Vegan Pumpkin Pie

Ingredients

  • 1 medium sized orange squash – pumpkins are good, butternuts are better, crown prince squash is best. Pottimarons also work, etc.
  • 1.5 C + 2 Tbs Soya milk
  • 4 Tbs arrow root powder (or cornstarch)
  • 0.5 Cups (300 g) sugar
  • 1 tsp cinnamon
  • 0.5 tsp powdered ginger
  • 0.5 tsp allspice
  • 1 pie crust

Hardware

  • Bowl
  • Measuring cup
  • Measuring spoons
  • Oven
  • Spoon
  • Knife
  • Optional: blender or hand blender

Instructions

In advance

Heat the oven to 350 F/180 C / gas mark 4. Put the squash in the oven and bake until the skin discolours and the squash is squishy. This may take 30 minutes – an hour. Then, let the squash cool down.

After the squash has cooled

Heat the oven to 50 F/180 C / gas mark 4.
Mix the arrowroot (or cornstarch with a bit of the soymilk until smooth. Then, add in the rest of the soya milk and mix well.
Cut the pumpkin in half, remove the seeds (they’re edible too!) and then scoop out the flesh. Measure out 2 cups of the squash. Put the rest aside for soup or something else. Add the 2 cups of squash to the soymilk mixture.
Add the sugar and spices. If you have a blender, use it to blend the mixture until smooth. If you don’t, then make sure the pumpkin is squished into as small pieces as possible and try tog et out as many lumps as you can.
Pour the filling into the pie crust and put it in the oven. It should bake 30-40 minuts, or until the centre is firm. If you are baking other things at the same time, it will take longer.
Let the pie cool before serving. I like it best near room temperature. Some people like whipped cream on it also.

Commentary

I usually get somebody else to make the crust for me, so I don’t feel qualified to offer a recipe for one, but hopefully, this will change by Monday.
If you use a sweeter squash, like a crown prince, you can cut back a bit on sugar. Taste the batter if you’re unsure.

Body Scanners

Passengers who wish to fly from the UK have no choice as to whether to allow the government to peek at their genitals. However, in the US, you can opt to allow an agent to feel them (through clothes) instead. Speaking as somebody with an unusual genital configuration, I would rather allow myself to be groped than photographed, for a few reasons. One is that nobody can keep a copy of a grope to look at later. Another is that it’s highly possible I would be groped anyway and I don’t want to be singled out for special attention based on an unusual scan. Finally, I don’t wish to increase my risk factors for skin cancer by stepping into a beam of ionising radiation, if I can at all avoid it. For those who are fertile, there are also issues with exposing germ cells to radiation, especially those with testicles, as these would normally be shielded during an X-Ray.
There is a movement afoot to try to get people to ask for a grope instead of a scan, especially on the Wednesday before thanksgiving, when many people in the US will be flying. The TSA is making ridiculous statements about this helping terrorists, however, I’d like to posit that when getting on an airplane necessitates security agents looking at or feeling my genitals, the terrorists have already won. It is your right to ask for a “pat down” instead of a scan. This may be inconvenient for TSA agents, but this is a normal tactic of protesting. It would hardly do any good to launch a protest that nobody noticed.
Today, I read an article in the New York Times, which stated, “Do the imagers, for example, detect sanitary napkins? Yes. Does that then necessitate a pat-down? The T.S.A. couldn’t say.” So some security worker at the airport knows whether or not you’re menstruating. Charming. And they may or may not decide to grope you as a result of that. “Screeners, the T.S.A. has said, are expected to exercise some discretion.” They have little training, no union, low pay and no job protections, but a lot of discretion, I’m sure.
This is just too much. I wrote a letter to my senators:

Dear Senator –,

I am wiring to oppose the new body scanning devices that have been installed at airports. Today, I read in the New York Times that the devices are able to detect menstrual pads and the TSA “couldn’t say” whether this detection would necessitate a pat down. (http://www.nytimes.com/2010/11/16/business/16road.html?_r=1) This level of grossly indecent privacy invasion is unAmerican. It is an outrage.

As I’m sure you’re aware, the pat down one receives if they opt out (or potentially, if they’re menstruating) involves a TSA agent feeling the passenger’s genitals. All aspects of this policy are horrifying and I hope you take action to change it.

Thank you for your time.

Sincerely,
Charles Hutchins

Ok, yes, I did actually call something unAmerican. I know this is problematic. But Americans are, by and large, a prudish people and this is really not prudish at all and hence violates the national character. Also, I am exceedingly annoyed.
I wrote a different letter to my Representative, Barbara Lee, who is a proper leftist and involved with the Progressive Caucus in the House:

Dear Representative Lee,

I am wiring to oppose the new body scanning devices that have been installed at airports. As a transgender person, I am concerned about how these machines peer unnecessarily and invasively at my genitals. I am also highly concerned that once a security screener becomes aware that I’m transgender, I may be subject to discrimination or be publicly humiliated.

I intend to opt to be patted down instead, but as this involves an agent feeling my genitals, it’s hardly better. There is little evidence that any of this makes us safer while flying but it certainly causes me and many others quite a lot of distress. I’m faced with a terrible choice between not seeing my family over the holidays or having my genitals looked at and/or touched by a TSA agent.

I hope you can do something to improve this situation.

Sincerely,
Charles Hutchins

Ha ha, trans people sure are funny

John Oswald:

Pretender (based on ‘The Great Pretender’ written by Buck Ram) features the opportunity for a dramatic gender change, suggesting a hypothesis concerning the singer, Ms.Parton, perhaps worthy of headlines in the National Enquirer. The first inklings of this story came from fans of Ms.Parton’s earlier hit single ‘Jolene’. As many consumers have inadvertently discovered, especially since the reemergence of 12′ 45rpm records of which this present disc is a peculiar subset, it is not uncommon to find oneself playing 45rpm sides at the LP standard speed of 331/3. In this transposed tempo ‘Jolene’ reveals the singer to be a handsome tenor. Additional layers of homosexual longing , convoluted mŽnages ˆ trois and double identities are revealed in a vortex of androgyny as one switches, verse to verse, between the two standard playback speeds.

Pretender takes a leisurely tour of the intermediate areas of Ms. Parton’s masculinity. This decelerando reveals, complete with suggestive lyrics, an unaltered transition between the ‘Dolly Parton’ the public usually hears and the normally hidden voice, pitched a fourth lower. To many ears this supposed trick effect reveals the mellifluous male voice to be the more natural sounding of the two. Astute star gazers have perceived the physical transformation, via plastic surgery, hair transplants and such, that make many of today’s media figures into narrow/bosomy, blemish-free caricatures and super-real ideals. Is it possible that Ms. Parton’s remarkable voice is actually the Alvinized* result of some unsung virile ghost lieder crooning these songs at elegiac tempos which are then gender polarized to fit the tits? Speed and sex are again revealed as components intrinsic to the business of music.
*chipmunked

From http://www.plunderphonics.com/xhtml/xnotes.html, which is associated with his tune Pretender, which you can download in a zip, from here. Click through to see his awesome, edgy and totally not race-baiting or queerphobic take on Michael Jackson.
I want to be on his side because he fought for fair use, but this stuff is really assholish. It’s like wanting to side with Larry Flint. I was trying to find out if he was gay or not, because that might sort of his explain his gender stuff or least make it possibly deeper than a cheap laugh,. All I could find was that his official bio claims he did sound for a Bruce la Bruce film, Hustler White, which he claims is a gay pron film. Wikipedia and IMDB imply otherwise (the latter doesn’t tend to cover porn films, for example Deep Throat has no entry) and neither mentions Oswald.
The Dolly Parton track, by the way, is really, really good (as is the Michael Jackson one). It’s just the liner notes that suck. And usually, changing the speed of a recording of somebody’s voice just sounds weird. But her voice slowed down gets a James Brown-like tenor quality which is quite remarkable. So he’s on to something, but then he went for the cheap laugh.
ha.
ha.

My life lately

I had a houseguest from Friday – Tuesday, which is always nice. I tend to go out more when I have somebody staying over. Also, it’s an excuse to go do slightly more touristy things, or just go to a museum. (Indeed, if I know you in real life and you’re looking to stay on a sofa bed in central London, drop me a line.)
However, I used him as an excuse to procrastinate on writing my lecture. Fortunately, I was able to write the whole thing on Tuesday afternoon, in about half the time it normally takes me! I must finally be getting the hang of this. I went out on Tuesday night, feeling very pleased with myself.
On Wednesday, I presented the lecture and found out that it also seemed to take about half of the appointed time. My efficiency knows no bounds! I spent the second half of the class showing them MCLD’s dubstep patch and how to do some bitcrushing stuff, which seemed to go over well, so it was ok. I try to have emergency backup material in case this happens, but now I’m fresh out.
I also got a bit of feedback where apparently they want to learn more about how to do stuff, which is fair enough. Unfortunately, all of the really good how-to topics are in the past, so I may end up going back over them. I should probably ask if there’s any particular topic they wish they’d gotten more detail on. They seem to really be into break beat cutting and this might be because they already liked it or because I talked about BBCut. I gave them some how to program drone stuff, though, and nobody seems to be writing drone pieces.
Then I went to Brum, where we had a guest speaker who was talking about how to master electroacoustic music for CD. He said we could all get a very decent home studio for only £5000. It was like he forgot that he was talking to students. I don’t have a room that I could convert into a proper studio like that, and if I had £5k extra lying around, well, actually, music gear is probably my second priority at the moment, so that’s not entirely unreasonable. Until I get regular full time employment, though, it’s not on my budget. I guess I could mortgage my dog or something, but that’s risky.

Saturday

I haven’t been getting much done lately, so I haven’t been going out much, on the idea that if I sequester myself at home, I’ll quit procrastinating. This doesn’t actually work. So Saturday, I decided to go out and ended up having a kind of a surreal evening. I came home at 4 am with 3 different hand stamps.
I skipped dinner so I could go to the FTM London meeting, which is once a month. It’s a support group kind of thing and only the third time I’ve ever been to a such a meeting in my life. I had some useful conversations and the people there are good guys, and I should keep going, but I’m not a huge fan of the support group format. I don’t actually understand what the parameters are about what I’m allowed or not allowed to talk about, so I’ll just say that it was good to be reminded that I have more surgical options than the ones presented to me last week.
After the meeting, several of us went to the Black Cap in Camden and had something to drink. This was the source of my first hand stamp, as they start charging a cover at some point after I arrived, so a security guy came by and stamped everybody already in the pub.
I ran into a friend there and she said she was going to something called Duckie at the RVT and asked me if I wanted to come along. It was packed to the gills. I’ve only ever been to Wotever-related events there, so I’ve never seen it so stuffed or so gay. It was 95% gay men, I think. I saw somebody else I knew there who was in to noise music and talked (shouted, really) to her and her partner for several minutes and then retreated outside with the smokers. We went back in for the stage show. There were two women dressed as tea ladies, stacking tea cups and pouring tea into them, on a table. It was already kind of surreal, as the music could have been part of the Leave it to Beaver soundtrack, and they had done some choreography that was supposed to invoke the idea of sexiness without actually embodying it.
Then, just in time for the last cup to be filled, the tea pot was empty! So, one of the women stood up on a chair, hiked up her shirt and pissed into the tea pot. Then, they dropped a tea bag into the pot, swirled it around for a moment, poured the contents of the pot into tea cups and both performers sipped at them. Thus ended their act.
I tried to suavely hide my look of open-mouthed-shock. I’m from a more prudish country and obviously gay men in London must want to go out and watch women do things with piss, and that’s perfectly fine. And anyway, it had to be faked, as she weed for quite a long time, so it was obviously some sort of water bottle or something hidden under her skirt.
The pissing performer turned out to be friends with my friend. Which is how I learned that she had been complaining a bit about the vast quantities of water she’d had to drink before her act in order to be able to produce enough fluid at the end. Um, wow. So I saw the liquid version of two girls, two cups. Awesome.
At midnight, I left to go hear Danse Macabre play a gig very near my house. The drummer had texted me the address and then said I was on the guest list. So I showed up kind of drunk and then noticed that she had gotten me on the guest list by saying I was doing sound for them.
They were playing in a straight, mtf-crossdresser fetish bar. So there were a lot of leering straight men around, being lustful. And a lot of middle aged drag queens in extremely fabulous cocktail dresses. The entire club was structured around the male gaze. I retreated backstage with the band and drank more.
Then they were on and I was in the sound booth. I’ve only done live sound once before in my life and it was a total disaster of feedback and mics crapping out. But the band said they’d already sound checked and I shouldn’t have to adjust anything, it would be fine. So they got on stage and immediately the feedback started. The person who sound checked them had no idea where it was coming from. I finally worked out it was form the mics for the backing vocals, but then somebody who actually knew what he was doing came charging back and asked me if I was actually a sound engineer. I said no, so he started twisting all the knobs on top of the board and not only did the feedback go away, but the band sounded way better. He then said things would be fine and wandered off.
The band had a new line up. They have a sax player now, who I could barely hear, so I kept pushing her mic hotter and hotter and she kept playing farther and farther from the mic. Arg. Later, I found out that the sound checker put her way too hot in the monitors, so she could hear herself blasting. Rather than turn that down, the woman told her to play quieter! So the saxophonist was on stage, trying to play sax quietly into a microphone!
I really should learn how to work a PA for public events. It would be a really useful skill.
Also, the male gaze is reaaaaly troubling.

How to Write BBCut FX

First, here’s my file:

CutMask : CutSynth { 
 var bits,sr,bitadd,srmult; 
 var synthid;
 
 //makes SynthDef for filter FX Synth 
 *initClass { 
 
   StartUp.add({
  
  2.do({arg i;

  SynthDef.writeOnce("cutmaskchan"++((i+1).asSymbol),{ arg inbus=0, outbus=0, bits; 
  var input, fx;
  
  input= In.ar(inbus,i+1);
  
  fx = MantissaMask.ar(input, bits);
  
  ReplaceOut.ar(outbus,fx);
  
  }); 
  });
  
  });
  
 } 
 
 *new{arg bits=16,sr,bitadd=1,srmult=1;
  
 ^super.new.bits_(bits).bitadd_(bitadd).sr_(sr ?? {Server.default.sampleRate/2}).srmult_(srmult);
 }
 
 setup { 
 //tail of cutgroup
 synthid= cutgroup.server.nextNodeID;
  
 cutgroup.server.sendMsg(s_new, cutmaskchan++(cutgroup.numChannels.asSymbol), synthid, 1,cutgroup.fxgroup.nodeID,inbus,cutgroup.index,outbus,cutgroup.index, bits, bits);
   
 } 


//can't assume, individual free required for cut fx
//synth should be freed automatically by group free
 free {
  cutgroup.server.sendMsg(n_free,synthid); 
 }

 renderBlock {arg block,clock;
  var samprate,bitstart,bitarray,srarray, s;
  
  s= cutgroup.server;

  bitstart= bits.value(block);
  samprate= sr.value(block);
  
  srarray= Array.geom(block.cuts.size,samprate,srmult.value(block));
  bitarray= Array.series(block.cuts.size,bitstart,bitadd.value(block));

  bitarray= 0.5**((bitarray).max(2)-1);

  block.cuts.do({arg cut,i;
  
  block.msgs[i].add([n_set, synthid,bits,bits]);
  
  });
  
  //don't need to return block, updated by reference
 }
 

}

What I did there: I took CutBit1.sc and did a saveAs CutMask.sc. Then I changed the name of the class to CutMask.

In initClass

I changed the synthdef name to cutmaskchan
I changed the arguments to the SynthDef
I put in my own code for the fx = line. That’s where the magic happens!

In new

I changed cutgroup.server.sendMsg to so it uses my synthdef name and my synthdef arguments

In renderBlock

I changed block.msgs[i].add( to have my synthdef arguments
since mine doesn’t change, I could skip sending anything, afaik

Chiptune, Dub, BBCut

This is based off MCLD’s Dubstep Patch, with a modification to make it output a Pulse wave and then using some BBCut from a previous post.

(
var bus, sf, buf, clock, synthgroup, bbgroup, loop, group, cut1, cut2, cut3, stream, pb,
  cut4, out;


SynthDef(dub, {|out = 0, amp|
 
    var trig, note, son, sweep;

    trig = CoinGate.kr(0.5, Impulse.kr(/*2*/ 1.5.reciprocal));

    note = Demand.kr(trig, 0, Dseq((22,24..44).midicps.scramble, inf));

    sweep = LFSaw.ar(Demand.kr(trig, 0, Drand([1, 2, 2, 3, 4, 5, 6, 8, 16], inf))).exprange(40, 5000);

    son = Pulse.ar(note * [0.99, 1, 1.01]).sum;
    son = LPF.ar(son, sweep);   
    son = Normalizer.ar(son);
    son = son + BPF.ar(son, 2000, 2);

    //////// special flavours:
    // hi manster
    son = Select.ar(TRand.kr(trig: trig) < 0.05, [son, HPF.ar(son, 1000) * 4]);
    // sweep manster
    son = Select.ar(TRand.kr(trig: trig) < 0.05, [son, HPF.ar(son, sweep) * 4]);
    // decimate
    son = Select.ar(TRand.kr(trig: trig) < 0.05, [son, son.round(0.1)]);

    son = (son * 5).tanh;
    //son = son + GVerb.ar(son, 10, 0.1, 0.7, mul: 0.3);
    //son.dup;
    Out.ar(out, son.dup * amp);
}).add;


 // groups
 synthgroup= Group.head(Node.basicNew(s,1)); // one at the head
 bbgroup= Group.after(synthgroup); // this one comes after, so it can do stuff with audio
        // from the synthgroup
 bus= Bus.audio(s,1); // a bus to route audio around

 // a buffer holding a breakbeat. The first argument is the filename, the second is the number of
 // beats in the file.
 sf = BBCutBuffer("sounds/drums/breaks/hiphop/22127__nikolat__oldskoolish_90bpm.wav", 16);
 
 // a buffer used by BBCut to hold anaylsis
 buf = BBCutBuffer.alloc(s,44100,1);
 
 //  The default clock.  90 is the BPM / 60 for the number of seconds in a minute
 TempoClock.default.tempo_(180/60);

 // BBCut uses it's own clock class. We're using the default clock as a base
 clock= ExternalClock(TempoClock.default); 
 clock.play;  
 
 // Where stuff actually happens
 Routine.run({

  s.sync; // wait for buffers to load

 loop = (instrument:dub, out:0, amp: 0.3,
    group:synthgroup.nodeID).play(clock.tempoclock);

  /* That's an Event, which you can create by using parens like this.  We're using
  an event because of the timing built in to that class.  Passing the clock
  argument to play means that the loop will always start on a beat and thus be 
  synced with other BBCut stuff. */
  
  // let it play for 5 seconds
  5.wait;
  
  group = CutGroup(CutBuf3(sf, 0.5));
  group.add(CutBit1.new(4));
    cut2 = BBCut2(group, BBCutProc11(8, 4, 16, 2, 0.2)).play(clock);

  
  // start a process to cut things coming in on the bus
  cut1 = BBCut2(CutGroup(CutStream1(bus.index, buf), bbgroup), 
   BBCutProc11(8, 4, 16, 2, 0.2)).play(clock);

 2.wait;
 
   loop.set(out, bus.index);
   
 "bbcut".postln;
 
 30.wait;
 
   cut4 = BBCut2(CutGroup(CutStream1(bus.index, buf), bbgroup), 
    SQPusher2.new).play(clock);

   
 });
)

I think it would be cool to run the drums through a 4 or 8 bit MantissaMask, but first I have to figure out how to write FX.

The Bottom Surgeon (aka The Dick Doctor)

The doctor’s surgery was about a block from Regent’s Park. He’s in private practice and the office was incredibly posh. The waiting room had what looked like 18th century prints, in four colours and several nice sofas. I felt under dressed compared to the furnishings.

The sign in form asked for my credit card details and insurance information. I told the receptionist I was on the NHS and she told me to fill out the other parts of it. I overheard the patients before and after me saying the same thing, so maybe Friday is NHS day.

I went up to the doctor’s office, which was smaller and had two oil paintings hanging behind the desk of what looked like impressionistic Parisian street scenes. Rather clichéd art, alas, but hardly the focus of why I was there.

The doctor was a big man and spoke in a relaxed manner. He asked me my height and weight, my allergy information and what musical instruments I play. Have I had any previous surgeries? I told him about the benign tumour I had many years ago and he examined the scars on my wrist. “This is important for this kind of surgery” he explained and then asked if I was right or left handed. “So you want to get a phalloplasty.” I said I wanted a meta and asked if I was in the right place. He explained that he calls them all phallos.

I didn’t take notes and I wish I had, so some of this is not in the same order as it actually happened. My impression that a meta is only one operation was in error. It’s actually three operations, depending on what happens. He said that 2/3rd of people who get it are unhappy later. Skinny people do have the best results, as it sticks out more. He told me about how they move everything they can away from it, to increase the sticking out. Natural dick growth happens over the first four years people are on T. I’ve only been on it for 3 years. The people who have the biggest dicks starting out will have the biggest dicks at the end.

In the first op, they do a hysto, if the patient is having one, add the waterpipe, move stuff around and build a scrotum. They start out giving the patient two catheters, one through his belly to his bladder and one in his new dick. They take out the one in the dick after a week, because it’s irritating, and leave the other one for three weeks, to give the waterpipe a chance to heal before sending wee down it.
There’s a 30% chance of developing a leak, either at the tip, which can split or at the base. If there’s a leak, they give it a while for the patient to otherwise heal and then try to fix the leak. I’ve heard elsewhere that this is difficult and doesn’t always work the first time.
Then finally, they add in silicon prosthetic bullocks. He opened his desk drawer and pulled out a bag of ovular, squishy balls. He showed me one about the same size as the end of my thumb, above the top knuckle. He said it would be that large and then pulled out another, clear ball and said it would be made of the material in the second ball. The first one seemed small, but it’s not like I have a lot of experience with how big they normally are. He said they had to use small ones or it would dwarf the meta-dick.

I gave the material a squeeze. Again, not much basis for comparison, but it seemed kind of firm. If I sat down hard on something, I might bounce a bit. He emphasised how durable the material was, “You can pierce it with a needle or stab it with a knife, and it will be fine,” listing several things I hope never happen to me. He took another, much squishier one from his drawer. “I used to use these. They’re nice and squishy, but I kept having to replace them when they sprang leaks.” I said I appreciated durability.

If I got a hysto at the same time, it would be two days in hospital, assuming that was done lacroscopically. However, the lacroscopic surgeon he works with isn’t in London, but a hospital out in the country. I wondered if it was similarly posh to his offices, but didn’t ask. That hospital is just off the main line from Paddington, which does not sound like it would be a fun commute while one has a catheter protruding from one’s abdomen.

Then, back to work shortly afterwards. All the wounds are in the same area, so that apparently makes things simpler. He talked some about complications, but I’ve got them all jumbled in my head now. Apparently, smokers have the worst ones. So he’s quit operating on smokers. Fortunately, I do not smoke.

He also said that skinny people have the best results, since it sticks out the most and many (but not all) skinny people can wee through their fly. The rest cannot. Which is probably related to the unhappiness factor. This truly makes a very small dick, which is not considered usable for ‘normal’ sex. However, it is my understanding that it’s a dick that has normal spontaneous erections and, provided, one sleeps with yoga practitioners, it’s possible to manage to stick it places.

He was generally fairly negative about the meta, so I asked about the normal phallo.

That used to be 4 operations, but they’ve got it don to 3, he said proudly, contracting his earlier statements about how given the complication rate, one shouldn’t get to caught up on the number of operations.

They take skin from the patient’s arm or belly and use it make a shape like a sausage roll, attach it to the existing blood supply and hook up nerves. He showed me some photos of post-surgical penises, that he had on his blackberry. They were on the large side, but they looked just like any other dick. (Again, not much experience, although one does see them a bit in pron.) The first was an arm one and the second was a belly one.
Of course, if you use the belly, you don’t get any erotic sensation, he explained. “So the belly is out,” I said. “Everyone says that!” he said.
He drew some pen marks on my arm, one of which intersected my tattoo. They would take one of two sets of veins and arteries leading to my hand and two sections of skin, leaving only a narrow strip. They would shape the donor skin “like a sausage roll” and sew it on, connecting up my existing blood supply and connecting nerves. They take some of the nerves from my existing dick and connect those up also, so most people get a mixture of erotic sensation and normal sensation. The existing dick can be stuck sort of under the new one, left out on it’s own or taken off completely, but that’s an extra thing and makes everything somewhat more complicated.
My tattoo would end up part of the waterpipe and not be visible. They replace the arm skin with skin from the patient’s bum. “So it comes with a free bum tuck” he said. “I’m 9 stone, I don’t need a bum tuck.” He said if there was not enough skin on my bum, they could peel the surface off of my thigh and do a thinner layer of skin. Other surgeons do it that way routinely and it can also have a good result. He showed me a photo of a skin-grafted arm.
“Oh, I forgot about the head!” and explained how they built that, but I was thinking of half-peeled thighs and feeling alarmingly like crying, so I don’t recall what he said.
He looked at my left arm and tested the blood flow to see if it would be good enough for me to sacrifice half of it. He said it would be fine. They had one patient, about ten years ago, who’s hand died, but that guy was a heavy smoker and that probably wouldn’t happen to me. Most blood flow problems happen to smokers. Some of them lose their entire penis. He’s stopped operating on smokers because of the complications.
He took out a BMI chart and looked up my BMI and said it was a bit low. The layer of fat under the patient’s arm skin was what provides girth for their penis. He told me I should try to put on a stone or two. “Not, muscle; fat.” Once they made the penis, it would be “diet-proof” but eating more fat wouldn’t make it get any bigger either.
He asked if I had a partner and when I said no, he asked if I was looking. They don’t do the final stage until the patient has a partner or is looking. He took two devices out of his desk drawer. They were like those fat, ergonomic ball point pens, but half again as long as those normally are. One device just had one of those things and the other had two. He pointed at the single one and said they would use that for me, as I’m thin. Also attached to the devices were small squishy pumps and a bulb, maybe 10% bigger than a kiwi fruit.
The phallic portion would go in the phallus, the pump in a bullock and and the bulb somewhere in my abdomen where I wouldn’t feel it. He squeezed the pump a few times. Water comes from the bulb and goes in to the phallic part to make it stiff. When one is tired of being stuff, they squeeze another part of their bullock to release the seal and squeeze the water back into the bulb.
A dick that reliably gets hard and stays hard as long as you want isn’t all bad, really. He said the infection rate for adding these devices was 10%. I said this sounded high. He explained this was an achievement compared to the previous rate. The infection can take up to a month to become apparent. After that, one’s body forms a protective shell around the devices and starves the bugs of food. they give antibiotics for a few days after the operation and then wait to see if an infection develops.
The devices are fairly complex and fail at 1-2% a year. This is why they don’t do that part until the patient has a partner or is looking, he said.
I asked how long I’d be unable to work and he said it would be a month before I could use my left arm again. I don’t know if that means actually a month or is like the “two weeks” my last surgeon told me.
He told me to go think about it. They don’t want to force people to have operations. Patients need to be sure of what they want. I asked if I called back tomorrow and said I was certain, how long it would be until I would have the operation. “3 to 6 months” he said.
I could have a willy in 3-6 months.
I thanked him for his time and said I would call him after I’d thought about stuff and then went looking for fatty foods, feeling completely freaked out.
. . .
It took me many weeks after the last operation to regain my mental focus, so if I got an operation in the next 3 -6 months, the chances of me actually graduating are quite low. I’ve already made some sacrifices for this stupid PhD. In for a penny, in for a pound. It would be really stupid to bullocks it up (so to speak) in the home stretch.
If I do not graduate, my plans to stay on in the country are not going to work out very well (unless I could get married, but I suspect a bandaged wiener may impact my ability to find somebody to marry). So I would have to have the operation and then bugger off right afterwards. Given that I’m entitled to NHS coverage on the basis of being a student, taking this and then leaving without even graduating seems more than a little morally suspect. Assuming that I could get all the operations finished before my visa ran out, which seems unlikely.
If I’m trying to get a job right after graduation, which seems wise, it might be problematic to take sick leave right away. My next likely break where I could lay about recuperating is the summer of 2012. Of course, by then, with the cuts, my NHS funding could evaporate. And the massive cuts in university-level arts education may mean that I can’t find a job and I have to leave anyway. So a planned delay may well mean starting over in another country or it could very easily mean never. I strongly suspect it means never.
I am literally sacrificing my right nut for my PhD.
And my left one.
The next time I’m in a pub’s bog, in a cubicle with no latch on the door, hoping nobody notices that I’m sitting down to wee, I’ll be sure to think how fucking awesome my PhD is.
. . .
I feel completely freaked out. Indeed, even if my PhD weren’t at stake, and I was certain exactly what I wanted to do, I’m not ready for another round of surgery. My chest still hurts and last week a blob of pus came from what I had thought were healed scars. I need 6-8 months for my chest to settle down before I can call it healed. I know some men do move this quickly, but arm, bum, chest and bits is a lot of things to be healing all at once and my uneducated guess is that this probably increases the chances of complications. An infected dick would be disconcerting, but a numb dick would be a personal tragedy.
Whatever I do, it’s a few months of pain and then I’ll have the results of it for the rest of my life. I think that provides a useful perspective. I should take time to think, but really, I know what I’m going to do and it’s terrifying. However, step one is to wait.

Discuss

This post is intended to be accessible to non-technical readers, so don’t flee when you see mention of programming languages.
Recently, on [an email list related to a FLOSS programming language], somebody posted about having used [a rival language] a lot for a month. He was happy to be back to his preferred language, writing, “It feels like having been fucking around with ugly cocain addict ex-go go dancer only to find out how much you love your wife. (who looks like Sharon Tate and still a C++/Java expert. )”
He then went on to ask a technical question.
I don’t want to bring this up on the [original] list, but I have questions about this and would like to get a discussion going. Is this an example of casual sexism / heteronormativity or just a slangy way of speaking? If it is sexism, could it it alienating to women who might otherwise want to be on the email list? Should such phrasing be discouraged? Should there be a policy? Would such a policy be overly formal/constricting for a language often used by hobbyists?
I found that sentence to be somewhat annoying, obviously, or I wouldn’t be posting about it, but not annoying enough to reply back and start a discussion on the list, especially as it’s pretty atypical. I’m wondering what others think about it, though.

Since I last blogged

I read too much BBCut documentation and got a handle on basic functionality well enough to teach it. That ate a lot of time. Then I got a reasonable draft of a new piece, which is, of course, not finished because everything could be better.
The new term started, so I had to treck up to Brum for the first meeting, which, actually, I thought was going to be more formal, or I might have skipped it. Meanwhile, I was quickly trying to tear through a 200 page book of critical theory about noise music, so I could give a good lecture.
Then, right away, we had a BEAST weekend. I came to Brum on Thursday evening to help rig speakers, but I showed up late and they got chucked out early, so I just went to the pub. Then I slept on Eric’s laminate floor and was up bright and early the next morning to help finish off the rigging. then I went to do fun things like pay my fees and talk to somebody at student records about having “Ms” as my title in the computer system. That last one caused some giggles from the person behind the desk.
Then, a afternoon concert at the Barber Centre, on campus. Immediately afterwards, we de-rigged and packed up all the speakers and put them onto a truck, along with about a hundred other speakers and took them over to the CBSO Centre. Somebody got the idea that we could so large, multi-channel systems at two different venues.
My bike has a flat tyre (AGAIN), so I rode the train into town. Or tried to, I waited more than 45 minutes in the rain just to buy tickets. And then more rigging! James now works for the CBSO and has keys to the building, so they didn’t throw us out at closing time. So we put up 90 channels of speakers and ran cables and the like late into the night. And then went to the pub. I spent the next night in a spare room at Shelly’s house, which had a bed in it! Yay!
And then back the next morning to tape down all the wires. There were 3 concerts Saturday night. And then we went to the pub.
Sunday just had an afternoon concert, that was possibly long enough to have been two concerts. And then we packed up all the speakers and all the cable and put it back onto trucks. This went shockingly quickly. Then we went to the pub. And then to curry. And then back to the pub. I got drunk enough where I kept asking Eric if he wanted to see my scars. The scars that are just rings around my nipples. He refused. And then, I thought it would be a good idea to break out my hip flask while walking back to where I was staying. (I think I might stop carrying it around, as I’d had the same idea after Sam’s birthday party and probably drank as much alcohol on the way home that I’d drank at the party. Not that I needed more.)
So the next morning, Monday, I showed up rather late to unload the trucks and put everything back into storage. But it still got done really quickly and then we all went for coffee in the Senior Common Room. This is an area with sofas that sells caffeinated beverages and pre-made sandwiches. I think the drip coffee there could be used as diesel fuel, in a pinch.
There’s a sort of amazing moment I noticed last time, when we go from being a team with a shared experience to just back to normal life. Like, this moment of togetherness that dissipates as people go to sleep it off or have meetings or whatever. I wish I could make a piece of music that does that somehow. This time, though, I missed that moment, as I had to go meet Scott, my supervisor.
I played him the piece that I declared done, and he had some good suggestions for how to change it. Bah. And then I played him my newer piece and he had many more suggestions for that. Since it’s just at a stable draft (good enough to try out at a gig, sort of stable draft), I expected those. Then, huzzah, he told me I could put some improv in my portfolio, so I might throw in some stuff from my last Noise=Noise gig. I really miss improvising and if I could get into a duo or something, that would be ace.
On the train home, I read many more pages of the Noise book and then logged into facebook and saw Mitch had posted his UK phone number. And I saw it was the 18th and thus his birthday! So I texted him and made arrangements to meet, for after I got Xena back from Sam. Xena was very happy an has been more energetic and spry since I’ve had her back. Clearly exposure to playful puppies is good for her.
Mitch and I went for curry on brick lane and had plans to go on to an improv show, but the curry went too late. It’s funny, because I tend to ask inappropriate questions and for whatever reason, people tend to answer them. But Mitch, who I’ve known for 17 years now, can seamlessly dodge such questions and change the subject through subtle slight of hand. Which is wise of him, and also funny.
On Tuesday, I collected audio samples for my lecture and got through most of the rest of the book. Then, I went to go to a SuperCollider meeting, but failed to find the meeting and so went home and worked more. That makes it the only day in the last week, where I did not drink any pints.
Wednesday, I woke up at 7-something to get out the door by 8:20 to get the train to Cambridge. I read more on the train and then in the few minutes before class. Last minute cramming, ahoy.
I talked a lot about transgender musicians, specifically Genesis P-Orridge. I could have done a much better job, I think. I was way short of sleep and some of the materials I read had wrong-pronouned him/her and so I started off by calling him/her, “he” instead of “s/he.” Meh, what’s wrong with me? Then I talked about Terre Thaemlitz, who I’m pretty sure goes by “he” and kept the digression of the crappiness of his “anti-essentialist” identity to a minimum. And then I talked about Venison Whirled, the band of Lisa Cameron, who is a transsexual woman from Austin who does noise music. I don’t think she’s really known outside of the Austin scene, but I figure binary-IDed trans people have a place in noise too. And I did all of this without disclosing, which, I dunno, I probably should have, since it was definitely sub-theme for the day.
Then, I got on the train to Brum and wrote a slide presentation about TuningLib, my SuperCollider quark, got to uni and then presented it. Scott noticed an error in one of my synthdefs in my sound example and then suggested I fix it in the piece. Which I had counted as done. (It’s not just changing a line of code, it’s re-recording the output and then re-mixing, etc etc etc). *sob* It was doooone. So I guess I have even less finished than when I started the day. And then we went to the pub and I drank a couple of pints without having eaten properly. Wheeee.
Today I woke up at noon and was able to resist feeling guilty about not working for about 3 hours. Not that I started doing work ater that. I’ve been dedicatedly faffing (mostly), but feeling bad about it.
In other news, I think I’ve fixed the problem with my phone that was draining the battery away. I ran top and noticed that the RSS reader was eating a ton of CPU. It’s, apparently, part of the OS, so attempts to kill it didn’t help. I finally blew away the preferences folder and it seems to be sorted out. My calendar, however, is still screwed up. I’ve discovered that it just never deletes anything. So if I schedule something to be every tuesday for the next 3 years and then move it to a wednesday, it keeps both versions. I don’t know yet if this is a problem with the phone or the free service I’m using to link it to Google Calendars. I so don’t have time to debug my sodding phone.
Anyway, today Mitch is done with his work in town, so we’re going to hang out. And do something, but I don’t know what.
And that’s most of what’s happened in my life except the stuff that I can’t mention on the public internet. Alas, none of the unmentionable stuff includes nudity.

Stupid BBCut Tricks

I’ve been messing a out with the BBCut Library and will shortly be generating some documentation for my students. In the mean time, I give you some commented source code and the output which it creates. In order to play at home, you need a particular sample.

(

 var bus, sf, buf, clock, synthgroup, bbgroup, loop, group, cut1, cut2, cut3, stream, pb,
  cut4, out;

 // this first synth is just to play notes
 SynthDef(squared, { |out, freq, amp, pan, dur|
  
  var tri, env, panner;
  
  env = EnvGen.kr(Env.triangle(dur, amp), doneAction: 2);
  tri = MantissaMask.ar(Saw.ar(freq, env), 8);
  panner = Pan2.ar(tri, pan);
  Out.ar(out, panner)
 }).add;
 
 
 // a looping buffer player
 SynthDef(loop, { |out = 0, bufnum = 0, amp = 0.2, loop=1|

  var player;
  
  player = PlayBuf.ar(2, bufnum, 2 * BufRateScale.kr(bufnum), loop: loop, doneAction:2);
  Out.ar(out, player * amp);
 }).add;
 
 // groups
 synthgroup= Group.head(Node.basicNew(s,1)); // one at the head
 bbgroup= Group.after(synthgroup); // this one comes after, so it can do stuff with audio
        // from the synthgroup
 bus= Bus.audio(s,1); // a bus to route audio around

 // a buffer holding a breakbeat. The first argument is the filename, the second is the number of
 // beats in the file.
 sf = BBCutBuffer("sounds/drums/breaks/hiphop/22127__nikolat__oldskoolish_90bpm.wav", 16);
 
 // a buffer used by BBCut to hold anaylsis
 buf = BBCutBuffer.alloc(s,44100,1);
 
 //  The default clock.  180 is the BPM / 60 for the number of seconds in a minute
 TempoClock.default.tempo_(180/60);

 // BBCut uses it's own clock class. We're using the default clock as a base
 clock= ExternalClock(TempoClock.default); 
 clock.play;  
 
 // Where stuff actually happens
 Routine.run({

  s.sync; // wait for buffers to load
  
  // start playing the breakbeat
  loop = (instrument:loop, out:0, bufnum: sf.bufnum, amp: 0.5, loop:1, 
    group:synthgroup.nodeID).play(clock.tempoclock);

  /* That's an Event, which you can create by using parens like this.  We're using
  an event because of the timing built in to that class.  Passing the clock
  argument to play means that the loop will always start on a beat and thus be 
  synced with other BBCut stuff. */
  
  // let it play for 5 seconds
  5.wait;
  
  // start a process to cut things coming in on the bus
  cut1 = BBCut2(CutGroup(CutStream1(bus.index, buf), bbgroup), 
   BBCutProc11(8, 4, 16, 2, 0.2)).play(clock);

  /*  
  We use a cut group to make sure that the BBCut synths get added to the bbgroup.
  This is to make sure that all the audio happens in the right order.
  
  CutStream1 cuts up an audio stream. In this case, from our bus.  It uses a buffer to 
  hold analysis data.
  
  BBCutProc11 is a cut proceedure.  
  The arguments are: sdiv, barlength, phrasebars, numrepeats, stutterchance, 
  stutterspeed, stutterarea
  * sdiv - is subdivision. 8 subdivsions gives quaver (eighthnote) resolution.
  * barlength - is normally set to 4 for 4/4 bars. If you give it 3, you get 3/4
  * phrasebars - the length of the current phrase is barlength * phrasebars
  * numrepeats - Total number of repeats for normal cuts. So 2 corresponds to a 
  particular size cut at one offset plus one exact repetition.
  * stutterchance - the tail of a phrase has this chance of becoming a repeating 
  one unit cell stutter (0.0 to 1.0)

  For more on this, see the helpfile.
  
  And we play it with the clock to line everything up
  */

  // wait a bit, so the BBCut2 stuff has a time to start
  2.wait;

  // change the output of the looping synth from 0 to the bus, so the BBCut buffer
  // can start working on it
  loop.set(out, bus.index);
  
  // let it play for 5 seconds
  5.wait;
  
  // start another BBCut process, this one just using the sound file.
  cut2 = BBCut2(CutBuf3(sf, 0.3), BBCutProc11(8, 4, 16, 2, 0.2)).play(clock);
  // We use CutBuf instead of CutStream, because we're just cutting a buffer
  
  // stop looping the first synth we started
  loop.set(loop, 0);

  cut1.stop;

  10.wait;
  
  // To add in some extra effects, we can use a CutGroup
  group = CutGroup(CutBuf3(sf, 0.5));
  cut3 = BBCut2(group, BBCutProc11(8, 4, 16, 2, 0.2)).play(clock);

  // play is straight for 5 seconds
  5.wait;

  // add a couple of filters to our cutgroup
  group.add(CutMod1.new);
  group.add(CutBRF1({rrand(1000,5000)},{rrand(0.1,0.9)},{rrand(1.01,1.05)}));

  10.wait;
  
  // we can take the filters back off
  group.removeAt(2);
  group.removeAt(2);
  
  // we can use BBCut cut proceedures to control Pbinds
  stream = CutProcStream(BBCutProc11.new);
  
  pb = Pbindf(
   stream,
   instrument, squared,
   scale,  Scale.gong,
   degree,  Pwhite(0,7, inf),
   octave,  Prand([2, 3], inf),
   amp,  0.2,
   sustain,  0.01,
   out,  0,
   group,  synthgroup.nodeID
  ).play(clock.tempoclock);

  // the stream provides durations
  
  10.wait;
  
  // We can also process this is like we did the loop at the start
  
  pb.stop;
  pb = Pbindf(
   stream,
   instrument, squared,
   scale,  Scale.gong,
   degree,  Pwrand([Pwhite(0,7, inf), rest], [0.8, 0.2], inf),
   octave,  Prand([3, 4], inf),
   amp,  0.2,
   sustain,  0.01,
   out,  bus.index,
   group,  synthgroup.nodeID
  ).play(clock.tempoclock);
  
  
  
  cut4 = BBCut2(CutGroup(CutStream1(bus.index, buf), bbgroup), 
    SQPusher2.new).play(clock);
    
  // SQPusher2 is another cut proc
  
  
  30.wait;
  cut3.stop;
  5.wait;
  cut2.stop;
  1.wait;
  cut4.stop;
  pb.stop;
  
 })
)