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A look at the five ideas the Infovore author explored in July 2015, from a virtual music box and PCB making to streaming craft and weekly schedules.
The July 2015 edition of Infovore’s “Five things I’m thinking about” outlines a set of personal projects that blend music, hardware, and digital culture. The author reflects on a virtual music‑box interface, home‑made printed circuit boards, renewed music composition, the potential of streaming non‑gaming crafts, and the psychological impact of weekly content cycles [1].
Key takeaways
The centerpiece of the author’s July musings is a browser‑based music box named “Twinklr.” It replaces traditional paper rolls with a finger‑drawn “virtual paper” and retains a tactile crank handle. The device can output MIDI signals directly from the browser thanks to Chrome’s WebMIDI support, allowing it to control software synths or external hardware [1]. This hybrid of analog and digital interaction prompts the author to explore unconventional composition habits, such as “lumpy rhythms” and the ability to play melodies backwards. The project also sparks ideas about using grid controllers like the Launchpad as UI elements within a Backbone.js render method [1].
Frustrated with the limitations of stripboard, the author is learning to route printed circuit boards from schematic ideas using the Fritzing design tool, which feels more approachable than EAGLE [1]. Early prototypes include ground fills, but the author notes that the home‑brew process may not yet meet production standards, hinting at a future shift to professional fabrication [1]. The learning curve involves researching chemicals and techniques for etching, while trying to avoid the hazards of ferric chloride [1].
After years of electronic music production, the author is cautiously returning to composition, describing long sessions of sound‑design immersion that often end in dissatisfaction [1]. The goal is to maintain forward momentum without falling into repetitive patterns, a challenge the author acknowledges but is gradually overcoming.
Simultaneously, the author is intrigued by the rise of Twitch as a platform for non‑gaming streams. Observations include glassblowing, music production, and model‑kit building broadcasts, suggesting a “Stitch On Twitch” concept where viewers craft alongside streamers [1]. This mirrors traditional “stitch and bitch” gatherings, adding a social layer to solitary crafts.
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The authors use these posts as a platform to document and share half-formed ideas and intellectual interests that they have not yet had the time to write about in full.
Watson proposes that the editorial role in publishing could be partially automated or improved by crowdsourcing, specifically to reduce the time required for copy editing.
Jones observes that society is currently prioritizing attention-consuming screen devices over the 'Internet of Things' and suggests that users should consider de-emphasizing these devices to better engage with their physical surroundings.
The author notes how weekly cycles—exemplified by Spotify’s Discover playlist and Destiny’s rotating events—create a sense of anticipation distinct from on‑demand content [1]. Fixed windows, such as a new strike or the appearance of the vendor Xûr for 48 hours, give users a predictable schedule that enhances engagement.
These five threads illustrate a broader trend of blending physical interaction with digital tools, whether through a browser‑based music interface, DIY electronics, or live‑streamed craftsmanship. The author’s experiments highlight the potential for new creative workflows that leverage both tactile hardware and web technologies. As platforms like Twitch expand beyond gaming, and browsers gain deeper hardware integration, the boundaries between maker culture and digital media continue to blur, pointing toward richer, community‑driven creative experiences.