predominantly male versus male

"Hackers, gamers and cyborgs" by Brendan Keogh
https://overland.org.au/previous-issues/issue-218/feature-brendan-keogh
"The story of computers transitioning from the flesh to the digital, from the clerical (feminine) to the militaristic (masculine), provides a compelling origin myth for the digital computer." is a great sentence. where clerical (feminine) is in the context of women being the first "manual computers", where the name "computer" came from - it was good to see that the writer acknowledged this.

BUT this paragraph needs to be clarified:
"Even as computers became increasingly significant devices in the last decades of the twentieth century, they remained entrenched in broader patriarchal structures that inscribed them as mathematical, scientific, important – that is, as male. They were embedded, more often than not, in parts of society already explicitly gendered: the science lab, the maths classroom and, when they moved to the home, the son’s bedroom rather than the daughter’s."

I think the writer should add a "predominantly" to next paragraph: "that is, as male" --> "that is, as predominantly male" & another clarification in the next sentence also. it was not "explicitly gendered", it was "predominantly gendered".

because there were and are some women who fit his example, myself being one. it was always annoying to be classed as "male" in this regard, when clearly, I and other women are not male. university researchers even did studies on us (two) female engineers at work in late 1980s/1990s asking how we felt to be doing "male jobs" which I found to be strange since I was doing my job, so how could it be a male job. & since I did physics (albeit only girl in class), chem, higher maths when at high school the statement is not true that it's male only. it needs to be clarified: "predominantly male", yes ok, I can agree with that

these statements are still annoying. as if we don't exist / are invisible.
and there are many more girls & women doing these things these days also - just as there were other women when I started, and women before me too. plus I did have a computer at home growing up (it was in the loungeroom so both I and my sister could use it, not the bedroom), not only the boys did. I programmed it too. as everyone did back then. and I'm sure there were other girls doing it too, across the world.

I can't see where to comment of the article, so ranting here (& twitter). if anyone has the writer, Brendan Keogh's contact pls let me know so I can let him know. if he's a PhD candidate at RMIT University then surely he should know better. I'm surprised his supervisor allows these declarative statements, and the editors of Overland Literary Journal too. with all the articles every day about women leaving technology you'd think people would start writing the history more accurately. adding one clarifying word can make a difference. women have been written out of history already too much!!

and now that article is in print, for yet another inaccuracy to continue. it seems things will never change.

I find it completely ironic that Brendan Keogh should write an article about gamergate and women in gaming "in the context of the broader patriarchal structures" and yet he write about women in computing / technology by applying those same patriarchal structures, leaving them out of history, and even though he admits that the article is flawed, does not want to correct the mistakes or improve it. how different is this to gamergate really anyway? to me, it's the exact same attitude.

it's just annoying and disappointing. when people write the history of tech / computing without women, and especially the exact examples used in that article which I know to be incorrect (as I was doing them) it feels like they are dissolving the past ~30 years of my life. why wouldn't they just add 1-2 words to include women in tech. someone else complained about his comments on gamers being male-only too, so I was glad to read it wasn't only me taking issue with it. not that it made much difference.

and yes, I was playing games during this time also - it's not a male-only characteristic as is implied later in the article.

I'm disappointed in overland too - I expected more, especially after reading their values on 'about' page. so much for "democratisation of politics and culture, providing room for diverse and marginal voices alongside the established and the authoritative" & the rest

update: I posted this on the Overland Facebook page for the article also. I was sent the author's contact details via twitter and had a conversation with him about changing the article. it may be possible to have the web version updated, but sadly the printed version will still be inaccurate.

update 20/04/2015: I asked the author, Brendan Keogh, how the update was going and he said he wasn't going to update it.
he also questioned why I replied to his tweets so my followers could see - well, it's not so they could reply also (although one friend did), it's because I believe it's safer for women, online and offline, to have witnesses when dealing with difficult men, which he proved himself to be

Brendan Keogh @BRKeogh · 11m 11 minutes ago
@AliaK Hi! Saw your tweets but didn't wanna just jump in. Ultimately, yes I agree. I leave things implied that should've been more explicit





@AliaK: Apr 16 @BrendonKeugh hi, I think there should be a few clarifications rather than declarative statements in your article.
@AliaK: Apr 16 @BrendonKeugh I enjoyed the history you wrote about, but it's not 100% male. I wrote my comments on overland fb page https://www.facebook.com/overland/posts/912913555397284
@BRKeogh: Apr 16 @AliaK Hi! Saw your tweets but didn't wanna just jump in. Ultimately, yes I agree. I leave things implied that should've been more explicit
@AliaK: Apr 16 can you have the article changed? @BRKeogh it makes a difference
@BRKeogh: Apr 16 @AliaK possibly tho it's just a reprint of a print article. Do you just want 'overwhelmingly' replaced with 'predominately?'
@BRKeogh: Apr 16 @AliaK Or am i misunderstanding which part you take issue with?
@AliaK: Apr 16 @BRKeogh overwhelminly is fine. the paragraph starting with ""Even as computers became increasingly significant devices" needs clarifying
@AliaK: Apr 16 @BRKeogh "that is, as male" -> "that is, as predominantly/overwhelmingly male" whichever word, just to clarify not imply 100% male. +
@BRKeogh: Apr 16 @AliaK Right I getcha. I meant 'inscribed as male' as in 'naturalised by society as male' not 'only males use computers' but i see how...
@AliaK: Apr 16 @BRKeogh + "in parts of society already explicitly gendered" this needs clarifying too. explicitly reads as though it's 100% male, when not
@BRKeogh: Apr 16 @AliaK ..that is unclear. Really I should've used 'masculine', not 'male'.
@AliaK: Apr 16 @BRKeogh even masculine is not correct. I think if you wrote 'inscribed as male' even, it would have been better.
@AliaK: Apr 16 @BRKeogh as there are women/girls doing these things too, how can it be male-only or masculine-only. it's not logical. majority, sure
@BRKeogh: Apr 16 @AliaK well my intent was to say 'inscribed as male'! 'Inscribed as x, y, z--that is, [inscribed] as male'
@AliaK: Apr 16 @BRKeogh each declarative statement saying male only, just belittles women's work. we are ignored enough as it is without continually being
@BRKeogh: Apr 16 @AliaK but maybe. I should've repeated the verb rather than have it implied that's the verb the clause is linking back to
‏@AliaK: Apr 16 @BRKeogh written out of history
@AliaK: Apr 16 @BRKeogh I've made suggestions on how to improve the wording. I'll leave it up to you to decide what is best to use
@BRKeogh: Apr 16 @AliaK But i don't think I ever say 'male only'. Huge difference between a space being inscribed/naturalised as male and...
@BRKeogh: Apr 16 @AliaK no women at all being in that space. I say as much explicitly further down to stress that point.
@BRKeogh: Apr 16 @AliaK And I appreciate the feedback. Thanks!
@AliaK: Apr 16 @BRKeogh "that is, as male" - where are the female here? explicitly gendered - the son’s bedroom rather than the daughter’s.
@AliaK: Apr 16 @BRKeogh each sentence should be correct or it's wishy washy anyway.

update 20/04/2015: I asked the author, Brendan Keogh, how the update was going and he said he wasn't going to update it.


@AliaK: Apr 20 how did you go changing the overland article @BRKeogh to be more inclusive of women in tech? it still seems unchanged?
@BRKeogh: Apr 20 @AliaK I respect & appreciate your critique of the piece but I don't agree that edit needs to be made and I won't be changing it, no.
@AliaK: Apr 20 that's different to what you said last week? why the change of view? @BRKeogh
‏@BRKeogh: Apr 20 @AliaK I still agree the piece overall could be better, which is what I said last week.
@BRKeogh: Apr 20 @AliaK Also, I'd appreciate it if you didn't move my @ to the end of the tweet to try to get your followers onto me.
@AliaK: Apr 20 why would that worry you @BRKeogh. I also don't appreciate lip service "respect & appreciate" - actions speak louder than words
@AliaK: Apr 20 you also said the web version could be updated and then proceeded to talk about what word to use over numerous tweets. then nothing @BRKeogh
@BRKeogh: Apr 20 @AliaK Well I do appreciate the feedback even if I disagree on the particular sentence. Anyway, have a good evening.

web version of the article archived 21/04/2015: http://www.aliak.com/files/Hackers_gamers_and_cyborgs-218_Autumn_2015-Br... (ZIP)
letter to Overland editors 22/04/2015: http://www.aliak.com/files/predominantly_male_versus_male-email_to_overl... (PDF)

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wind and breath

"...wind and breath are intimately related in the continuous movement of inhalation and exhalation that is fundamental to life and being. Inhalation is wind becoming breath, exhalation is breath becoming wind. --Tim Ingold, Being Alive" via Debbie Lyddon's "Aeolian Pipes and Air-Songs" booklet on her textiles (felt, wax, resin & wire) sculptures at the beach https://debbielyddon.files.wordpress.com/2014/10/aeolian-pipes-and-air-s... (pdf)

having recently had an appendectomy operation in which the recovery left me with reduced lung capacity (bilateral pleural effusion with lower lobe collapse), these words rang true for breathing and learning to breath through my tummy/diaphragm rather than chest.

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This is the Next Wave Emerging Curators Program

Next Wave’s Emerging Curators Program was established in collaboration with Gertrude Contemporary over 15 years ago, supporting emerging curators to develop exhibition projects at this iconic Melbourne institution. In 2014, West Space and Centre for Contemporary Photography joined to extend the program to multiple galleries and into public space.

We are thrilled to announce that in 2015-16, Next Wave will continue working with Gertrude Contemporary, West Space and Centre for Contemporary Photography alongside new partners Liquid Architecture and Arts Project Australia.

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The Triumph of Modernism in the Art of Australia

28 Mar 2015 - 24 May 2015

Spans 60 years of Australian Art with over 50 iconic works by 26 artists who have shaped the development of modern art in Australia.

The Triumph of Modernism tells the story of a new identity in Australian art commencing post World War II with artists such as Sidney Nolan, Arthur Boyd, Russell Drysdale, John Brack, John Perceval and Charles Blackman. Later years see the continuing development of modern art in the works of Fred Williams and John Olsen, and in more recent times in contemporary art by artists Imants Tillers, Howard Arkley and Aida Tomescu. The Triumph of Modernism is a rich and representative display of the story of modern Australia, with a particular and deliberate emphasis on Australian identity, although it is just a glimpse into the remarkable collections.

Curated for Hazelhurst by its patron, Edmund Capon, the exhibition provides an opportunity to see some works that are rarely made available for public viewing. “This is the first time Sydney audiences will be able to see the collection in such depth, revealing the strength and diversity it holds” said Belinda Hanrahan, Hazelhurst's Director. Edmund Capon says “My objective here has been to illustrate two themes; firstly the triumph of modernism in Australian art and, secondly, the particular qualities and strengths of the TarraWarra and Besen collections.”

Artists featured include Howard Arkley, George Baldessin , Charles Blackman, Arthur Boyd, John Brack, William Delafield Cook, William Dobell, Russell Drysdale, Ian Fairweather, Joy Hester, Dale Hickey, Roger Kemp, Joanna Lamb, Godfrey Miller, Sidney Nolan, John Olsen, John Perceval, Jeffrey Smart, Tim Storrier, Edwin Tanner, Imants Tillers, Aida Tomescu, Tony Tuckson, Brett Whiteley, Fred Williams and William Wright.

This exhibition is a partnership project between TarraWarra Museum of Art and Hazelhurst Regional Gallery & Arts Centre. The Triumph of Modernism will also be shown at TarraWarra Museum of Art from 21 June – 16 August 2015.

via http://www.sutherlandshire.nsw.gov.au/Community/Hazelhurst/Exhibitions/T...

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The Artro - Seoul Arts Directory

visit http://eng.theartro.kr/artDirectory for The Artro - Seoul Arts Directory

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encryption dress

with all the talk of data retention and vintage (clothes) stores & work stuff this week, I had a great dream about an encryption dress this morning. I couldn't find anything in the store that I liked, then finally chose a dress & said this'll do. turns out it had an encryption chip in it. we couldn't find the pricelist card for it — flat, vertical cards covered in plastic frames — sort of like house listings in the window of the real estate offices. had to scan through heaps of them - layers and layers. & seems to be waterproof also as the dress becomes swimwear/togs too (changes). lots of dream spent on adventure looking for it. turns out it cost $100K due to software licence. but they waived it & I got to keep the dress & encrypted all communications from then on. I was trying to work out how it worked without a keyboard to enter passphrase. but it was new tech. touch was all that was needed. I was also worried about the chip being so close to my heart (physical location) but it was proven to be safe to wear. good dream. chip was like a square button, sewn into the fabric. gather & press to activate. the encryption dress and chip were waterproof too because at some points in the dream it turned into togs/swimmers and I was in the water, I think when I was looking for the pricecards.

maybe it means I should get back to working on the flora gps test - flora's working, & gps arrived recently
#dream

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NULA NURA: Indigenous Arts Lab

CALL FOR PROPOSALS
NULA NURA: Indigenous Arts Lab on Cockatoo Island 22 – 31 May 2015

Deadline: Midnight, Sunday, 29 March 2015

Successful applicants will be advised in the beginning of April.

The Nula Nura Indigenous Arts Lab is a new project developed in partnership with the Sydney Harbour Federation Trust. The laboratory will provide a development opportunity for emerging and mid-career Aboriginal and Torres Strait Islander visual artists who are ready to conceive of larger scale and visible outcomes for their practice. Artists will be selected to participate in an intensive 10-day residency.

Nula Nura will be facilitated by renowned Aboriginal artists Djon Mundine OAM and Andrea James. Successful participants will be mentored by leading Aboriginal senior artists through conceptual, design and devising processes for installing and presenting site-specific interdisciplinary art on Cockatoo Island. Nula Nura will be an immersive residency that involves camping on the island for the 10-days.

The Lab will take place from 22 May – 31 May 2015 around historically significant sites at Cockatoo Island, Sydney.

PERFORMANCE SPACE/ SYDNEY HARBOUR HERITAGE IS OFFERING:

A ten-day residency at Cockatoo Island, Sydney Harbour
All meals, plus ‘glamping’ accommodation on Cockatoo Island and per diems
Mentorship sessions and workshops with experienced leading visual artists and curators
A facilitated 1-day showing open to the general public
Technical support for the ten days of the residency

ELIGIBILITY

Be of Aboriginal or Torres Strait Islander descent (please provide Aboriginality Certificate if possible)
Currently reside in NSW or be available in Sydney for the residency dates
Emerging or mid-career arts practitioners
Participants are required to be available for the full 10 days of the residency

We encourage applications from artists working across the mediums of visual art, photography, painting, sculpture, textiles, digital media, installation, performance and live art etc.

If you have any questions or would like to discuss your proposal please call 02 8571 9101 or email: nulanura@performancespace.com.au (Sonny Dallas Law, Project Coordinator)

via http://performancespace.com.au/nulanura
visit the website for details on how to apply

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Channels video art festival - calls for submissions

Channels will be hosting a series of exhibitions, screenings, forums and events in September 2015. Submissions are now open to all Australian and international artists who work with video. Selected works will be curated into our festival screening program in Melbourne, Australia and our international satellite events.

Our first artist-led festival in 2013 was a great success showcasing over 120 artists from Australia and around the world. We received over 900 videos from all over the world and after weeks of watching them all and discussing with our selection panel, we created a series of curated screening events across Melbourne including the most popular Video Visions, a 2-hour long screening event at the cinema of Australian Centre for Moving Image (ACMI), and Rooftop Transmissions for NGV Melbourne Now.

via http://channelsfestival.net.au/submissions - visit the site for more details on how to submit your work

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CFP: The 2015 Totally Huge New Music Festival Symposium

The 2015 Totally Huge New Music Festival Symposium
Call for Papers
via http://www.tura.com.au/tura-program/the-2015-totally-huge-new-music-fest...

The 2015 Totally Huge New Music Festival Symposium
Thursday May 21
The State Library of Western Australia, Perth Cultural Centre

Theme: Western Australian Art Music: 1970 – 2014
in association with the launch of the Western Australian New Music Archive

Keynote Speakers:
Stephen Adams, Australian Music Producer, ABC Classic FM.
A/Prof Cat Hope, Project Leader, Western Australian New Music Archive.

The Australian Research Council Linkage funded Western Australian New Music Archive (WANMA) will be launched at the State Library of Western Australia on Wednesday 20th of May 2015 as part of the 12th Totally Huge New Music Festival in Perth, Western Australia.

Papers for an associated one-day symposium the following day are sought, on the theme of “Western Australian Art Music Activity: 1970 – 2014” to celebrate the launch of WANMA, a digital archive focusing on the Western Australian art music since 1970 to the present day.

The call is for papers and panel proposals around remembering Western Australian music, in particular music with links to Western Australian composers, performers, writers, events, music series, writing, artists and other associated organisations or people. Monographs on or interviews with Western Australian composers, ensemble, curators or events are particularly welcome.

Composers that are likely to feature in the early iteration of the archive include Ross Bolleter, Alan Lamb, David Pye, Cathie Travers, Hannah Clemen, Lindsay Vickery, James Ledger, Iain Gradage, Roger Smalley, Chris Tonkin, Rupert Guenther, Nela Trifkovic, Rob Muir, Stephen Benfall, Chris Cobilis and many current WA composers. Ensembles and performers such as Alea, Pi Ensemble, the WASO New Music ensemble, Axis 21, Skadada, Decibel, Magnetic Pig, Energia, Headkikr, KAK, Lux Mammoth, Smidrin, Steve Richter, The High Impedence, Jo Re Mi, Tetrafide, Defying Gravity, Schvendes and student ensembles from UWA and WAAPA past and present. Events such as Club Zho, Totally Huge New Music Festival, Scale Variable, WAAPA and UWA lunchtime concerts, Noisemachin!, Guerilla Sessions and any current activity.

The papers will be double blind peer reviewed and published in Volume 5 of “Soundscripts”.

Abstracts between 300 and 500 words due by Feb 25 2015.
Notification of acceptance 10 March 2015.
Registrations due 15 April 2015 $100 for all.

Abstracts to conference@tura.com.au

Presented by Tura, WAAPA, SLWA and The Musicological Society of Australia

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Common Eclectic - music in Glebe Town Hall

Places + spaces invites you to the launch of their series Common Eclectic, music in Glebe Town Hall.

A musical showcase that flirts with intimate performances of comedy, music and magic, Indie artists, chamber opera, gypsy jazz or a twist on a string ensemble. A musical taster to whet the senses.

The series kicks off with Sydney’s favourite folk club High Tea launching their 2015 season with The Maple Trail and PHIA in a double bill on Saturday 7 February. This special show features the sublime songcraft of Aidan Roberts and the kalimba-toting Phia.

The Maple Trail is the project of multi-instrumentalist Aidan Roberts (Belles Will Ring, Lanie Lane, Tubular Bells For Two). Roberts has gathered a new collection of songs to follow 2012's acclaimed album 'Cable Mount Warning'. His music travels from his roots in traditional English and Scottish folk, skewed Americana and distinct vocal and guitar storyscapes. These are the latest tales of winter and summer, light and dark, love and loss, tigers and Tasmania.

Joining The Maple Trail is Berlin-based PHIA - hailed by the European press as “one of Australia’s most underrated musical exports”. She creates “hypnotic, joyful and definitely danceable” music using nothing but an African Kalimba, her voice and a loop pedal, plus her producer/guitarist Josh.

The performance series runs from February to November — what you’ll see and hear is an eclectic selection of music and musicians. The program is dynamic, much like the artists they are working with. It’s an eclectic bunch, flowing from jazz grooves, epic folk music, a touch of classical to sound art and soundscapes in the beautifully restored Glebe Town Hall

Artists include the Crooked Fiddle Band, Spyglass Gypsies, Stephen Adam, Clocks & Clouds, David Bridie, Fred Smith, Mic Conway & Robbie Lang, Hinterlandt Ensemble, Daniel Weltlinger, Simon Lobelson and more.

High Tea with Aidan Roberts and PHIA (double bill)
Saturday 7 February from 7 pm, performance commences at 8pm

Glebe Town Hall, 160 St Johns Road, Glebe

All tickets $15 - book now - Moshtix

Places + spaces thank the City of Sydney for their support as Principal sponsors of this project
-- via places + spaces email

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female:pressure

female pressure is an international network of female artists in the fields of electronic music: from musicians, composers and DJs to visual artists, cultural workers and researchers. A worldwide resource of female talent that can be searched after criteria like location, profession, style or name. "Why are there so few women active in the electronic music scene?" - each one of us has heard this question a thousand times... Here is the answer: It's not our number, it's about how and if we are recognized!

female:pressure intends to strengthen networking, communication and representation - a standard instrument to obtain information about artists, contact them, and find out about other, maybe less known women working in the fields of electronic music all around the globe.

via http://www.femalepressure.net/fempress.html
visit http://www.femalepressure.net for more details

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HYSTERIA feminist platform and collective

HYSTERIA is a periodical, platform and collective for feminist poetry, testimonies, essays, comments, photography, performances, videos, paintings, opinions, excerpts, objections and all mediums of expression.

They are looking for radical and boundary-breaking feminist works spanning a wide range of topics from collectives, individuals, defiant institutions.
see more at: http://www.hystericalfeminisms.com/submit

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The Archive of Digital Art (ADA)

INVITATION FOR SCHOLARS TO CONTRIBUTE TO THE ARCHIVE OF DIGITAL ART
================>
The Archive of Digital Art invites scholars to make contributions:
www.digitalartarchive.at !

The Archive of Digital Art (ADA) expands its field of contributors. Most recently, not only artists, but also scholars can become members of
the vivid online community of the archive.

Since its foundation in 1999, the Archive of Digital Art (former Database of Virtual Art) has become the most important academic online archive for media art. In cooperation with established media artists and institutions it has been documenting the rapidly evolving world of digital art and its related fields for more than a decade and contains today a selection of thousands of artworks at the intersection of art, science, and technology.

Scholars are now invited to upload their publications, information on conferences, exhibitions and teaching to the archive. Thus, they are represented in the archive and can work collaboratively with artists on the documentation and analysis of digital art. Amongst others, collective keywording of media art works is carried out.

Scholars can also use the new ADA “light box” tool which facilitates the examination and comparison of images for research and
teaching. Interested scholars may apply for an account here:
https://www.digitalartarchive.at/support/account-request.html

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Real Talk: Aboriginal Rappers Talk About Their Music And Country book

via https://sites.google.com/site/realtalkthebook

When industry magazine The Music Network asked Australian hip-hop pioneer Urthboy to write about the state of the country's rap scene, his answer took some by surprise. Instead, the Herd member and Elefant Traks boss wrote this: “I was asked to write about the state of hip-hop in Australia. I’d prefer to shine a light on what may be the future of it: Indigenous Hip-Hop. Indigenous artists carry a profoundly engrossing and intriguing story for international audiences, yet it’s barely understood by many Australians.”

This book aims to be an introduction to some of the Aboriginal hip-hop artists out there. All have stories that demand to be heard, from the better-known players like The Last Kinection, Jimblah and Sky’high, to those who are probably too radical for the establishment to handle - such as Provocalz, whose interview ends with the interviewer and interviewee both being questioned by police.

The book is by no means comprehensive - there are about 50 Aboriginal hip-hop artists pumping out quality tracks at the moment, and it speaks to only half of them. But it aims to be a live document, updated at the start of each year. Hopefully it will become more comprehensive as the years tick by. At any rate, readers are encouraged to seek out the artists and follow them in their own, unedited, words.

Reviews:
"A must-read." - I Am Hip-Hop magazine, UK. "A hell of a read - with rappers holding forth on everything from politics to family, books, poetry, activism, homophobia, police brutality... and just about anything else you can think of." - The Koori Mail. "Incredible read." - Jimblah, on the Impossible Odds interview. "Want to read all about me and my thoughts? This is the one right now!" - Briggs. "Amazing interview with Impossible Odds. Everyone should read that interview." - Ozi Batla. "The most articulate and well-researched article on the band I've ever read." - Fred Leone, Impossible Odds. "Probably the most awesome article on Desert Pea Media I have ever seen." - Toby Finlayson, Desert Pea Media. "Of all the interviews we've done - and we've done a hell of a lot - this was, without a doubt, by far the the best." - Kings Konekted. "Best interview I've done. Props." - Provocalz. "Mat always does a good job with the interviews." - Indij hip-hop show founder Munk.

The author, Mat Ward, is a journalist who lives in Sydney. He is not Indigenous. Read more about why he wrote the book here. For more information contact RealTalkTheBook@gmail.com.

The book is available on Amazon (kindle) and all proceeds go to Koori Radio. Visit the book's website to read sample chapters and for more information

For another article on MonkeyMarc and his work with the Barkly community of beat makers and to listen to some of their music, take a look at Boom Bap in the Barkly – Check Australia’s Freshest Desert Beats

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British Library's Save Our Sounds project aims to save their 6.5 million sound collection

Save our Sounds is the British Library’s programme to preserve the nation’s sound heritage
via http://www.bl.uk/projects/save-our-sounds

The British nation’s sound collections are under threat, both from physical degradation and as the means of playing them disappear from production. Archival consensus internationally is that we have approximately 15 years in which to save our sound collections by digitising them before they become unreadable and are effectively lost.

The British Library is home to the British nation’s sound archive, an extraordinary collection of over 6.5 million recordings of speech, music, wildlife and the environment, from the 1880s to the present day. We need both to ensure that the existing archive is properly preserved, and that there are adequate systems in place for the acquisition of future sound production in the UK.

The Save our Sounds programme has been created to answer this imperative need. It has three major aims:

- to preserve as much as possible of the nation's rare and unique sound recordings, not just those in our collections but also key items from partner collections across the UK
- to establish a national radio archive that will collect, protect and share a substantial part of the UK’s vibrant radio output, working with the radio industry and other partners
- to invest in new technology to enable us to receive music in digital formats, working with music labels and industry partners to ensure their long-term preservation

UK Sound Directory

We are undertaking a national audit to map the condition of sound archives around the country and identify other threatened collections – if you have a sound collection which you think could be at risk, get in touch and let us know.

Support the project

Please get in touch with us if you would like to donate to support this project, or to discuss how you or your organisation can help preserve the nation’s audio heritage.
Sounds

Our Sounds website has over 60,000 sound recordings for all to enjoy, covering the entire range of recorded sounds: music, drama and literature, oral history, wildlife and environmental sounds.
The British Library Sound Archive

There is more information on our Sound Archive and how to use its collections on our Help for Researchers pages.

Follow us on Twitter @soundarchive and use the hashtag #saveoursounds

Keep up with the latest news on Sounds through our Sound and vision blog.
- See more at: http://www.bl.uk/projects/save-our-sounds

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