On the Line: Code, Periphery, Forest

“The computer became a way to create my own special place—microworlds of sounds, drawings, words, and symbols.”

That is Matt Nish-Lapidus, of Toronto, Canada, writing about “connections between coding and poetry, tracing how initial programming languages were motivated by reciprocal learning between human and machine”

. . .

“I wanted this extra sound to be as minimally invasive as possible — in my head I visualized it poking out from the periphery every now and then — so I again thought about how I could carve out most of its weight.”

That is musician Andrew Tasselmyer, based in Philadelphia, Pennsylvania, from his excellent newsletter about his musical process. (I’ve mentioned Tasselmyer’s music here one or two times recently.)

. . .

“Forest-sound is like an ocean that has been suspended above the ground.”

That is Melanie Challenger, author of How to Be Animal: What It Means to Be Human, and host of the Enter the Psychosphere podcast, in the context of writing about “why we can and should listen to other species.”