Good to see that Andrew has returned to the diary fraternity.

I thought I�d overslept yesterday morning � but fortunately I hadn�t and I arrived at work on time. Just as well as there was a fair amount of work around. Unfortunately I forget something critical as I rushed out the door � but I survived.

The GS softsynth on my PC is missing too many facilities to make it usable, as far as I can make out. I can see messages definitely going to it on MIDI-OX and I can�t hear it responding.

Peter Chatterton mailed to say that he was pleased to see some news happening on the KK site. I mailed back with some of the volume data that I put together yesterday, suggesting some things we might assemble over the next couple of weeks. We might meet next Monday.

I spent some time tidying up my portable and I learned some tricks with the search facilities � fairly obvious things but they helped me get a view of odd bits and pieces that I had knocked together over the last six months or so and I started to shuffle them around and weave a couple together. I realised that I have become wary when this kind of activity begins to engage me too much � a mistrust of the conviction that charging down the path would have a valuable destination. Perhaps it will and perhaps it won�t � but should one act on the presumption that it will?

On the other hand there�s an impulse to do something quite transgressive within the medium � well to put myself in a situation where a transgressive impulse might arise and generate a surprising result - to find a space to work where intuition can take over or at least have its chance.

I was listening to a novelist talking about her work on LBC last night � she has rewritten A Midsummer Nights Dream setting it in Tuscany with the children as the fairies (ho ho � a code) . The interviewer picked up on something in the novel - she writes that in adulthood (unlike childhood) the act of creation is usually followed by a period of mortification. I realised that I didn�t know what mortification meant which was not to say that I didn�t feel it.

There was also a thought yesterday about form and structure � how far apart can they be and how close? Do we use them loosely most of the time to mean the same thing? Those who have dwelt on this think about things like a sonnet � defined by its structure. But is the form unique to each realisation within that structure? When people talk about sonata form do they really mean sonata structure? When Schoenberg talked about the structural function of harmony did he really mean form? Or did Cage think that that was what he meant?

In the middle of the night they replayed a programme previously broadcast one lunchtime where Eno talks about how much he liked it in Roxy when his synth warmed up and started to move out of tune � how certain randomly out of tune moments had been captured on key recordings such as Discrete Music.

I spent the evening trying various rigs � its hard to beat the functional integration of Cubasis. I thought I might use the MU10 just as a lead voice driven by the Dhorn on specially edited patches via the XG interface. Woke up and put that into practice mixing soprano from the onboard Dhorn with a percussive organ out of the MU10 and cutting the result into some vocal material I got via Peter Chatterton.

On the way to work I found a Dhorn version of The Girl with the Flaxen Hair from Debussy�s Preludes by the Classic Buskers � I think this may well be the fifth track on the CD I am planning to release at the end of next week.