sounds of the Neolithic :: download


front cover

Bandcamp CD download for World Listening Day 2016 ‘sounds lost and found’.

Digital soundscapes that explore four of the important Neolithic and Bronze Age barrow groups on and around the South Dorset Ridgeway. The soundscapes involved research, field recording, studio work and editing with sound work distributed through aporee, the global sound map, open studio events, soundcloud, spreaker digital radio and as content for three GPS triggered Apps being developed for the South Dorset Ridgeway.

track 1 – The Grey Mare and Her Colts with Sir John Colfox School Students

track 2 – Kingston Russell Stone Circle with Weymouth College Students

track 3 – Bronkham Barrow with Beaminster School Students

track 4 – Culliford Tree Barrow with Dorset Studio School Students

Recorded as part of Land Bone & Stone, South Dorset Ridgeway Landscape Partnership, Heritage Lottery Funded Project: enabling people and schools to better enjoy, learn about and…

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Neil Postman – Bullshit and the Art of Crap-Detection

“There is no more precious
environment than our language environment.
And even if you know you will be
dead soon, that’s worth protecting.”

Critical Thinking Snippets

Neil Postman’s classic essay Bullshit and the Art of Crap-Detection. Contains a handy taxonomy of forms of bullshit, and some useful “laws” such as: Almost nothing is about what you think it is about–including you.”

I’ve copied it here in this post just to help ensure it remains easily available on the web.

“Bullshit and the Art of Crap-Detection”

by Neil Postman

(Delivered at the National Convention for the Teachers of English [NCTE], November 28, 1969, Washington, D.C.)

With a title like this, I think I ought to dispense with the rhetorical amenities and come straight to the point. For those of you who do not know, it may be worth saying that the phrase, “crap-detecting,” originated with Ernest Hemingway who when asked if there were one quality needed, above all others, to be a good writer, replied, “Yes, a built-in, shock-proof, crap detector.”

As I see it, the…

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Artist’s Statement ….Part Two

“I feel bad about people paying for my work because I think that the people who buy and even those who appreciate my work are somehow being duped. I keep feeling that at some point I am going to be found out to be an imposter. I feel bad when my work is considered valuable.”

The Pale Rook

The Pale Rook

So remember that thing I applied for?

My application was successful.  I was selected to take part in a project at Scotland’s Craft Town,  the wonderful West Kilbride.   I’ve been a massive fan of the Craft Town since I first found out about it a few years ago, so I’m massively chuffed to be a part of it.  The project I’m involved in takes selected craft makers based in Scotland and gives them specialist business mentoring and studio space for six months.   For the first time in over a decade I am being mentored rather than mentoring others, which has been quite a shock to the system.

The first meeting of the participants, organisers and business mentors involved an exercise where we had to think of things that limited our business or things that we were worried about and then we had to decide whether these things were Financial…

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What a Poetry Reviewer looks for

Some useful guidlines for self-publishers.

Emma Lee's Blog

I recently came across a suggestion that self-published poetry books could be seen as lacking credibility or editorial rigour. That’s not my experience as a reviewer. It’s fair to say a self-published poet is more likely to make a negative comment about my review, but that’s usually because a self-published poet places more importance on reviews than they deserve.

What does a Poetry Reviewer look for?

  • Poet’s name – not because established poets get a more favourable reaction but because if I’ve seen the name before as someone getting regularly published in poetry magazines (regardless of how many poetry books they have or haven’t published), then the poems in the book are more likely to be of a good standard.
  • Publisher – not because of a bias towards certain publishers but just to see whether the book is self, vanity or traditionally published. At this stage it’s about production values…

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sounds of the neolithic with students from Weymouth College

Sounds brilliant:



Kingston Russell Stone Circle
Tuesday 14th – Thursday 16th April 2015

Victoria Pirie, Mandy Rathbone and David Rogers led a participatory ‘soundwalk’ to Kingston Russell Stone Circle, a large irregular stone circle of Late Neolithic or Bronze Age date, with students from Weymouth College, followed by a sound making and editing workshop :: more

more information about:
seasonal sound walks
sounds of the Neolithic

photo: Mandy Rathbone 2015

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releasing the frozen music #2 download on DIVAcontemporary bandcamp label


track 1 :: otherkin by Ralph Hoyte [2.11] 2014
track 2 :: stone by Joe Stevens, Mandy Rathbone and David Rogers [22.00] 2014
track 3 :: ex-lab symphony[5] led by Marc Yeats [4.28] 2011
track 4 :: converse – woodpigeon and wind turnbine by ivon oates [4.51] 2014
track 5 :: ‘gate(s)’ by pali meursault [20.57] 2010

These works engage with landscape and sound in different ways. They take the exploration of soundscape and place into the realms of musical composition and site specific intervention.

Download includes a 7 page full colour pdf booklet.

High-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.

produced by David Rogers
at DIVAcontemporary Studio Bridport Dorset UK

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Interview with Dene Grigar

” My own mother was a painter who worked in oils. She would never say that the canvas and the paints she used were separate from the art of oil painting. They were her medium. I feel that the same way about my computer and HTML/CSS or PhotoShop, etc. The computer does not “help” me––it is what I do.”


ELR: Dene Grigar, you have been working in the field of media art and electronic literature since the mid-1990s. Could you tell us something about your background and how you became involved with electronic literature?

Dene Grigar:  Actually, it goes further back than that.  In fall 1991 I took a graduate course from the new faculty member, Nancy Kaplan*, who specialized in something called hypertext.  We studied books by George Landow and Jay David Bolter, explored software called Storyspace, and read afternoon: a story by Michael Joyce.  Having owned a Macintosh computer since 1986 for designing, I took to using it quite easily for writing––and reading.  Because of that course and my exposure to electronic literature, I began collecting works from Eastgate Systems’ inventory.  A part of my collection comes from those early purchases.

*Nancy was Stuart Moulthrop’s partner at the time; they have long since married.

ELR: You…

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Interview with Andy Campbell

“I’m fascinated by the idea of ‘digitally born’ narratives that carry little or no obvious ‘baggage’ from the ‘traditional’ writing world.”


co-edited by Maíra Borges Wiese

ELR: Andy Campbell, since 1999 you publish your works on your website Dreaming Methods. How did you get involved in the field of digital fiction?

Campbell: When I was in my teens I worked in a large warehouse on night shifts unloading deliveries of sand and cement. During the daytime, when I wasn’t asleep, I taught myself to program video games for the Commodore Amiga, until eventually I became accomplished enough to make money out of it. I also started writing fiction.

I bundled a few of my games with prologues or epilogues that could be read from the screen or printed. I made disk-based short story collections for distribution in the Public Domain. My games and ‘digital writing anthologies’ were reviewed around 60 times during the early-mid 90s in the international computing press, and often featured on magazine cover disks and CDs.

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