Well, I was supposed to be doing some composing today. Instead I saw that someone I sortof know who has 150k Twitter followers and writes for a national magazine has set up a Patreon account and in less than 24 hours attracted over 200 pledges, to the tune of $1700/month. And I felt bad, and inadequate, and a bit jealous, if I'm honest, especially since she gets paid for a lot of her writing work already. There is a lot of advice out there for people starting out on Patreon, much more than there was when I started nearly 3 years ago, but a lot of it simply isn't suitable for what I'm doing; it assumes an end product more engaging than a piece of sheet music. And the quickest way to get a sustainable income there is to already have fans.

So I spent some time reminding myself to keep my eyes on my own work, and reminding myself that just because my work is much more niche and not as instantly relateable and not so popular does not mean that it is worth less or is in any way less important.

My work is important. My music has broader value to society. If I didn't believe these things I wouldn't do it.

But keeping my eyes on my own work only goes so far; just because I'm not famous-on-the-internet and I don't have 150k followers anywhere and what I create is rather niche, doesn't mean there is nothing I can do.

Things I can do:

  • load up Hootsuite with a bunch of auto-tweets/FB posts again so that people actually know about my Patreon and my music, and keep doing it

  • collaborate with others more -- poets, other musicians, artists

  • get my website in slightly better order (this is a work in progress)

  • get my business cards finished and printed, and always carry some, and don't be afraid to give them out when I meet people in person

  • put more of my work on Lulu so that if people do want to buy printed copies, they can

  • make more recordings/get more recordings made so that people hear my work more (and look into ways of doing this other than giving all my money to Choral Tracks, though I intend to keep using that for some work)

  • take more pictures -- seriously, it's worth a try, partly because Instagram is apparently v good if you post regularly, partly because people relate better to pictures, partly because it helps tell a story of my work

I actually have plans to do most of this stuff, so it's not as if I'm sitting around in a cave, writing music and then wondering why nobody has ever heard of me. The thing is, actually doing all of this takes time and energy, and finding a balance where it doesn't take time and energy away from composing is the trick of it. It's winter, and last year was tough for me in many ways and I'm still recovering from that, which combined mean I could spend the entirety of my time on the admin and still be flailing. And maybe the important thing about the PhD work, for now, is that it gives me an obvious focus for the composing itself, a reason to do that before falling down the rabbit-hole of trying to fine-tune socmed or whatever to maximise my income.

And now I have to go to LGQ rehearsal, so that's the afternoon gone, and I've not composed a single naked note OR done any academic reading/listening and I haven't made it to Evensong. Tomorrow is a stay-at-home-and-do-admin day, but I think in the circumstances I can use some of it for composing too.


Tuesday, 17 January 2017 23:33
The last couple of days have been really annoying: trying, and failing, to write music for the Canada 150 competition. In the end I scrpaped the idea of using my own words for the moment and have started setting something else instead, which seems to be going better; and I've done some minor admin, but not a lot.
I found a performance of my work in the wild, so to speak: 24th April 2016 at the Lutheran Church of Honolulu.


--I need to be noting the performances of my work that I do find out about in a more systematic fashion
--Many of them I only find out about by searching for my name. Is there a bot that can do this once a month? How do I set up such a thing, for free and with basically no tech knowledge?
--Sometimes I find out about these things beofrehand, in which case I generally try and get in touch with the director of music (or whoever) and thank them for performing my work. Is this still okay when it's months later? (I'm leaning toward yes...)
Today was very frustrating and I didn't get a lot done.

Having decided to set this poem of mine for a competition, I'm revising it ever so slightly. The thing that's tripped me up is "ordinary terraced house" -- a terraced house, in Canada, doesn't really indicate ordinariness, first because joined-up houses aren't referred to as "terraced", second because there's a LOT more space in Canada than here and as a result there's a lot more detached housing. So I'm trying to find an expression that works better internationally.

The house in question when I wrote the poem was actually fairly small even by London standards; new enough to have low ceilings and poky windows, and a ridiculously tiny kitchen.

I think "a small, ordinary house" might be the best I can do.

Other than that? Sent the form off for the workshop. Hummed and hawed a lot. Cycled to and from Stratford to have a sticky bun. The edges of this piece are starting to coalesce in the back of my mind but it won't hold still long enough for me to write anything down, yet.

The rest of the week isn't going to be very productive, either: we have a house inspection on Friday, so tomorrow is going to be for tidying, and Thursday for hiding whatever is left of the mess. But I will keep reading the poem and I will keep pencil and paper nearby in case something does jump out at me; and if there's nothing by Friday, well, I'll try a less intuitive approach.

Some of the best music I've written has been by a similarly intuitive process to what I'm doing now: sitting with a text, doing other stuff, turning it over in my mind and waiting. With the waiting sometimes I get dribs and drabs, sometimes I get whole verses at once, usually I get a melody and some smattering of harmony and then have to fill in the rest myself. But I've also written music by rather more methodical means -- almost a sort of brute force approach -- which has turned out to also be very good; I don't always have the luxury of waiting for intuitive processes. The difference, and the reason I favour the intuitive when I do have time, is that the methodical stuff is far more likely to be crap and have to be scrapped and started again.
Stayed home for this one. No tea. But I transcribed the new ending of O Sweet and Blessed Country, and messed around with a bit as it still wasn't quite right. I made a recording of robot flutes playing it, and then realised I also needed to send in a CV if I wanted to enter it for the musica intima Novum 17 workshop. So then there was a bunch of messing about with the CV I used for my Aberdeen application; only a CV n Canada is sortof a different thing to a CV here. What we call a CV here, would be called a resumé there, and when Canadians ask for a CV they don't want a work history quite so much.

Anyway, I got it all sent off, and now they want me to fill out a form.

Also today I met another LGQ member at a local church to have a think about the acoustics for recording. I think we decided that the price was excellent but the background noise was too bad.
I still haven't worked out what to do with poems that I want to set, but don't want to set right now: either because my plate is full and I need to shift some backlog, or because they aren't yet in the public domain but probably will be within my lifetime.

For example, today I happened across Student Taper by James Stephens. It won't be public domain until 2020 (given no change in law and the crick don't rise). I want to be reminded of it in mid-2019.

Is there an easy way to do this? I could start a free wordpress blog and schedule posts far into the future, but then I risk breaking copyright myself if I'm posting them, say, six months before they actually pass into the public domain.

Suggestions welcome.

Text issues

Thursday, 5 January 2017 18:03
I spent a good bit of yesterday, and almost all my working time today, reading poetry.

I am looking for something for a Canadian composing competition. There are a few this year, because of the 150th birthday celebrations, and they tend to be open to Canadian citizens/permanent residents: this is a rather smaller pool of entrants than some competitions have, so it feels more important to enter.

But, well. What's an appropriate text? These aren't sacred choirs or competitions for the most part, so something secular would be good; yet, I'd still like it to feel transcendent enough that I relate to it as I might relate to a sacred text. I'm not much of a patriot and I'm uncomfortable with nationalism, but something Canadian-themed seems like a good idea. But I also don't feel I can do justice to anything touching on the genocidal colonialism that is part of Canada's history and still results in serious oppression for First Nations people today; nor do I want to pretend that didn't happen by only focusing on aspects of Canadian history that are seen more positively.

So, then, a text on a nice safe topic by a Canadian author seems in order. Great! But most of the good stuff isn't in the public domain; and what is in the public domain has failed to grab me, so far. I can't tell whether that's because it's doggerel, or whether it's simply that I've read so much that everything seems like mush now.

I could use some of my grandmother's poetry. I've not previously found it easy to get an official-sounding signed permission form from my father regarding the copyright; the closest is an e-mail along the lines of "Of course you can use any of Gramma's poetry, dear" which... won't really cut it. I can probably ask him to just sign something if I can come up with some wording, but the likelihood of managing that before this particular deadline is low. I also don't speak enough legalese to know where to start with this; and if I then want to release the music itself under a Creative Commons license, which is my preferred practice, it gets even more complicated.

So, I'm probably going to have a bash at setting one of my own poems. I'll need to make some changes to the language: nobody in Canada talks about a terraced house, really. And it feels very, very vulnerable, setting this poem, which is about a real person in my life. Also, it's a bit of a sod to set: a lot of sudden contrasts between the fantasy and reality sections, and wordy in places, and with no real resolution. But I have been meaning to set it for quite some time.
Doorkins scritched me when we met,
Sprightly tail and fur like satin,
Tweeting folks, who love to get
Cats into your list, put that in!
Say I'm weary, say I'm sad,
Say that health and wealth have ditched me,
Say I'm growing soft, but add
Doorkins scritched me.
I need a new biog, as my existing standard one is... well, a bit too biographical, if you like, and not enough about my music. In particular, I need something to put on the Association of Canadian Women Composers site.

So far I ahve this:

"Kathryn Rose is a composer, pianist, organist, horn player and
serpentist who was born in Moose Jaw, Saskatchewan, and now lives in
the UK.

Her lyrical choral music has been performed in the UK, Canada, the US,
the Netherlaands, Germany, and Singapore. She has a keen instinct for
singable, haunting melodies, and enjoys deceptive and interrupted
cadences. Her preference in choral composing is to emphasize the
words, and she frequently uses word painting and careful attention to
metre and word stress to achieve this.

Kathryn is currently studying for a PhD in contemporary sacred choral
composition with Paul Mealor at the University of Aberdeen. She is
passionate about accessibility and community inclusion in music at all
levels, and uses crowdfunding to make her choral music available

Suggestions and comments welcome.

Refugee requiem

Wednesday, 20 April 2016 17:41
So on Twitter @RevJarelRB said someone shoudl perform a Requiem for all those refugee souls lost at sea and I am thinking that writing one might be an idea.

I would want to raise money for e.g. MSF or some similar organisation -- or even better, one run by refugees? I'm not sure. I sortof know someone who works at MSF and might be willing to talk to me though so it's as good a place to start as any.

I don't want to be appropriative and I don't want this to be about my voice, necessarily. I would hope to interview some actual refugees, and with their permission, use their words/experiences -- about the persecution they are fleeing and also about the journey itself.

I'm thinking of the standard text of the Requiem Mass, in Latin, interspersed with words of refugees in English and other languages.


NaPoWriMo 3

Tuesday, 5 April 2016 19:36

I tell myself it's only
a trick of the light,
wishful thinking,
the sun in my eyes...

But my memory is seared with brightness.

NaPoWriMo 2

Saturday, 2 April 2016 17:07
A thousand small kindnesses you offer.
Each builds on the last,
row on row, until
I learn to wrap myself,
safe and warm,
in the blanket of your care.

NaPoWriMo 1

Saturday, 2 April 2016 17:02
A lune:

Saturday: wash clothes,
mow the grass,
make this house a home.

NaPoWriMo 2016

Tuesday, 29 March 2016 08:09
I've decided to take part in NaPoWriMo 2016. I last did this in 2013, and didn't finish, partly because at the time I was planning my wedding and various other things. This year I have less on my plate and I am hoping to complete thirty poems in thirty days.
There's a flap going around Twitter at the moment about the possibility of "algorithmic", which is to say, non-chronological, timelines.

People are unhappy and upset about this because it takes away from them, the users, control over who they interact with. That has a pretty disruptive effect on the community; it's a bit like going to a pub where the landlord tries to guess which sentences people say that you will like, and somehow only lets you hear those.

what's actually going on? )

So far, so theoretical. What are we supposed to do to help our social networks survive, to maintain viability (with some kind of convenience) for those relationships we treasure and continue having access to new relationships online?

There isn't, I'm afraid, an easy, convenient answer: no matter what you do, some people you'd desperately like to stay in touch with are probably not going to stay in touch, because using some other means of communication is more effort than they want to put into the friendship. I remember when this happened to me on a small scale: someone I had been conversing with a lot via Gmail Chat (remember that? Before the whole Google+ thing) stopped using it, and... it turns out that e-mail isn't a good way for that person and me to converse, and they don't have that much time for Twitter these days either. I still feel abandoned and forlorn about it, but the truth is, if the person really wanted to keep in touch with me at the level we were in touch, they would have taken the time to do it. And yes, that does hurt, even though I know there's no ill-will, just not enough hours in the day.

Losing a platform, either suddenly or gradually, will highlight a lot of that. It's going to hurt. There's a lot we can do to mitigate the effects, though, so that when (not if) Twitter (or some other network) becomes unusable, it feels more like "one of the local pubs is closing, that's sad" than "the only pub I could ever go to has become uninhabitable and I have no other way of contacting my friends".

Step 1: Have another point of contact. That might be here on Dreamwidth, it might be giving your e-mail address to people, it might be the Book of Face (yuck), it might be somewhere else. But have it, and make sure people you want to stay in touch with know about it.

Step 2: Seek out and maintain other networks. This always feels a bit like a betrayal, and it requires a change in habits, but maintaining some kind of a presence -- even a post once or twice a week -- is probably a good idea.

Step 3: Cultivate closer ties with a smaller group of people. There are people I try to see regularly offline if I can. There are people I e-mail regularly. I'm a lot choosier about who gets to see my locked Twitter account and my not-this-username Dreamwidth account than I am about the public, artsyhonker-associated accounts.

I think where a lot of people are falling down is at Step 2: if you've mostly only used Twitter and Twitter is easy to use from your phone and Facebook is terrible, where do you go?

Here are some suggestions:

GNUsocial: This is an open-source federation of servers ("instances" or "nodes") that are a lot like Twitter. There's a 140-character limit. The protocol they use is called Ostatus. I use it as @artsyhonker on the quitter.se server, the public timeline of which is a bit scary to see at the moment. All of the whack-a-mole problems with abuse and spambots and unwanted porn exist here, but one strength is that you can set it up so that it cross-posts to Twitter: if I post a 'queet' or notice or whatever it is, it also appears on my Twitter timeline. So there's a bit of continuity there, at least. I know of two Android clients that support it: &Status (or AndStatus) and Mustard. Neither of them are amazing, but there may well be others in existence.

The main weakness of GNUSocial, other than just not having the critical mass of Twitter, seems to be a lack of coherence of things like direct messages and private groups over instance/node borders. I don't use DMs a lot on Twitter so I'm not sure this is a huge problem. And there's other stuff that's different on different instances... apparently the Rainbow Dash instance has no character limit, but I don't know how that works with displaying things on, say, quitter.se. If you're looking to keep a close-knit group together it might make sense to all migrate to the same instance. If you're sure you'll keep in touch with one another in other ways anyway, you might want to each check out an instance and find out which one will work best for your needs.

Dreamwidth: You're reading this post on Dreamwidth. It's an online journal system that sort of forked off of Livejournal several years ago. As you can see, it doesn't have a 140-character limit! It does allow for the use of cut tags for longer posts, though. And you get a 'reading page' (see the public posts on mine here) which is... in reverse chronological order! Hurrah! Comments on entries are threaded nicely and don't turn up as entries/posts in their own right, so it's a little bit harder to join in unless you want to, but also easier to not get bogged down in conversations you don't really want to be part of. And -- get this -- you can decide on a post by post basis which posts are public, which are access locked to just people you've granted access to, and which are only visible to people on particular filters. You can decide whether to allow comments from anonymous users or just people with Dreamwidth accounts. You can also use it as an RSS reader, so if you're still kindof missing Google Reader from your life, this is a really good thing. It's community-led and community-funded: the revenue model is that you can have a paid account, which has more bells and whistles. But the free accounts are definitely very much enough to be getting on with.

The main weakness of Dreamwidth is the lack of a mobile client. The Android client 'EllJay' will post to Dreamwidth, but it's pretty limited. I understand that [personal profile] marnanel is working on an Android client with more functionality.

Streetbank: This isn't so much an online social network as an online way of meeting your geographical neighbours, a cross between Freecycle, skillsharing sites and a tool library. The idea is that you can loan people actual things, or given them away. You can tell it how far away you want to see requests from (I think the radius can be 1 to 4 miles) and your own address is kept private. I'm including it here because I think getting to know some neighbours can be a good thing.

Weaknesses/unknowns: I have no idea if there's a mobile app and I have no idea how to get it up to a critical mass in a local area; it almost needs deliberate, strategic adoption by a small group of people in an area to work, I think. As things stand, I don't get reminder e-mails often enough that it's a big part of my life, but if everyone within a one-mile radius of me posted three things per week (for lending or give-away) it would probably get spammy (there are 134 of us). I'm not sure what the revenue model is, which makes me a bit uneasy.

None of these are a replacement for Twitter; all of them are worth checking out. Other suggestions are welcome.

I'll see you around.


Thursday, 7 January 2016 16:16
Time: Friday afternoon, 2017-01-06
Location: Southwark cathedral refectory
Tea: Chamomile
Activity: Fixing the end of 'O sweet and blessed country'

In my haste to get to Mass on time beforehand, I failed to bring a pencil with a rubber o it with me, so there was some crossing out to do. I needed to re-write the end of the piece as it was pretty crap before: I'd written most of it previously, then the ending on what must have been a bad day. I'm not entirely convinced it's much better now, but at least it's different, and better in keeping with the style of the rest of the piece; I'll have to sleep on it, and see whether I like it. I'd like to submit this piece for a workshop I only found out about this afternoon; the deadline is 2016-01-09 (er, Monday) at 5pm PST (ah, the timezones help me out here). The piece itself is a setting of my preferred version of the last verse of the hymn "Jerusalem the golden": the one that has "Exult, O dust and ashes, the Lord shall be your part; his always, his forever, thou shalt be and thou art!" in it. The actual original text is many verses longer than what appears in most hymnals and so different versions crop up all the time; I know that S, who I'm considering dedicating this piece to, also prefers the version I prefer, and dislikes the version in the Beastly Orange Hymnal.

No background music in the cathedral refectory, but during busy ties it can still be on the noisey side. The busy times don't tend to last very long though. The windows give plenty of natural daylight earlier in the day, but afternoons can be rather dim. There is some hot food at lunchtime, and tea/cake/etc available the rest of the time. The loo is down a narrow flight of stairs, there is an accessible toilet elsewhere in the building, near the gift shop. It's quite handy for London Bridge station.

After that I went to a stationer, then wrote most of a "review of the year" post, but I am not up to typing it tonight; I'm barely managing to type up this worklog and it's only short (I'm backdating it). I do have a tablet and a bluetooth keyboard, and it might be worth bringing them along on these café excursions for worklog and blogging purposes, though they'd be more than I really wanted to carry. We'll see.


Thursday, 19 November 2015 15:31
On the first day of the week,
Women at the tomb did seek
Their Master; but the stone was rolled away.

Terrified, they bowed their heads,
"He's not here, he is not dead,
But risen," dazzling angels then did say.

Then the women did return,
Told the others what they'd learned:
That Love had won the Resurrection Day.
The General Synod of the Church of England met today; one of the things they discussed was environmental concerns (often lumped under "stewardship" on Planet Church).

For a few years I've been grumbling under my breath "Well, there are something like 14000 south-facing church roofs in the C of E alone, too bad English Heritage can't let us put solar panels on most of them." My own church is a Grade II Listed building in a conservation area, and our chances of putting solar panels on our roof are approximately nil.

Now, I'm not suggesting that ancient roofs that are of particular interest (maybe thatched or something) should be replaced by shiny shiny solar panels. But being serious, the vast majority of church roofs are not anything special: their function is to keep the rain off, and that's about it. But because of the way the listing of older buildings works, we can't differentiate between the roof and the walls, the windows and the drainpipes; and while there is something to be said for architectural harmony, many modern solar panels are very unobtrusive anyway.

But I'm not the only one grumbling about this. It's just that it gets lost among the messages about using less packaging, and encouraging people to cycle more rather than drive, and eating less meat... all good and noble things to do, but not something most church communities are going to be able to get behind in an enthusiastic way. Similarly, divesting from fossil fuels is great, but as far as Yer Average Churchgoer is concerned, not something that affects the day-to-day running of the place. And as for solar panels at home, well, I rent, and so do many people I know, and solar panels on a private home are nearly as large a project as solar panels on a church, with many less people to lend a hand with the work.

So I wonder... could a campaign in the church at many levels shift government policy on listed buildings to allow installation of solar panels on most churches? If we just focus on the solar panels, might we make more headway than if we talk about all the little lifestyle changes we all need to make? Getting solar panels (whether hot water or photovoltaic) on a church roof is something a lot of churches *can* move toward, with help, if it's made legal; and campaigning to have it made legal in all or most places might be something people can get behind.

There is always the danger of seeming a bit hippie-middle-class-ish, but the reality is that solar panels on churches in the poorest communities will save money for those churches (or even act as a source of income) and help them help the wider community more.

And, of course, a church with solar panels on the roof is making a strong statement: that this is a community which can move with the times, which takes seriously our stewardship of the planet on which we live. It makes our cruciform, east-oriented buildings with all their south-facing roofs a visible and practical symbol of our role and commitment to that role. It makes our buildings indicate a sacramental presence, if you will. It is a way of looking at the earth, as God did, and seeing that it is good -- and then showing that we'll put our money where our mouth is and act on it.

I think this project needs:
-a lot more thought
-a snappy name (probably not SPORC for Solar Panels On Roofs of Churches, for what it's worth)
-maybe a canon lawyer
-someone who is good at grassroots campaigning
-general admin time
-a fair bit of untangling of situations where churches can *already* install solar panels (in some places it really is possible)

I think we might want to talk to:
-other denominations, especially if they have lots of listed buildings
-Friends of the Earth
-Transition Towns (these are quite locally based so it might be easier to make links at a local level)
-Green Christians
It's that time of year again: time to get started on the Online Carols

I'm making a new mailing list for this year's coordination.
It is at https://groups.google.com/d/forum/onlinecarols2014 -- please join it if you would like to contribute. If anyone else you know would like to contribute then please ask them to e-mail me (artsyhonker at gmail dot com) or join the list. Some years people have just randomly prepared things and sent them to me, which is great but I can't always use such material if all the slots are full!

What's involved:
1) I'll set up a Doodle poll with slots for the readings, music, and prayers and reflections
2) Each person takes responsibility for one of the slots.
3) You can work together on things, of course, and I'll include links to artwork we've been given permission to use, and so on.
4) I'll set up 'dummy' private posts on the onlinepraise.wordpress.com site.
5) Record your work, make sure you have a plaintext copy of any lyrics or the words of the reading, and add it to the relevant post on the wordpress site (more detailed instructions later) or just send it to me. Please make sure your sound files, if you have them, are already online: soundcloud is a good way to do this (if you don't have an account already you can get a basic one for free).
6) Publicise the carol service on social media.
7) There will be a "retiring collection" for Shelter. I've set up a JustGiving page here: https://www.justgiving.com/OnlineCarols2014 so that we'll be able to see how much we've raised.

I'd like to have all the content by the end of 22nd December in all timezones, so that on 23rd December I can make sure everything is in order and still have time to pick up any dropped pieces.

Any questions do ask them below!
I'm looking for a London-based 3D modeller who is willing to help me with a project which has the potential to make life better for a lot of people.

I have EDS type 3, which means my ligaments is more stretchy, and my joints are much more flexible and bendy than they should be. For most of my body, this means lots of physio training to keep muscles strong so they can support the joints instead. For my hands, this doesn't work so well: hands don't have a lot of muscle in them, so exercise to increase stability isn't really practical.

One partial solution to this is to wear ring splints. The splints stop the joints bending backward, meaning less pain and more strength.

Unfortunately, ring splints are kind of a specialist item.
Currently available splint options )

I recognise that some stuff is just never going to work off-the-shelf. I will probably have to have custom jewellery made if I want thumb splints that aren't thermoplastic.

But for fingers, things are a bit simpler. Fingers are basically just tapers with joints in them. 3D printing is an ideal way to make finger splints: prototypes can be printed quite easily, rather than needing injection moulding equipment. But it should be possible to create ring splints in a variety of sizes and styles, which are both more comfortable than the plastic Oval-8 splints and cheaper than the custom-made ones. Shapeways offers printing in a wide variety of materials, including plastic, brass, steel, silver and gold. So it would be quite feasible to get plastic splints printed to test fit, then order the ones I like in steel or brass for everyday, and eventually silver or gold for "best". If one got lost it would be easy to replace. Shapeways probably aren't going out of business for a long time yet, because 3D printers are still niche items.

And using Shapeways, we could a) share the design with others, who could make their own modifications if they wanted to b) offer people-who-aren't-me the opportunity to buy splints the same way, and charge say 5% or 10% extra which would then be split with whoever is working on this project with me. We wouldn't have to do order fulfilment and stuff because Shapeways already has all of that in hand; the work would be in the development and the advertising, but once it gained momentum it would just sit there making a bit of money now and then, and making a lot of people's lives easier. If it got to the point where we had to do serious amounts of customer service we could re-distribute prices/profits such that we could pay someone to do that. I'm not really interested in making huge amounts of money from this, though, I'm interested in helping people who are in my position of not being able to access appropriate metal splints without paying large amounts of money.

I don't know how much development work is involved, but I'd be willing to try and do some kind of crowdfundy thing so that whoever is doing the actual 3D modelling work can get paid. But first, I need to find someone to work with. I'm based in London, and I'll want to meet regularly in person.

If you're interested in getting involved in this project, comment here or e-mail me at artsyhonker at gmail dot com.



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