a lot of inspiration in it, to the point of trying to actually sound like him for at least the first few singles.”

Where His Voice Reached — Further Testimonies

Radiohead and Coldplay are only the most documented cases. The reach of Grace extended well beyond them, across generations and genres.

Jimmy Page (Led Zeppelin) In a 2003 interview, Page said: “Nothing has had the impact on me that Jeff Buckley did.” He and Robert Plant made a point of going to see Buckley live, and Page described the experience as “absolutely scary.” Watching Buckley play in standard tuning what seemed impossible, he said: “I thought, oh gee, he really is clever, isn't he?”

Elton John When asked by Mojo to name his all-time favourite album, John cited Grace: “Like an album made by someone from another planet.”

Bono (U2) Listening to “Hallelujah” on the radio, Bono said: “I was just envious — just raw envy.” He singled out Buckley's 22-second held note and added: “For me, as a singer, it's very humbling.”

Chrissie Hynde (The Pretenders) “He was such a great guitar player, Jeff. When someone is a good singer and songwriter you tend to overlook that, but he was a shit-hot guitar player — he really blew us away that night when we saw what he was really up to with the guitar.”

Matt Bellamy (Muse) Bellamy acquired the Fender Telecaster Buckley had used on stage and in the studio. “I didn't buy it to hang it on the wall,” he said, “but to actually use it and keep this guitar part of music. I'd like to believe that's what Jeff would have wanted.”

The Unfinished

When Buckley died, the sessions for his second album — working title My Sweetheart the Drunk — had barely begun. The demos and studio recordings that existed were released posthumously as Sketches for My Sweetheart the Drunk, but no one listening could mistake them for a finished work.

With a single album, Buckley changed the course of British rock. An American, he reached into the heart of the British scene and left his mark on some of its most defining music. What he might have made next is a question that will never have an answer. Which is perhaps why Grace keeps sounding the way it does — like something that isn't finished yet.

 
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