neauoire

For Hannah

Your creative output spans several disciplines - a big reason why I enjoy your work - while a goal of yours is preventing multi-tasking. Can you define what unproductive multi-tasking looks like to you vs. what have you found to be a productive way to shift your focus from one discipline to another?

It comes down to scope and granularity. The ideal focused work to me is a session of 25:00 pomodoro. Undistracted, focusing on a single task, with a single tool, undisturbed. Then, throughout the day, the relationship between each of the pomodoros, would be done for a singular project.

An unproductive multi-tasking day, would include interrupted sessions of pomodoros, over multiple unrelated projects.

In your tracking, I like that you differentiate between focused input, like listening to music, and output, like performing music. How do you decide what is an appropriate output of something you are curious about and what's your process like to allocate the right about time towards it?

neauoire

For Josh Castle

You seem very stable mentally and emotionally, at least from the outside. Is that an accurate perception? Or is that just how you appear through the lens of social media?

It's possible that I am, but the way I see it, I might have less of an emotional dynamic range than some people, I definitely also oscillate between better and worse moods, but less intense highs and lows.

You track lots of things about yourself; do you also track your mood? And do you make an effort to fight it or to stabilize it, or do you just try to "go with the flow" and let your mood dictate your workflow?

I don't track my moods, but as my moods usually follow my tracked input/output, so moods can be inferred. I am happiest when I get to dedicate myself fully to any one task. So, that being said, tracking the way I do, can be seen as stabilizing my moods? I never have professional frustration, and I can very easily imagine that affecting my moods. To go with the flow, you have to be able to see the fl

neauoire

On Riven

What constitutes a Riven-like? The "Berlin" interpretation — @Johnicholas

What design principles were you paying attention to that I am missing?

I've built this as a way to organize and visualize the sites I was working on. It's not designed to have any kind of drag-drop interface, but instead, to have the graph object code on one side, and the rendered resulting graph on the other. Riven is not really designed for interaction design, or real time projects even tho it could. Ideally, nodes should not preserve any of the data, but only be operating on the input it receives.

Do you think that signal is central, crucially important or a wart?

neauoire

Do/did ideas from systems theories (like feedback loops, complexity/emergence, non-linearity) influence your designs & decision making at all?

Well, I tend to follow the linux development Best Practices, here are some of them relating to building systems that I try to always apply in my process:

• Separate policy from mechanism; separate interfaces from engines.
• Write simple modular parts connected by clean interfaces.
• Design programs to be connected to other programs.
• Write programs to write programs when you can.

In your design process, did you balance between designing for “desired outcomes” that you wanted to encourage vs. “unexpected (emergent) outcomes” that you couldn’t predict? If so, how?

neauoire

Are there any other docs for Runic outside of the Oscean Lexicon in lexicon.ndtl?

I think that the best way to understand how Runic works is actually to look at the source code itself, it's a tiny file written in such a way that it should be self explanatory.

Have you built any tools for quick conversion of Neralie and Arvelie?

If you type ~help in the Oscean search bar, you will see the ~atog, and ~gtoa, commands that will handle that conversion.

~atog 19l06 # 2019-06-09

neauoire

Who are you, and what do you do?

I'm Devine Lu Linvega. I write esoteric software while traveling aboard a sailboat with my partner Rekka Bellum — We are presently moored in a quiet inlet, deep within the Japanese coast where sleep the remains of ancient towns, overgrown with lichen.

I am tempted to say that I write music, but saying that I write programs to write music, would be more accurate. The same could be said about design, but I do like pick up a pen to draw once in a while. Rekka & I are making games, tools and books together. We also [document our life aboard the boat](http://youtube.com/hundre

neauoire

For React Berlin

Hello, Devine, and welcome to the interview with React Day Berlin. Please, tell us about yourself. What background are you coming from?

My name is Devine and I build esoteric software. I was first interested in illustration and motion graphics, I later started writing music to complement these pictures, and finally I began learning to implement interaction and turn these designs into games, websites and tools.

• profile

What do you do apart from playing music? Where do you work and what do you do during the daytime?

neauoire

1. Firstly, and most obviously, what's it like to work on a boat? What do you find the most difficult and what do you enjoy the most about it?

Our studio is subject to the whims of nature. Because our vessel moves with the wind, the view from our window changes all the time. Our work schedule is tied to hours of sunlight. The most difficult aspect of working from a boat is power management, as we have to size our projects to the energy we have stored, but it is also what we enjoy the most because we thrive within constraints.

2. Why and when did you both want to take your life onto the seas?

We lived in Japan for a few years prior to moving aboard Pino in 2016. We found that working while traveling impacted our projects in positive ways. We wanted to keep moving, but also wanted to exit the loop of buying and selling the various things you need when moving abroad(furniture, tools, etc).

A sailboat solved our issues with travel. Lack of experience aside, we knew we could learn to sail and thought

neauoire

Our traveling studio has operated off-the-grid for 4 1/2 years. I am an illustrator and writer, and my partner is a musician and programmer, together we build experimental software using low-tech solutions.

For the first 3 years we tested the limits of our space, and at first, it was difficult to create new things, as we had to make time to learn how solve underlying problems. Our boat was not just an office, it was also our house and transport. As for us, we were artists, but also plumbers, deckhands, electricians, captains, janitors and accountants.

Our main problems as a studio were internet scarcity, power management, data storage as well as hardware and software failures. Overtime we found ways to balance work, pleasure and maintenance. Here are some of the lessons we learnt.

Power management

neauoire

; ca65 apu_scale.s
; ld65 -t nes apu_scale.o -o apu_scale.nes

reset:
	; Since we only use APU, we don't need to
	; initialize anything else
	jsr init_apu
	
	ldy #20
	jsr delay_y_frames