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Coming up in this episode 1. Internet woes, part deux. 2. Knocking them over, one at a time... 3. Angry Birdsite? 4. Knock knock. What's the password? 5. We get the explanation. The Video https://youtu.be/4MStcMU9py4 0:00 Cold Open 1:30 ISP Woes 7:37 The Linux User Space Curse 17:32 The Fediverse is Booming 34:32 Managing Your Passwords 52:07 A Little More Feedback 1:02:37 Veronica Explains 1:07:03 Pass 1:18:54 Stinger Banter Leo has Internet woes. Dan's Curse! The Ransomware Files closes up shop (https://twitter.com/ransomwarefiles/status/1589446921709813760?t=SVhE-gWYIfpWmtMggF5OJg&s=19) Announcements Give us a sub on YouTube (https://linuxuserspace.show/youtube) You can watch us live on Twitch (https://linuxuserspace.show/twitch) the day after an episode drops. Fediverse is booming and Twitter is imploding. Micro services are bloat (https://twitter.com/kenklippenstein/status/1592259938109521922) One of those microservices just happened to be 2FA (https://www.wired.com/story/twitter-two-factor-sms-problems/)... Fired in a Tweet? (https://twitter.com/unusual_whales/status/1592256946001813504?s=20&t=TIeQZPr16sRirhtmGU6oxQ) Forbes coverage (https://www.forbes.com/sites/cyrusfarivar/2022/11/14/musk-fires-twitter-engineer-on-twitter-cowards/) Mastodon reaches 1M active monthly users. (https://www.bleepingcomputer.com/news/technology/mastodon-now-has-over-1-million-users-amid-twitter-tensions/) But really... (https://mastodon.help/instances) It is more like 4.6M and 5700 instances total and climbing. Raspberry Pi creates its own Mastodon instance (https://www.raspberrypi.com/news/an-escape-pod-was-jettisoned-during-the-fighting/). Vivaldi follows their lead (https://vivaldi.com/blog/news/vivaldi-social-a-new-mastodon-instance/). Housekeeping Catch these and other great topics as they unfold on our Subreddit or our News channel on Discord. * Linux User Space subreddit (https://linuxuserspace.show/reddit) * Linux User Space Discord Server (https://linuxuserspace.show/discord) * Linux User Space Mastodon (https://linuxuserspace.show/mastodon) * Linux User Space Telegram (https://linuxuserspace.show/telegram) * Linux User Space Matrix (https://linuxuserspace.show/matrix) * Linux User Space Twitch (https://linuxuserspace.show/twitch) * Linux User Space Twitter (https://linuxuserspace.show/twitter) Feedback Password managers u/curtistucker wrote us on Reddit (https://www.reddit.com/r/LinuxUserSpace/comments/yq7thk/id_love_hear_leo_and_dan_talk_about_password/) pass (https://www.passwordstore.org) KeePass (https://keepass.info/) Bitwarden (https://bitwarden.com/) Vaultwarden (https://github.com/dani-garcia/vaultwarden) QtPass (https://qtpass.org/) Curtis thanks for the feedback! You have a great setup going there. On Linux User Space Paul wrote us on Mastodon (https://mastodon.online/@jpholbrook/109339739028995640) It was a great thread. Bottom line is, use what you like, no shame in doing so. Even if it isn't Linux we hope you enjoy and find some value in what we are doing here. On "Where does the non-distro history go next?" Johnny, one of our fantastic patrons (https://patreon.com/linuxuserspace), gave a thumbs up to our mention of desktop environments and how often these histories would come out. He said "Hi, I vote for quality over quantity. I also vote for Leo's favorite, the history of XFCE! :D" On the Community that hasn't been Toxic? Youtube/Sigma: Nice content LUS: Why thank you! Youtube/Sigma: because I actually think it's super underrated LUS: Now you're making us blush

Episode NotesBarn on the farm of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022 (photo by me)Note: the text below is a transcription of the narration in the episode (sounds are described, with their source where possible)Welcome to episode 99 of the conscient podcast, the last episode of season 3, which you might recall was on the theme of radical listening. (fade in of sound of barn)I invite you to guess what is this space. There are some sonic clues. It's clearly an indoor space and yet there is a hollowing wind with a deep, rich texture... You can hear the gentle crackling of wood… the occasional slap of a rope… a squirrel. (fade out sound of barn)This soundscape was recorded on January 19th, 2022, in a barn, on a farm that belonged to composer R. Murray Schafer and is now the home of his wife, the singer Eleanor James. The farm is located near Indian River, Ontario, about 20k east of Peterborough which is the traditional territory of the Anishinaabe Mississauga people adjacent to Haudenosaunee Territory and in the territory covered by the Williams Treaty. I went to the farm to record winter soundscapes for this episode, Winter Diary Revisited, which is a soundscape composition dedicated to the memory of composer, writer, music educator, and environmentalist, R. Murray Schafer.1st floor of barn of R. Murray Schafer and Elanor James, near Indian River, ON, January 19, 2022Eleanor James, January 19, 2022, Indian River, Ontario (photo by me)While visiting the farm, I had a conversation with Eleanor James about Murray and his relationship to winter. Here is an excerpt:Claude: I'm with Eleanor James and I just spent some time in your barn. Thank you so much. I recorded a bunch of sounds, and I went into the forest and captured sounds of wind and some of the things that Murray and I did when we did the Winter Diary, which is to do this kind of yelling out, to enliven the space and get a feeling of it. (sound of snowshoeing and distant 'Hey' at the farm on January 19, 2022)Claude: There are so many things that you could talk about Murray. Any thoughts about soundscapes but also around recording and winter sounds? Eleanor: There's a couple of things come to mind, which are in his creative output and one of them is Music in the Cold. It's a lovely little manifesto done in an artistic style about how it's better to be in the North than in the South and that music in the cold is tougher and hardier and more austere and (laughs) so he goes into a diatribe about that kind of thing. He really is a Northern personality. So, you have to forgive him for going on a rant about it, but, of course, it was an artistic creation, so it was intended to be hyperbolic. I think it's quite delightful. It's got a midnight blue cover and then the title Music in the Cold.Speaking of which, he has written a wonderful string quartet called Winter Birds which the Molinari quartet of Montreal have recorded, in which his own voice occurs in the very last movement where he describes the winter of 2005 looking out his studio window at the birds feeding. We used to fill the feeders with seeds, and we'd have all kinds of little birds coming and fluttering and going and making little soft sounds. In the string quartet, he describes a whole event of birds, just fluttering and coming and going and the total silence surrounding them, not only acoustically, but visually as well. Nothing but the snow, just like it is today, with snow heaped everywhere and just these little birds making tiny fluttering sounds with their wings.There's also the piece that he wrote for choir called Snowforms which is actually quite popular, and he wrote it as a graphic score and it's written on a sort of pale turquoise green paper, and the choir reads the shapes of snow and again, those shapes were something that he observed looking out his studio window and drew graphically and then composed it so that pitches were associated with these tones. It's just a marvelous description of winter and so for Murray, all of the soundscape work that he was so interested in fed into his artistic abilities and his artistic gifts as a composer.Note: See String Quartet no. 10 - Winter Birds (extrait) / R. Murray Schafer for an excerpt of Winter Birds performed by the Molinari Quartet. See Snowforms for a performance of Snowforms by the Vancouver Chamber Choir.I re-read Murray's Music in the Cold book when I got back home to Ottawa, which he wrote in 1977, when I was 17. It's interesting to look back at this piece of artistic reflection and provocation. Here are the last 11 lines of the book: Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. (fade in recording of Eclogue for an Alpine Meadow)I remember back in August of 1985, the late composer Robert Rosen, Murray and I produced a series of ecological radio programs to be performed at Spry Lake, near Canmore, Alberta. Murray was in Banff to present his music theatre piece Princess of the Stars. We each wrote a piece of music for this space.  Mine was for bass clarinet and trombone called ‘Eclogue for an Alpine Meadow' . You can hear me on bass clarinet. Murray was a mentor to Robert and myself on this project, sharing his vast experience in writing music for and with a natural environment. Note: You can hear the entire piece on the Whom Am I page of the conscient podcast website. Robert Rosen, R. Murray Schafer and me in Banff in 1985 during ecological radio programs project (photo credit unknown)Excerpt of first page of my ‘Eclogue for an Alpine Meadow' for bass clarinet and tromboneMe and trombonist (name not known) at Spray Lake, Alberta, recording ‘Eclogue for an Alpine Meadow' for bass clarinet and trombone (photo credit unknown)Murray's music, and in particular his research in acoustic ecology, have had a deep influence on many composers, educators, researchers and sound artists around the world, including myself. Among other things, Murray taught me how to listen deeply, both with my ears and with a microphone.Me, Kozo Hiramatsu and R. Murray Schafer at Hör Upp! Stockholm acoustic ecology conference, Stockholm, Sweden 1998 (photo credit unknown)I remember having long conversations with Murray about listening, radio, acoustic ecology, field recording, technology, including how it make a living as a composer. Here is a short excerpt from a conversation I had with him in July of 1990 in a restaurant in Peterborough. I apologise for the poor quality of the recording, but I think you'll enjoy listening to Murray speak about the art of listening:You probe by asking further questions. Was it inside? Was it outside? Are there a lot of people assembled there? Is there nobody there? Is this in Canada? Is it outside of Canada? Is it in Europe? You heard a train. Is it Canadian train whistle or a European train whistle? You heard a language. What language was it you heard? Any of these cues that you might have heard that would help you identify where you were and then tell them afterwards where the actual recording was made but force them to really use their ears. Did you hear any birds? Did you hear any of this, did you hear any sounds that would help you to localize? I'm just saying that that's one sort of type of exercise, which I think someday somebody should put together a package, an educational package.I just feel that one has to constantly go back to nature and listen again, look again, learn again. It's as simple as that. Anytime you get too far in touch with it, you're probably going to be in trouble. If you don't know how to come, go back and look at a butterfly, because you're so spell bound by strobe lights or something, I think you're in trouble, which is not to say that you can't go back and look at it and reanalyze it. It will change things and then you go back to your old environment and see things differently. In nature, what you're so conscious of is a cycle of life and death, and rather the interchange, that almost sine wave of life and death, but also of silence and activity and that there are certain times when certain creatures are far and certain other times when they speak and that you take in the natural soundscape. Sometimes it's hard to find those rhythms in a modern urban soundscape where everybody sounds so aggressively trying to catch the attention of everyone else.Claude: they lose touch with the balance of their lives.Murray passed away on August 14, 2021, at age 88 in his farmhouse.Home of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022Studio of R. Murray Schafer, Indian River, Ontario, January 19, 2022Shortly after his passing, I was honoured to be asked to write a remembrance piece about my personal experience with Murray. This request came from Eric Leonardson, president of the World Forum for Acoustic Ecology (WFAE) an organization that Murray helped found in 1993 at the Banff Centre and that continues its good work to this day. Kirk MacKenzie and Robin Elliott of the University of Toronto also approached me to write a remembrance piece about Murray for a series of memorials they are producing about Murray and his legacy. I decided to produce a soundscape composition instead of writing an article for this remembrance piece. Here's the story.In 1996, Murray received a commission from the Akustische Kunst department of the West German Radio, the WDR, in Germany, produced by Klaus Schöning, to record a radio program about the winter soundscapes of rural Manitoba called Winter Diary. Murray had produced many radio pieces before for the CBC and the WDR, but he needed a hand with this rather large-scale production, so he hired me as a recordist, editor and mixer, but also as a driver and scout. I was 37 at the time and was about to be married to filmmaker Sabrina Mathews and start a family in Montreal, which we did.  However back then I still had the time and energy to do a 10-day road trip and to spend weeks afterwards editing it together with Murray. We certainly had a lot of fun together on that trip(sequence of Claude and Murray laughing during the recording of ‘Winter Diary' in 1997)Me in my home studio in Montreal in the 1990's (photo credit unknown)Letter from R. Murray Schafer to me, September 27, 1998Winter Diary ended up winning the Karl-Sczuka-Prize for radio art in 1998. I was deeply moved by the jury's statement, which I think captures the spirit of Murray's composition and the essence of our collaboration in its production:It is with great autonomy and imperturbability that Schafer draws the sound spectrum of a Canadian winter into his acoustic image. From the calm sequence of concise sound events an acoustic landscape emerges, almost spatial in its presence. To the point of noiselessness, of silence, everything audible is there concretely and non-arbitrarily. It is a work which ushers its listeners to a place of unhurried, patient listening, insists upon the wealth of nuances in acoustic perception, and takes a stand against sound refuse and staged hyperactivity.Scan of the first paragraph of Schafer's Winter Diary (not Dairy :-)) essay, February 15, 1997Winter-Diary-Essay-by-R.-Murray-SchaferDownloadWhile I was doing research for this piece, I found the first draft of an unpublished, 13-page essay in my archives that Murray wrote, at his farm, on February 15th, 1997, about the creation of Winter Diary. I was so excited. It's a brilliant piece of writing about our adventures in Manitoba, but the essay also includes reflections on a number of other issues: listening, art history, philosophy, his dreams, literature, and use the microphone. I decided to create a composition around his essay. A sonic illustration and interpretation of his words. But first let me tell a bit of a story about microphones. Murray had a love – hate relationship with the microphone. Here is another excerpt from that July 1990 restaurant conversation where he talks a bit more about distant listening, which is a key element of his aesthetic:If the microphone replaces your ear, there's something wrong. And as you see in a lot of our listening that the microphone has replaced the ear. The mere fact that for instance, we demand presence on all recorded sounds and they're all close mic-ed, is a recognition of the fact that the microphone, which is an instrument for getting closeups, is respected more than our own sort of hearing experience. The fact that we can no longer listen to the distance. Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.Claude (in the field from afar, recorded at Adawe Crossing, Ottawa): Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.I think you understand what I mean. Adawe Crossing, Rideau River, Ottawa where I recorded the 'distant' passage above, January 2022With the kind permission of Eleanor James, I used excerpts from Murray's essay as the narrative for the soundscape composition that you are about to hear. I did not use any of the field recordings from our original trip in 1997, outside of those few moments of laughter. Instead, I decided to record all new material during the winter of 2022, some 25 years later, not in Manitoba, but rather around where I live in Ontario and Québec, hence the idea of revisiting Winter Diary. However, I did use some field recordings from my archives, as well as a few excerpts from some of my previous soundscape compositions. All of those are noted in the episode script. Most of the soundscapes that you're about to hear are natural but a few have been transformed using tools like GRM Tools and ‘spatialisers'. I was interested in exploring that liminal space between reality and fantasy. While recording these winter soundscapes, and it's been a cold winter so far as you'll hear, I kept thinking about what the Karl Szuckaprize jury said about Murray's interest in the ‘noiselessness of silence'. I also thought about the idea of ushering the listener ‘to a place of unhurried, patient listening'.I tried to explore the idea of patient, unhurried listening in this piece as well as the notion of radical listening.Me on January 17, 2022 recording winter soundscapes in Ottawa (photo by Sabrina Mathews)Before we start, I want to let you know that some recordings are very quiet, at the threshold of what you might be able to hear on speakers or headphones so don't worry if you hear long silences or can't make out some of the detail, especially if you are in a car or in a noisier environment. You can listen to the Winter Diary Revisited again, in high resolution.I am extremely grateful for this opportunity to honour the memory of R. Murray Schafer and hope you enjoy this sonic illustration from his Winter Diary essay.ScriptNote: This script is drawn from R. Murray Schafer's Winter Diary Essay, first draft, February 15, 1997 (sounds are described with their source where possible)(door slapping and footsteps approaching the gate and mailbox at Murray's farm in Indian River)1. gatesGate at Murray and Eleanor's property near Indian River, January 19, 2022 (photo by me)Claude Schryer came by today to plan the Winter Diary radio program for the West German Radio. After dinner we walked the quarter mile out to the road. (walking towards the gate)There was a powdering of light snow, making the landscape bright under the stars. I opened and closed the gate while Claude recorded it; then I went to the tin mailbox and flapped the lid – both are sounds characteristic of rural life in Canada. (mailbox lid and gate)The flapping got the neighbour's dog barking. Then, more distantly other dogs began to bark. Dogs were the original alarm systems in the countryside and remain so despite electronic technology. Could be a thief or a wolf out there. The message is telegraphed from farm to farm and behind every dark doorway a farmer cocks his gun. The dogs grew silent again as we trudged back. (crossfade entry of house towards fire)Entering the warm house with a fire burning brightly in the grate, I suddenly realized that we had already discovered a valuable leitmotif for our program: the contrast between warm, populated rooms(crossfade with quiet cedar forest) and the vast, cold spaces that surround them during the Canadian winter.(wind from Murray's farm, slow fade to silence)Screen door at my cottage, Duhamel, Québec, December 2021 (photo by me)2. doorsThere is a painting by Cornelius Krieghoff (1815-1872) entitled "Merrymaking" that illustrates this drama between interior and exterior. (my wife Sabrina, son Riel and daughter Clara exiting our home and walking into our yard)A party at the Jolifu Inn is breaking up and the revellers are spilling out to depart into the cold, snowy dawn. The drama of the scene is depicted in Brueghel style, but the contrast between hot interior and cold exterior is distinctly Canadian. The same theme recurs in our best novelists, for instance in Frederick Philip Grove's, "Over Prairie Trails" (1922) or in Sinclair Ross's, "As for Me and My House" (1941). The contrast between interior and exterior creates the drama between society and selfhood. Marshall McLuhan summed it up epigrammatically when he said that Canadians go out to be alone and come in to be with company while elsewhere people go out to be with company and come home to be alone. Woman skater (family friend): If you're really lucky to be at a cottage in the winter in the morning and they're almost no sounds and you'll hear a branch cracking or something…(Quiet forest with cracking of frozen trees)The hinge is the door. One sound characteristic of the Canadian countryside is the slap of a screen door. (Various door slappings from Murray's farm and our cottage)I've known it since my childhood. Of course, it is intended to keep the insects out of the house in summer but out of laziness the screen door is often left on during winter too - as mine is. The door has a coil spring attached to it so that it will slap shut quickly. Usually there is another contraption on the side with a hairpin spring to snap it firm. If it isn't oiled, it squeaks. So, the entire sound event is actually quite complex, consisting first of a swish as the door opens, then a swoosh as it closes followed by a residual snap as the second spring is released to hold it shut. (More door sounds)The subject of doors could occupy a doctoral thesis or two. Every continent and climate has its own vocabulary and rhetoric of doors as different as the languages of the people who open and close them.(More door sounds)3. trainsPassing train from simplesoundscapes e73, March 20, 2018, Montréal (photo by me)(processed L14 train whistle with GRM Evolution Tool and Dear VR Pro spatializer)Every Canadian knows the three-toned Canadian train whistle - without knowing it. Tuned to an E-flat minor triad with a fundamental at 311 Hertz, it's the most authoritative sound mark of the country, curiously analogous to the Yellow Bell or Huang Chung, which established the tuning for all music in the golden days of ancient China.(Meditation bell)The legend goes that when the tuning of the Yellow Bell was abandoned the empire would fall into ruin.(Overpass from simplesoundscapes e167 above + train passing with gate processing)Something like that is happening here, for today more and more train whistles are out of tune, and with the building of overpasses and tunnels urban dwellers rarely ever hear them. (more processed L14 train whistle)Canadian railroads all run east-west. As the authority of the railroad vanishes the east-west axis gives way to a south-north bias, i.e., American invasion. … Eventually in the far distance we hear the L14 whistle (the signal for a level crossing, long, long, short, long,) which incidentally is also the rhythm of the opening phrase of the Canadian national anthem.(noon siren excerpt from my 1996 composition Vancouver Soundscape Revisited)4. hooves'Cricket', Mono, Ontario during recording of ‘hooves' scene. (photo by me)(wind from Murray's farm) It is warmer today then yesterday and a heavy fog lies over the snow so that the acoustic horizon surpasses the visual. Frederick Philip Grove talks about getting lost in the fog in Over Prairie Trails. Then he had to rely on the instinct of his horses.(sound of horse hooves from Cricket in Mono, Ontario)Note: below is a quote from Frederick Philip Grove'sOver Prairie Trails, Toronto, 1991, p.47.‘I had become all ear. Even though my buggy was silent and though the road was coated with a thin film of soft clay-mud. I could distinctly hear by the muffled thud of the horses' hooves on the ground that they were running over a grade.' (Grade and farm sounds and return of hoove sounds)‘That confirmed my bearings… So now I was close to the three-farm cluster. I listened intently again for the horses' thump. Yes, there was that muffled hoof-beat again – I was on the last grade that led to the angling road across the corner of the marsh.‘ 5. microphonesZoom H4N Pro recording wind sounds at R. Murray Schafer farm, January 19, 2022(wind from Murray's field)What would the Prairies be without wind? (Wind from Murray's barn mixed with forest sounds in South River, Ontario)It's the keynote sound here, the one against which everything else is registered. But to record it? Impossible. The microphone hasn't yet been invented to effectively record nature's most elementary sounds: wind, rain, fire.(thunder and rain sound from simplesoundscapes e105 thunder, fire from fireplace at our cottage)The mistake in recording the environment is in trying to pull a huge spread of events, far and near in all directions, into a single focus. The soundscape isn't stereophonic, its spherical. The stereophonic preoccupation in recording results from stereoscopy rather than any real understanding of the listening experience, in which one is always at the centre. (microphone panning ventilation system)One would like the microphone to observe the same respect for figure-ground that our ears do, elevating those sounds we wish to receive and suppressing those we don't.  But of course, the microphone is not an ear, and everything is registered according to its amplitude only. Could we imagine a future microphone with a discrimination circuit to allow us to reproduce the wished-for soundscape rather than the real one? Or is that merely another form of pathetic fallacy that only the romantic recordist could hope for? Claude (from snow pellets on dried leaves in Misikew provincial park): and here's an example of a sound that is so delicate that the microphone picks it up better than the human ear. The value of the microphone is that it presents simply what is there. The tape recorder puts a frame around it, often astonishing us with the sound events our real ears have missed. 6. footstepsFootstep tracks at Warbler's Roost, South River, ON, February, 2022Claude confesses his excitement for recording. He is almost like a fighter pilot seeking out the enemy, the elusive sound object, slating his various dives at the material we've targeted for a take, hoping the desired event will occur on cue, wondering whether to stalk it silently or prompt it - or forget it and seek another campaign. "So many things can go wrong," he says excitedly. Ruefully I agree.Note: I recorded my voice saying "So many things can go wrong,"Claude (xcountry ski sequence, December 2021): When Murray and I recorded Winter Diary in 1997, we record a lot of different winter sounds but not cross-country skiing. It is a typical sound of winter in Canada and a very rich one. You can hear me skiing now, as well as people skiing beside me. Skiing sounds have number of different elements: there's the push and pull of the ski, the poles that hit into the snow and of course the breath of the skier. Sometimes you can hear the wind in the trees, snowmobiles a distance, dogs...People who live by the sea know how the colour of the water changes constantly, but one has to live with a long winter to know the perpetual changes in the sound (as well as the colour) of snow. (various foot and snow sounds)Even the lapse of an hour can alter it profoundly, and the experienced listener can pinpoint the temperature by the sound of his footsteps in it. On the cold nights it screeches. Sometimes a crust will build up to produce a crunchy quality. Or even several crusts, separated by layers of powdery snow, giving variations of dissonance with each step. (Steps on crusty snow)7. carsLumber truck passing on Eagle Road, South River, ONWe always take the most ordinary sounds for granted. Assuming cars to be universal, we forget that they sound different in different environments. (bus stuck on a hill and cars passing in Ottawa)On a country highway we recorded the approach and departure of individual cars and trucks, sometimes lasting three minutes without any other sound. (Passing truck near South River, On)Where else on earth could you do that?8. callingForest where I recorded ‘calling sounds', January 2022, Gatineau Park, QuébecClaude (Gatineau Park, Québec) : When R. Murray Schafer and I did Winter Diary, one of the sequences was called calling where we were in the forest and listening for the reverberation in a winter space and in that case, it was a forest and here I am on January 11th, 2022, in Gatineau Park. I'm going try a similar experience where I'm going to walk in a circle away from the microphone and see what that sounds like and once in a while, I'll cry out like we did back then: Hey, and you can hear the reverberation and the movement, and it's a way to experience a winter soundscape by interacting with it. So here we go.(Hey sequence in forest in Gatineau QC, January 2022)Excursion into Park. Total isolation. We realized that the only way we could give an impression of soundscape here was by making sounds ourselves, so we set up the microphone in the snow and walked away from it, calling in different directions. How far is it across the valley? What is the difference between a bare deciduous forest and a leafy evergreen one? Your voice will tell you. 9. cracksForest where I recorded ‘calling sounds', January 2022, Gatineau Park, Québec(rumble of car on winter road, stop and get out of vehicle, then silence)I came out alone in the car after Claude had gone to sleep. Never had I heard the world so silent. Is it near or far, this black landscape? (forest cracks at Murray farm)My own slightest movement makes it seem near. The frosted crack of a distant tree makes it vast. My breathing brings it close again.  Justin Winkler pointed out that the soundscape is essentially a static term, but here it seems dynamic, increasing to an infinite volume, then shrinking right inside me as my stomach growls. (simplesoundscapes e01, rumble and Guérison from Au dernier vivant les biens (1998))I turn the ignition key and am startled and relieved at the same time. My escape.10. heaterGas fireplace at our home in Ottawa, January 2022(gas fireplace starting + song based on texture of fireplace ‘pings')Strange phenomenon this morning on waking. In my dream I had been singing a solo song at some kind of gathering. I finished and everyone applauded enthusiastically.(Sound of small crowd clapping and saying nice song Murray)I awoke to hear the propane heater come on. So, the conclusion of my song and heater were synchronized but I stress that I had sung a rather lengthy song to its conclusion before the applause of the heater. I even remembered the song and sang it over again to myself while lying in bed.(Gas heater and song)Had I anticipated the end of it and paced the singing to a sound that I could somehow fore-hear? Or had the whole event occurred in the fraction of a second as the heater came on? 11. iceChunk of ice at my home in Ottawa, January 23, 2022Spotting some children knocking down some icicles in Sainte Rose du Lac, we rushed over to record them but frightened them away. (gated kicking ice blocks and skating sounds)So, we knocked the icicles down ourselves and then kicked them along the street. (more gated kicking ice blocks and skating sounds)Each chunk had a different pitch and pieces when they broke into pieces the pitch rose. I was glad to have this other form of frozen water to add to our repertoire.12. jetLocation at Murray's farm where I recorded a passing jet, January 19, 2022The sun was setting. It was totally quiet. (begin sound of jet passing)Eventually the whisper of a jet aircraft became audible. It crossed the sky distantly, its passage lasting eight minutes without any other sound interrupting it. A perfect sound event in an anesthetized environment. (end sound of jet passing and fade to gentle forest sound)Claude: I would like to conclude Winter Diary Revisited with an excerpt from Murray's 1977 book Music in the cold. Here are the last 11 lines:Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. *Credits(except from the end of my composition Eclogue for an Alpine Meadow in background)I have many people to thank. Murray's essay is narrated by my father-in-law, the poet, political activist and educator Robin Mathews.  In passing I invite you to listen to an episode about his work e88 robin mathews – on radical listening & political poetry. Poet Robin Mathews and me recording narration of Winter Diary Essay, November 2021, Vancouver (photo by Sabrina Mathews)I would like to thank Robin for his skillful narration, composer Christian Calon for his technical advice and moral support, artistic director Darren Copeland and Executive Director Nadene Thériault-Copeland of New Adventures in Sound Art (NAISA) for their encouragements and for hosting me as artist in residence from February 1 to February 6, 2022, at their facility in South River, Ontario. Thanks also to Eleanor James for permission to use Murray's essay, for the photos of the farm and for our conversation and finally my wife Sabrina Mathews for her feedback, patience and support.Logo of NAISADeep Wireless festival logoMy bedroom and editing studioEagle Road, where I recorded a passing truck, South River, ONDarren Copeland setting up the Ambisonic microphone for meMe recording forest sounds, February 2, 2022, Mikisew Provincial Park, ONMe, Victoria Fenner and James  Bailey during Q&A on February 6, 2022 at NAISA NorthWinter Diary Revisited was premiered at the Deep Wireless Festival of Radio and Transmission Art on Saturday, February 5, 2022, at 7pm. La version française de cet épisode, Journal d'hiver revisité sera retrouve dans l'épisode 100 du balado conscient.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

We've got a lot to handle in the medical field — irate patients, pressure to succeed, and who knows what else? But sometimes, the problem is the system itself. We can't allow ourselves to grow comfortable in a toxic environment. Look around and see where you can create a change for the better.In this episode, Dr Abdullah Albeyatti talks about improving your life and career by making changes and taking risks. He also explains why settling for what is familiar could be slowly ruining your life and how you can avoid this situation. Finally, he shares his top three tips to become a changemaker in your field. If you want to start doing things to create a change and take more risks, then this episode is for you! 3 Reasons to Listen to This Episode1. Learn when you need to stay or leave your chosen career2. Discover why taking risks can make you happier 3. Uncover Dr Abdullah's top three tips to create a change  ResourcesPermission to Thrive CPD membershipConnect with Dr Abdullah - LinkedIn | InstagramMedicalchain and myclinic.comOur Iceberg is Melting by Dr John Kotter and Holger RathgeberEpisode Highlights[6:20] How Abdullah Overcomes Challenges[7:42] The Biggest Barriers[9:59] Why People Hate Change[12:16] The Feeling of Failing[16:33] Try and Realise[19:48] Bringing in the Lean-Agile Mindset to Doctors[24:18] On Limitations and Failure [28:25] How Abdullah Maintains His Tenacity [30:34] Knowing What Battles to Pick [33:06] On Where to Start [39:48] Enjoy the Journey [47:36] Pursue What You Love[49:10] Three Tips to Create a ChangeEnjoy This Podcast?In today's high-stress work environment, you may feel like a frog in boiling water. The pan has heated up so slowly that you didn't notice the feeling of stress and overwhelm becoming the norm. You may feel that it is impossible to survive AND thrive in your work. Frogs generally have only two options — stay and be boiled alive or jump out of the pan. Fortunately, you are not a frog. You have many more options, choices, and control than you think.Learn to master your destiny and create a change so that you can thrive even in the most difficult of situations. If you enjoyed today's episode of You Are Not a Frog Podcast, then hit subscribe now!Here's to surviving and thriving inside and outside our work!Support the show (https://youarenotafrog.com)

How could Melissa Clark-Reynolds ONZM predict the pandemic collapse of seaports in the US? And Why is your board bad at strategy?—If you can answer these two questions, your firm would be much better off. This is only part of the full episode that is available on Business Games Premium's private podcast feed. Breaking News (at the time)—Omicron!A note about the new Omicron variant of Covid discovered in South Africa in November 2021. We recorded this episode with Melissa in early 2021, a good 6 months before the news broke about the new variant B.1.1.529 that later got the name Omicron. With Melissa, we talked about many things on predictions, the central topic being how she was one of the first within the business community to have predicted the coming pandemic. We covered what a foresight professional should do, and how to predict the next pandemic—including some signs that she was monitoring in early-mid-2021 when she had concerns that there could be something else popping up in late 2021. We put up this episode on Monday the 22nd November. On Thursday the 25th, the news broke about the variant B.1.1.529. Revisiting this episode, it is startling how ever more relevant the content is. Now, normally, we only release full episodes to Premium Members. This particular episode was available in full for almost a week now, and I communicated on social media that I'd be removing the full episode from the public feed. If you want to hear the full episode, you can subscribe to Business Games Premium on http://www.business-games.ai/ (www.business-games.ai): Subscribe by clicking here: https://www.business-games.ai/about/#/portal (Business Games Premium) You should also subscribe to our free newsletter if you want to learn more about making predictions in business, business strategy, and making better decisions under uncertainty. In content terms, you get: Premium >>> Newsletter > Free Subscribe to PremiumFull transcripts of everything if you want to have notes or prefer reading + deep dives into selected topics. Subscribe by clicking here: https://www.business-games.ai/about/#/portal (Business Games Premium) Show NotesHow could Melissa know the pandemic was coming before most? How to read weak signals. How does anthropology help in forecasting? How did Melissa predict the pandemic-related collapse of seaports in the US? What should your board understand about strategy? How is prediction like experimentation? We cover all this and more in this episode. Last interview, we discussed Corporate experimentation with Dawie Olivier. Next interview, we cover SME and solopreneur sector experimentation with Ashlee Berghoff MBA. Contents (time stamps from the Full version)Introduction [00:00] On Predicting the Pandemic: Habitats, Mammals, Climate Change, Patterns, and Weak Signals [02:47] On Linking Forecasting and Experimentation, Chess as an Analogy for Strategy, Anthropology, Culture as the Basis for Business Moves, Creative Writing and Analytics [17:24] On Where to Play, How to Win [27:30] On Business Model Innovation versus Tech Innovation [28:40] On Strategy Versus Strategic Planning [39:01] On Experiments at the Board Table [46:24] The Homework: Read Widely, Capture and Review Signals [56:52] Own Work of Melissa as It Relates to Experiments, Signals, and Subscription Services [1:10:53] On Covid, Ports, and Behaviour [1:13:35] Links to Melissa's Workhttps://twitter.com/HoneyBeeGeek (@HoneyBeeGeek) https://twitter.com/HoneyBeeGeek (https://twitter.com/HoneyBeeGeek) Some Other Links Mentionedhttps://www.zuora.com/ (Subscription Management and Recurring Revenue Solutions | Zuora) https://stratechery.com/ (Stratechery) https://hbr.org/2012/09/your-strategy-needs-a-strategy (Your Strategy Needs a Strategy | HBR) https://www.bcg.com/publications/collections/your-strategy-needs-strategy/intro (Your Strategy...

In this episode of the Strange Horizons podcast, editor Ciro Faienza presents the poetry of the 20th Anniversary Special Issue. “Stone Listening” by R.B. Lemberg. You can read the full text of the poem and more about R.B. here. “On Where to Find Strange Horizons, and How to Get There” by Julia Rios. You can read the full text of the poem and more about Julia here. “He Should Marry the Daughter of the Angel of Death” by Sonya Taaffe. You can read the full text of the poem and more about Sonya here.

In unprecedented times like these, inspiration from others is a helpful tool to see us through. In national and world history there are ample examples.On Where the road takes me this Sunday evening, John Greene brings you the first of three programmes entitled 'Inspiration from the past'The theme on all three is incarceration and how the incarcerated dug deep to battle unbelievable odds and in one case turn the tables on their captors.While lockdown or self isolation for Covid-19 is definitely not incarceration, it is hoped that the mental resolve of the people in our three stories will help you to deal with any problems associated with the aforementioned.Programme one tells of how a romance blossomed in one of the most evil places on Earth, not only blossomed, but lasted for fifty eight years afterwards.World best selling Australian based author Heather Morris , tells us how she sat for three long and mentally draining years documenting the story of Lalley Sokolov, known as the Tattooist of Auschwitz.Before their 'Hollywood ending', his romance with fellow prisoner Gita Furman must first avoid the gas chambers, disease, starvation, cold and brutality. It's an example of Inspiration from the past at it's very best. See acast.com/privacy for privacy and opt-out information.

Hi All! In this episode (Episode 20!! WOOP WOOP!) we take a closer look at the FastPass+ system at Disney World. We answer all the pertinent questions about how it works. And we even give a few insider tips on how to get the most out of FastPass+! We also talk about Rise Of The Resistance and if it will ever be placed in the FastPass+ system. On Where's Julie, we discuss a topic that everyone is talking about right now, The CoronaVirus (COVID-19). Be sure to go to www.thegoofyguy.com and sign up for the Goofy Guy Newsletter to make sure you stay up to date on everything that is happening at the site. If you want to contact me, you can email me at jim@thegoofyguy.com You can also find me at all the locations below: twitter - www.twitter.com/thegoofyguyblog Facebook - www.facebook.com/thegoofyguy Instagram - www.instagram.com/thegoofyguyblog Pinterest - www.pinterest.com/thegoofyguy And you can find Julie at www.cftravelco.com Enjoy the episode! Jim The Goofy Guy!

Nathaniel Schooler 0:05 So today I'm joined by Stephen Gillen, and he is the CEO and executive producer of Shooting Stars Events. Recently, he was nominated by the UKs peace ambassador for the 2020 'Sunhak' International Peace Prize. Nathaniel Schooler 0:39 Stephen Gillen is a globally successful entrepreneur, Stephen Gillen is an award-winning international public speaker and film-maker. He is a successful author, director, and producer. His documentaries have been viewed in over 140 countries worldwide. There has been wide global media coverage on his work and life journey. On the 29th May 2019, Stephen had the great privilege of being nominated by the UK Peace Ambassador for the ‘Sunhak’ International peace prize and works closely on many innovative, global & humanitarian initiatives. One of these is on the board of UniPharma, a global pharmaceutical company which is the exclusive producer/distributor of a new revolutionary medical device, whom Stephen is also Ambassador, that is set to alleviate the suffering of and save hundreds of thousands of lives worldwide in the open wound industry. Nathaniel Schooler 0:39 WARNING — AI Transcriptions Below May Cause Grammatically Correct People Serious Stress and Lack of Sleep! Nathaniel Schooler 0:39 So we're going to talk about, we're going to talk about business etiquette, which I think is a really interesting topic. And this is a tricky subject for me, because we're global now right? So just as an example, my Dad when he used to run the winery, he had the Japanese come around. Because we used to sell rose petal wine in Japan. Okay. To to Mitsukoshi, the top department store chain in Japan. So these guys from Mitsukoshi came to England. And they came to the winery, like eight or nine of these guys. And each one of them bowed to my Dad and handed him a business card, right. Nathaniel Schooler 1:29 My Dad's like, what am I going to do? If I do this wrong....! Then this business card, right? Could be the death of this customer. So they've all they've all given him a business card. So what he did is he got a diary. And he got each business card. And he and he literally just put it right there in this diary. And then he looked at the card, he looked to the person and he and he nodded. And I think he said something in Japanese, he took a note and then he put the card in there. And then he folded that over that page over in his diary. And then he and then he took the next one. Yeah. And he didn't put that away in his pocket, you see, because if he had taken that card and put that in his pocket, it would have been an insult to the Japanese. Right? Yeah. So that's just one example of business etiquette, right. Stephen Gillen 2:18 This is a this is a massive topic. And, of course, you know, the do's and don'ts we could talk about all morning. But that's a really interesting story. But you know, what I take from that in a simple way. Because we have to make things simple. Because look, this is a massive subject. And, you know, we can go into a little bit about CSR, corporate social responsibility, which is a driver for this, you know, because it does affect it, but it kind of comes in, and then it borders on, you know, then there is work, it does it has, it has an influence here. And really, I have noticed it is there. Stephen Gillen 3:01 Maybe not one that you would notice, but it has a kind of funny influence, in a sense, because these practices are really being integrated as society moves forward. I mean, you know, it's about this political correctness is another one. Yeah. Which can be closely. Yes, but this is kind of the same branches of the same tree. Where does it start? On? Where does it end? Really, and it really is ongoing, right. So you know, this word etiquette, there's communication etiquette, there's email etiquette, there's dining etiquette, this all relates to business to know and it goes on and on and on, you know,

On Where the road takes me this week, John Greene features the second of two programmes entitled – ‘Jimmy Crowley – ‘His story & his songs’In programme two, the Bard of Cork talks about his beloved city and how progress hasn’t been all good. We talk of times gone by and good time on Cork’s Coal Quay. And unfortunately it’s not only the good old days that have passed on – so also has some of Cork City’s best known and loved characters – wonderful and colourful people. There’s a mention too for the ‘Boys of Fairhill’ in song and in story. Jimmy Crowley – His story & his songs – Programme Two – Sunday evening on Where the road takes me at 7 – on C103. See acast.com/privacy for privacy and opt-out information.

This month on Head's Bookshelf, I look at a book entitled "The Fold" by Peter Cline. Then over on What's In Head's Longbox, I finish my look at The Sword fo the Atom. On Where's Head Going? I look at another podcast... Tell Em Steve Dave. Finally I end on Head's Mailbag. Then for my final song, I play "Hickeys" by Audio Two. Make sure to rate us on iTunes and while you're at it... tell a friend.

Join us as we look at the Killing Joke movie and the third issue of The Sword of the Atom, where Ray Palmer is still stuck at 6 inches high in a South American forest. On Where is Head Going, I take a look at The Longbox Crusade, from podcasting friend, Pat Sampson. And Head's Mailbag. Then for my final song, I play "Shot Through The Heart" by Bon Jovi. Make sure to rate us on iTunes and while you're at it... tell a friend.

Join us as we look at the Killing Joke movie and the third issue of The Sword of the Atom, where Ray Palmer is still stuck at 6 inches high in a South American forest. On Where is Head Going, I take a look at The Longbox Crusade, from podcasting friend, Pat Sampson. And Head's Mailbag. Then for my final song, I play "Shot Through The Heart" by Bon Jovi. Make sure to rate us on iTunes and while you're at it... tell a friend.

Join us as we look at the second issue of The Sword of the Atom, where Ray Palmer finds himself stuck at 6 inches high. On Where is Head Going, I take a look at Saturday Morning Fever from the Fire and Water Network Podcasts. And Head's Mailbag. Then for my final song, I play "Just A Friend" by Biz Markie. Make sure to rate us on iTunes and while you're at it... tell a friend.

Join us as we look at the second issue of The Sword of the Atom, where Ray Palmer finds himself stuck at 6 inches high. On Where is Head Going, I take a look at Saturday Morning Fever from the Fire and Water Network Podcasts. And Head's Mailbag. Then for my final song, I play "Just A Friend" by Biz Markie. Make sure to rate us on iTunes and while you're at it... tell a friend.