1 April 2005 to 9 March 2005
I trust this finds you all well, and I'm flattered and humbled that so many of you were so quick to not respond when I asked if anybody wanted to not know how the trip went. I like to think that in essence we are ambassadors and scientists at once, and you are our patrons in everything but the monetary and emotional and canonical senses.
I hope none of you will be offended by this format, but as you well know if you've traveled abroad in the past few years, the cost of importing envelopes has become simply prohibitive. I set my camera to its highest optimization before we left, so hopefully even with so many pictures the page will only be a little bit slow to load, and I truly believe you'll agree that it's worth a few minutes of modem squawk to get a direct secondhand glimpse of what most of us have only ever read about seeing in book reviews excerpted on radio programmes.
This, obviously, is what we have traveled so far to see, and we are dumbfounded by our great luck in spotting such an archetypal example on our very first day of searching, almost within the first hour. Clearly this is not as large as they come (for scale, the penguin visible in the upper left is about four inches tall, and 250 yards upwind), but the thrill of encountering one in person, in the wild, is obviously qualitative, not quantitative. We wished all of you could have been there, although there would only have been room for one more on the way out, and two on the way back.
We tracked it for almost an eighth of an hour, but eventually we were driven back into the helicopter by the mosquitos and locusts and bears. Locusts smell terrible. They don't tell you that in the guide books. I guess if they did, nobody would come. Anyway, here Enrico and Ivanzo are comparing scalp wounds. They all look appalling at this altitude, of course, but in the end the only one that even required prayer is the sort of Datsun-shaped one on Enrico's left arm. His left arm, I mean, which you can just see below us on the ground as we hover trying to hear what he's yelling up to us. It's hard enough to understand their language without the bears.
The ecological situation in the entire basin is dire almost beyond ellipsis. When Perry and Walters were here just two weeks ago, we would not have been able to see the delta at all from this angle. Today it lies almost half a mile below sea level. It's hard to stay silent, much less unscented. Confronted with this much depreciation it's almost impossible to believe that geotaxic problems are really caused by anthropedogogical errors of scale. This is a failure of culture, not of infraculture, and you can't just come here and presume to fix what is broken. We tried that in the Vanjj and the Oyulta and Costa Azulpelo, and this time we've promised not to repeat our mistakes twice. So we still write the letters, as our conscience demands, but we mail them only to ourselves, at a rural post office so small that three of them fit into a building that used to be mosque, and then a Fotomat, and then the National Museum of Ministries.
How fittingly ironic, then, that the defining moment of the trip would hardly be about zoography at all. After all the miles, and all the hours with tweezers and echinacea, it's not until we are back on the mainland sitting comfortably in a local theme-pub, surrounded by gleaming lucite and lavender thrushes, that the true significance of what we've seen begins to rise back up my throat. Like only an elite few before us, we have gone on a journey to the edge of despair and we have brought it back with us alive. Surely any of you would have done the same in our place, and yet just as surely, sometimes when it's amazing a thing is done at all, you have to do it yourself.
All too soon, though, it is time to go. We've made lifelong friends, some of them our lives and some of them theirs, and one or the other of us will never forget. This enchanted country has touched us, somewhere deep inside, possibly our RNA, although we won't know for certain until we can get home and have the tests done. But as so many members of the government take a moment from checking their parachutes to smile at us and wish us well just before the plane reaches international airspace, I feel like we have accomplished something after all. Our therapists didn't believe us then, and they probably won't take us on again now, but I think we've had the last word. I write it on a scrap of inflight magazine, and let the thin, sighing wind carry it out the door and away.
I hope none of you will be offended by this format, but as you well know if you've traveled abroad in the past few years, the cost of importing envelopes has become simply prohibitive. I set my camera to its highest optimization before we left, so hopefully even with so many pictures the page will only be a little bit slow to load, and I truly believe you'll agree that it's worth a few minutes of modem squawk to get a direct secondhand glimpse of what most of us have only ever read about seeing in book reviews excerpted on radio programmes.
This, obviously, is what we have traveled so far to see, and we are dumbfounded by our great luck in spotting such an archetypal example on our very first day of searching, almost within the first hour. Clearly this is not as large as they come (for scale, the penguin visible in the upper left is about four inches tall, and 250 yards upwind), but the thrill of encountering one in person, in the wild, is obviously qualitative, not quantitative. We wished all of you could have been there, although there would only have been room for one more on the way out, and two on the way back.
We tracked it for almost an eighth of an hour, but eventually we were driven back into the helicopter by the mosquitos and locusts and bears. Locusts smell terrible. They don't tell you that in the guide books. I guess if they did, nobody would come. Anyway, here Enrico and Ivanzo are comparing scalp wounds. They all look appalling at this altitude, of course, but in the end the only one that even required prayer is the sort of Datsun-shaped one on Enrico's left arm. His left arm, I mean, which you can just see below us on the ground as we hover trying to hear what he's yelling up to us. It's hard enough to understand their language without the bears.
The ecological situation in the entire basin is dire almost beyond ellipsis. When Perry and Walters were here just two weeks ago, we would not have been able to see the delta at all from this angle. Today it lies almost half a mile below sea level. It's hard to stay silent, much less unscented. Confronted with this much depreciation it's almost impossible to believe that geotaxic problems are really caused by anthropedogogical errors of scale. This is a failure of culture, not of infraculture, and you can't just come here and presume to fix what is broken. We tried that in the Vanjj and the Oyulta and Costa Azulpelo, and this time we've promised not to repeat our mistakes twice. So we still write the letters, as our conscience demands, but we mail them only to ourselves, at a rural post office so small that three of them fit into a building that used to be mosque, and then a Fotomat, and then the National Museum of Ministries.
How fittingly ironic, then, that the defining moment of the trip would hardly be about zoography at all. After all the miles, and all the hours with tweezers and echinacea, it's not until we are back on the mainland sitting comfortably in a local theme-pub, surrounded by gleaming lucite and lavender thrushes, that the true significance of what we've seen begins to rise back up my throat. Like only an elite few before us, we have gone on a journey to the edge of despair and we have brought it back with us alive. Surely any of you would have done the same in our place, and yet just as surely, sometimes when it's amazing a thing is done at all, you have to do it yourself.
All too soon, though, it is time to go. We've made lifelong friends, some of them our lives and some of them theirs, and one or the other of us will never forget. This enchanted country has touched us, somewhere deep inside, possibly our RNA, although we won't know for certain until we can get home and have the tests done. But as so many members of the government take a moment from checking their parachutes to smile at us and wish us well just before the plane reaches international airspace, I feel like we have accomplished something after all. Our therapists didn't believe us then, and they probably won't take us on again now, but I think we've had the last word. I write it on a scrap of inflight magazine, and let the thin, sighing wind carry it out the door and away.
¶ "klog": work blog · 24 March 2005
I hereby officially claim to have just now coined the term "klog" to describe a blog about your work activities. While there are a small number of previous uses of this word as an abbreviation of "knowledge weblog", I assert that blogs deal with knowledge almost by definition, so there's no compelling reason to have a separate word for that. Whereas the idea of blogging about your work -- and I mean as a function of your work, to your work audience -- is interesting and worth distinguishing.
In the klog model, documenting what you have done and why and how it went becomes a visible, primary worker activity. Klogs are abstracted out of inherently constrained task-specific fora like source-code repositories and bug-tracking systems, which allows them to be more expressive and to deal more broadly with motivations and connections. They also separate the process of documenting your work from the question of whom to document it to. A klog simply klogs. Readers make their own decisions about how or whether to follow. I suspect that a collaborative corporate culture with klogging at its core would be significantly more effective and a lot more interesting to participate in.
In the klog model, documenting what you have done and why and how it went becomes a visible, primary worker activity. Klogs are abstracted out of inherently constrained task-specific fora like source-code repositories and bug-tracking systems, which allows them to be more expressive and to deal more broadly with motivations and connections. They also separate the process of documenting your work from the question of whom to document it to. A klog simply klogs. Readers make their own decisions about how or whether to follow. I suspect that a collaborative corporate culture with klogging at its core would be significantly more effective and a lot more interesting to participate in.
¶ The Present Tense of Away · 23 March 2005 fiction/poem
[Mercury]
One will learn to hate the sideways the squares of there fold
as if the wind is waiting upstairs until
the last edge of the paint evades us
one will buy hats to hide in this town
and never admit to arrive
in a stand of torn screens and autumn warding
and will the certain fields to know why to come
and flatten with compass pull
and one makes morals of lines
to wrap like fleeing hearths around you
[Theresa]
but lift now from paper and walk the near edge of the world
under the creased thirst of wept awnings and their older names
one steps from galleries of sawdust and caramel into uncharted air
paint how along each lane there has beckoned you
and laden one's undoing with cougars inscribed on rockets
and how one and there are in a mural of banished distance
wearing enmities and flour and weariness and salt
and resting brightly on the place where knowing alights
there is a present tense of away that never falls on canvas maps
and only one and there are lulling it to see
and the way these streets brush into leaves and foyers
is the way there is shading into you
and how far can it be if you can walk there
[White Oak]
and then one has memorized boards enough and tendered excuses
that the year comes through the chair rungs and into our house
and we have made welcoming angles of our tables and ourselves
each truce of there is a spark of lengthening cords
set into one in the sillworn history of crowded dreams
one has painted the weight of these doors apart and then together
trusted the empty roads to remember why you've come
and imparted you with gravity's flair
and one makes bedrooms of signs
to have swayed like earths below you
and one day there carried them.
As I must assume you are already well aware, this story, or at least this draft, hardly qualifies as a mystery at all. Two things happen that might or might not have been the result of crimes, but the explanation for one materializes without any energy having been spent looking for it, and the other is rendered decisively moot at a point where there still seem to be several possibilities. Even curiosity is not invested in any single character for very long, so a reader with the hypothetical determination to try to interpolate a puzzle will do it without a consistent proxy within the story, which is usually even less satisfying than it sounds. I am often limited in the amount of procedural guidance I am able to offer within the field, anyway, and in this case my expertise is largely immaterial.
But this is not your characters' fault, admittedly, and so perhaps should neither be yours. If the internal and collective dynamics among a set of people are sufficiently compelling and perhaps occasionally shocking, it is possible for the reader to have a sense of purpose where the narrative itself does not. If you opt to develop this project further, I have a few stray thoughts that may or may not be helpful, and may well be partially contradictory, so take them as you may.
- Although it quickly becomes clear that your meticulous timeline is not a resolution device, it helps give the scene-structure something of an observant photographer's patient isolation of moments.
- By shifting your narrative origin backwards in time, you could straightforwardly bring most of the flashbacks into the present, which I'm inclined to recommend. Admittedly this forces much of the now-present into the future tense, a technical flourish of which you're more than capable but maybe less than wise.
- Combining your two major sets of characters might, in one time-consuming but ultimately tractable step, enrich their composite personality complexities. It would also eliminate the results of their deferred meeting, leaving your ending awkwardly unmotivated, but arguably it merely leaves the motivationlessness of the ending more directly exposed.
- Your imposition of a moral climate is well organized, but remember that entropy is not exactly the same thing as amorality.
- Serializing uncertainties sometimes allows them to unexplain and then complete each other, which can provide context for any number of dissatisfactions.
- Some of our conversations, which in general I think you have fairly rendered here, may to modern readers be less interesting than the implied exchanges before and/or after them. Remember that syntheses translate less readily than theses.
- I suggest that your own emotional loyalty undergoes two minor shifts and two major ones, and even if you disagree it might be a worthwhile exercise to identify the inflection points I mean.
- Anywhere you find yourself paraphrasing history, see if you can't think of a way in which the context can be embedded into the responses themselves. I don't mean to obtusely surface your background into dialog, I mean to calculate the projection of the history onto the individual, and then let the silhouette represent the occlusion.
- Ask your sister about method. Debating this between ourselves is only going to compound our ignorance. It may be more productive to pose the question in reverse.
That's all I want to say for now. I have my usual reluctance to navigate when I'm being asked to steer. If I recall correctly, this Tuesday is your turn to choose a water and a Line.
But this is not your characters' fault, admittedly, and so perhaps should neither be yours. If the internal and collective dynamics among a set of people are sufficiently compelling and perhaps occasionally shocking, it is possible for the reader to have a sense of purpose where the narrative itself does not. If you opt to develop this project further, I have a few stray thoughts that may or may not be helpful, and may well be partially contradictory, so take them as you may.
- Although it quickly becomes clear that your meticulous timeline is not a resolution device, it helps give the scene-structure something of an observant photographer's patient isolation of moments.
- By shifting your narrative origin backwards in time, you could straightforwardly bring most of the flashbacks into the present, which I'm inclined to recommend. Admittedly this forces much of the now-present into the future tense, a technical flourish of which you're more than capable but maybe less than wise.
- Combining your two major sets of characters might, in one time-consuming but ultimately tractable step, enrich their composite personality complexities. It would also eliminate the results of their deferred meeting, leaving your ending awkwardly unmotivated, but arguably it merely leaves the motivationlessness of the ending more directly exposed.
- Your imposition of a moral climate is well organized, but remember that entropy is not exactly the same thing as amorality.
- Serializing uncertainties sometimes allows them to unexplain and then complete each other, which can provide context for any number of dissatisfactions.
- Some of our conversations, which in general I think you have fairly rendered here, may to modern readers be less interesting than the implied exchanges before and/or after them. Remember that syntheses translate less readily than theses.
- I suggest that your own emotional loyalty undergoes two minor shifts and two major ones, and even if you disagree it might be a worthwhile exercise to identify the inflection points I mean.
- Anywhere you find yourself paraphrasing history, see if you can't think of a way in which the context can be embedded into the responses themselves. I don't mean to obtusely surface your background into dialog, I mean to calculate the projection of the history onto the individual, and then let the silhouette represent the occlusion.
- Ask your sister about method. Debating this between ourselves is only going to compound our ignorance. It may be more productive to pose the question in reverse.
That's all I want to say for now. I have my usual reluctance to navigate when I'm being asked to steer. If I recall correctly, this Tuesday is your turn to choose a water and a Line.
Manic Street Preachers: Montana/Autumn/78 (2.3M mp3)
I spent a while this afternoon loading my entire Manic Street Preachers collection and then sorting out duplicates and cleaning up the metadata. This is a dull and obsessive task, but it seems a lot more heroic when done with this song on repeat. Maybe the second-greatest b-side of all time. 1998, from CD1 of the two-single set for "If You Tolerate This Your Children Will Be Next".
I spent a while this afternoon loading my entire Manic Street Preachers collection and then sorting out duplicates and cleaning up the metadata. This is a dull and obsessive task, but it seems a lot more heroic when done with this song on repeat. Maybe the second-greatest b-side of all time. 1998, from CD1 of the two-single set for "If You Tolerate This Your Children Will Be Next".
Recent additions elsewhere on this site:
- an Apple Mail rule script
- an unplanned music review
- and a completely useless index of TWAS issues by title
- an Apple Mail rule script
- an unplanned music review
- and a completely useless index of TWAS issues by title
0. We do not act. There is nothing.
1. Or we act, but that is all. There is the fact of the thing that we do, and nothing more. No attention, to intent, no content, no life.
2. When we are better, we try to act well. There is the fact of the thing that we do, and then there is the way in which we do it. There is attention, at least, but the lack of inattention is not enough. Attention is not purpose, not message, not inspiration.
3. When we are better still, we act for a reason. There is what we do, and how we do it, and why. There is something we hope to accomplish, and a method in which we think it can be done, and then the things we do to see if we are right. But the lack of purposelessness is not enough, either. Purpose is not content, not spirit.
4. When we are nearly ourselves, our actions are also ideas. We act not only in service of a particular goal, but of a story in which our purposes are explained. Our actions describe a way in which the world might be different. That is almost enough.
5. And when we are completely ourselves, what we do originates from a spark inside of us. The story is the expression of a divinity, and the purpose serves a story we not only write but believe, and our diligence is thus spiritual instead of mechanical, and our actions are worthy of our moments and our breath.
5. Every fully human action begins in Anima. Every action, from the epic to the occupational, should be founded in the immanence of self. Morality is the steadfast refusal to allow ourselves to inhabit only part of our nature. Whatever you do, do it as if you are you, as if you will be accountable to yourself for every moment of this life, forever.
4. Art is the expression of Anima. Everything you do should express something you believe. There is no empty action, there are only the actions that tell the stories we mean, and the actions that tell stories we didn't consider. Consider your stories.
3. Design is the method of Art, of how we span the difference between the world without our Art and the world that is touched by it. We must understand the context into which we act, and know how we hope to change it. This is neither abstract nor optional, and is part of the conception, not the implementation. Understand before you plan, and plan before you act.
2. Craft is the unfolding of Design. We carry ourselves into stories and plans, and then into work that is ennobled by us, and ennobles us. We act to change the world, and the world is important and deserves our care. These are the words of the story we hope to tell about how we could be. Let your smallest details evoke the grandest revelation.
1. Production is the translation of Craft into patience. In the end, there is always what is done. There is waiting, and repetition, and correction, and walking across rooms and writing down numbers, and starting over. Know what your work requires, and refuse to resent it.
0. And here is the most critical and pressing permanent truth of the appearance of good and evil in daily human effort: It is impossible to assemble this moral structure of action in reverse. You cannot, no matter how sorely and casually and frequently you are tempted, start with Production. It is pointless to demand that unmotivated actions be informed by Craft, inane to attempt to interpolate Design into unsolicited diligence, idiotic to hope to derive Art from undirected intents, and profoundly offensive to try to stipulate something in which to believe. Every fully human action begins in Anima, and evolves in these irreducible stages. Not only is there no shorter way, there is no other way at all. To act otherwise is destruction. To act otherwise is to consume moments and breath and return inevitably to nothing, bringing the world with you.
1. Or we act, but that is all. There is the fact of the thing that we do, and nothing more. No attention, to intent, no content, no life.
2. When we are better, we try to act well. There is the fact of the thing that we do, and then there is the way in which we do it. There is attention, at least, but the lack of inattention is not enough. Attention is not purpose, not message, not inspiration.
3. When we are better still, we act for a reason. There is what we do, and how we do it, and why. There is something we hope to accomplish, and a method in which we think it can be done, and then the things we do to see if we are right. But the lack of purposelessness is not enough, either. Purpose is not content, not spirit.
4. When we are nearly ourselves, our actions are also ideas. We act not only in service of a particular goal, but of a story in which our purposes are explained. Our actions describe a way in which the world might be different. That is almost enough.
5. And when we are completely ourselves, what we do originates from a spark inside of us. The story is the expression of a divinity, and the purpose serves a story we not only write but believe, and our diligence is thus spiritual instead of mechanical, and our actions are worthy of our moments and our breath.
5. Every fully human action begins in Anima. Every action, from the epic to the occupational, should be founded in the immanence of self. Morality is the steadfast refusal to allow ourselves to inhabit only part of our nature. Whatever you do, do it as if you are you, as if you will be accountable to yourself for every moment of this life, forever.
4. Art is the expression of Anima. Everything you do should express something you believe. There is no empty action, there are only the actions that tell the stories we mean, and the actions that tell stories we didn't consider. Consider your stories.
3. Design is the method of Art, of how we span the difference between the world without our Art and the world that is touched by it. We must understand the context into which we act, and know how we hope to change it. This is neither abstract nor optional, and is part of the conception, not the implementation. Understand before you plan, and plan before you act.
2. Craft is the unfolding of Design. We carry ourselves into stories and plans, and then into work that is ennobled by us, and ennobles us. We act to change the world, and the world is important and deserves our care. These are the words of the story we hope to tell about how we could be. Let your smallest details evoke the grandest revelation.
1. Production is the translation of Craft into patience. In the end, there is always what is done. There is waiting, and repetition, and correction, and walking across rooms and writing down numbers, and starting over. Know what your work requires, and refuse to resent it.
0. And here is the most critical and pressing permanent truth of the appearance of good and evil in daily human effort: It is impossible to assemble this moral structure of action in reverse. You cannot, no matter how sorely and casually and frequently you are tempted, start with Production. It is pointless to demand that unmotivated actions be informed by Craft, inane to attempt to interpolate Design into unsolicited diligence, idiotic to hope to derive Art from undirected intents, and profoundly offensive to try to stipulate something in which to believe. Every fully human action begins in Anima, and evolves in these irreducible stages. Not only is there no shorter way, there is no other way at all. To act otherwise is destruction. To act otherwise is to consume moments and breath and return inevitably to nothing, bringing the world with you.
¶ the last ten hours · 9 March 2005
Just because I can, here's the last ten hours of music iTunes has played me.
| # | Artist | Song | Time |
| 1 | Garnet Crow | 忘れ咲き | 4:58 |
| 2 | スピッツ | ほのほ | 4:18 |
| 3 | Feel So Bad | KALLO-KALLO-KALLO | 3:39 |
| 4 | Trans Am | Outmoder | 3:42 |
| 5 | Miller, Scott | Fairest of the Seasons | 3:38 |
| 6 | Zeppet Store | エヴリィ | 4:36 |
| 7 | Darling, Julia | Blue | 4:03 |
| 8 | Feel So Bad | 今日はクリスマス | 3:20 |
| 9 | Breeders | Cannonball | 3:33 |
| 10 | Stretch Princess | Angels | 5:00 |
| 11 | Whitley, Chris | Cool Wooden Crosses | 2:44 |
| 12 | Amos, Tori | Concertina | 3:56 |
| 13 | Amos, Tori | Lust | 3:53 |
| 14 | Feel So Bad | ENDORPHINE | 4:00 |
| 15 | My Bloody Valentine | Nothing Much To Lose | 3:17 |
| 16 | Production Club | Man on the Scene (feat. the Incredible Moses Leroy) | 3:30 |
| 17 | Runrig | Day Of Days | 3:37 |
| 18 | Fake? | Drip | 4:56 |
| 19 | Feel So Bad | 愛しているのに | 3:42 |
| 20 | HIM | Love You Like I Do | 5:14 |
| 21 | Siam Shade | 1/3 の純情な感情 | 3:44 |
| 22 | Suran Song in Stag | No Don't Stop | 3:52 |
| 23 | Siam Shade | アドレナリン | 4:28 |
| 24 | Amos, Tori | Cloud on My Tongue | 4:43 |
| 25 | Field Mice | Clearer | 3:54 |
| 26 | Fredriksson, Marie | Vidare igen | 3:28 |
| 27 | Moore, Abra | I Win | 4:22 |
| 28 | Garnet Crow | 夕月夜 | 4:15 |
| 29 | Sarge | Stall (Live) | 3:26 |
| 30 | New Pornographers | Chump Change | 4:18 |
| 31 | Amos, Tori | Cruel | 4:07 |
| 32 | Utada Hikaru | Animato | 4:31 |
| 33 | Fiona | In My Blood | 4:09 |
| 34 | Gackt | Lust for blood | 5:11 |
| 35 | Feel So Bad | グレチャウゾ | 4:56 |
| 36 | Radiohead | A Wolf At The Door -It Girl, Rag Doll- | 3:21 |
| 37 | HIM | Rebel Yell (Live) | 5:13 |
| 38 | 元ちとせ | 凛とする -strings version- | 4:51 |
| 39 | Glay | アイ | 3:56 |
| 40 | Do As Infinity | 菜ノ花畑 | 3:36 |
| 41 | Feel So Bad | 今夜はおしゃれをして | 3:59 |
| 42 | BUMP OF CHICKEN | 夢の飼い主 | 4:49 |
| 43 | Douglas Fir | At the Hotel | 2:59 |
| 44 | Leo, Ted / Pharmacists | The One Who Got Us Out | 3:04 |
| 45 | Low | I Started A Joke | 4:28 |
| 46 | Twigs | Slumber | 2:44 |
| 47 | Feel So Bad | Deeper | 2:42 |
| 48 | Feel So Bad | オーブントースター | 3:17 |
| 49 | 矢井田瞳 | 明日からの手紙 | 4:50 |
| 50 | Frames | Sickbeds | 4:12 |
| 51 | Corrs | Summer Sunshine | 2:53 |
| 52 | pillows | Plastic Flower | 4:11 |
| 53 | Big Country | Perfect World | 3:16 |
| 54 | brilliant green | Wishing You | 3:02 |
| 55 | Supercar | Love Forever | 4:11 |
| 56 | Ladysmith Black Mambazo | Wangibambezela | 4:59 |
| 57 | Martin, Charlotte | Parade On | 4:15 |
| 58 | HIM | In Joy And Sorrow | 3:35 |
| 59 | Siam Shade | Love Vampire | 4:39 |
| 60 | Sarge | Detroit Star-Lite | 3:33 |
| 61 | Feel So Bad | 今日は今日、気ままに | 3:00 |
| 62 | Mandalay | You Forget | 5:04 |
| 63 | Sarge | Dear Josie, Love Robyn | 3:01 |
| 64 | Primitons | City People | 3:32 |
| 65 | Amos, Tori | Parasol | 3:54 |
| 66 | Amos, Tori | Sweet The Sting | 4:16 |
| 67 | Amos, Tori | The Power of Orange Knickers | 3:36 |
| 68 | Amos, Tori | Jamaica Inn | 4:03 |
| 69 | Amos, Tori | Barons of Suburbia | 5:21 |
| 70 | Amos, Tori | Sleeps with Butterflies | 3:36 |
| 71 | Amos, Tori | General Joy | 4:13 |
| 72 | Amos, Tori | Mother Revolution | 3:58 |
| 73 | Amos, Tori | Ribbons Undone | 4:30 |
| 74 | Amos, Tori | Cars and Guitars | 3:45 |
| 75 | Amos, Tori | Witness | 6:06 |
| 76 | Amos, Tori | Original Sinsuality | 2:02 |
| 77 | Amos, Tori | Ireland | 3:49 |
| 78 | Amos, Tori | The Beekeeper | 6:50 |
| 79 | Amos, Tori | Martha's Foolish Ginger | 4:22 |
| 80 | Amos, Tori | Hoochie Woman | 2:34 |
| 81 | Amos, Tori | Goodbye Pisces | 3:36 |
| 82 | Amos, Tori | Marys of the Sea | 5:11 |
| 83 | Amos, Tori | Toast | 3:42 |
| 84 | New Model Army | Brother | 5:58 |
| 85 | New Model Army | Higher Wall | 4:22 |
| 86 | New Model Army | Flying Through the Smoke | 3:13 |
| 87 | New Model Army | You Weren't There | 3:36 |
| 88 | New Model Army | Orange Tree Roads | 3:56 |
| 89 | New Model Army | Someone Like Jesus | 6:36 |
| 90 | New Model Army | Stranger | 3:35 |
| 91 | New Model Army | R&R | 3:37 |
| 92 | New Model Army | Snelsmore Wood | 4:14 |
| 93 | New Model Army | Paekakariki Beach | 4:43 |
| 94 | New Model Army | Christian Militia | 3:25 |
| 95 | New Model Army | Notice Me | 2:38 |
| 96 | New Model Army | Smalltown England | 3:21 |
| 97 | New Model Army | Vengeance | 4:06 |
| 98 | Ida | Laurel Blues | 4:50 |
| 99 | Ida | 599 | 5:29 |
| 100 | Ida | Late Blues | 5:24 |
| 101 | Ida | Mine | 5:31 |
| 102 | Ida | What Can I Do | 2:57 |
| 103 | Ida | The Details | 4:38 |
| 104 | Ida | Sundown | 6:42 |
| 105 | Ida | Written On My Face | 3:50 |
| 106 | Ida | The Morning | 7:30 |
| 107 | Ida | Forgive | 7:31 |
| 108 | Garnet Crow | 夏の幻 | 3:55 |
| 109 | Tullycraft | Wild Bikini | 2:34 |
| 110 | Trembling Blue Stars | Helen Reddy | 4:25 |
| 111 | Springfield, Rick | Hole In My Heart | 3:12 |
| 112 | September When | When I Drive | 2:18 |
| 113 | Lucksmiths | Moving | 2:51 |
| 114 | Lucksmiths | Transportine | 4:11 |
| 115 | Frames | Revelate | 4:33 |
| 116 | Zeppet Store | INNOCENCE | 3:55 |
| 117 | HIM | Wicked Game (666-Remix) | 3:54 |
| 118 | Amos, Tori | Hey Jupiter | 5:11 |
| 119 | Manic Street Preachers | Solitude Sometimes Is | 3:21 |
| 120 | Siam Shade | 素顔のままで | 4:26 |
| 121 | mcdonald, glenn | Confetti Beams | 3:03 |
| 122 | Keene, Tommy | Disarray | 3:07 |
| 123 | Aberdeen | Emma's House | 3:56 |
| 124 | New Pornographers | The Laws Have Changed | 3:26 |
| 125 | Into Eternity | Beginning Of The End | 4:39 |
| 126 | スピッツ | みそか | 4:37 |
| 127 | Utada Hikaru | Exdous '04 | 4:32 |
| 128 | Frames | Fake | 3:59 |
| 129 | Manda and the Marbles | Upside Down | 3:18 |
| 130 | Low | California | 3:23 |
| 131 | Blue Nile | I Love This Life | 4:04 |
| 132 | Manic Street Preachers | No Jubilees | 3:44 |
| 133 | Wedding Present | Ringway to SEATAC | 2:43 |
| 134 | Ida | Honeyslide | 3:37 |
| 135 | Gackt | 精一杯のサヨナラ | 4:44 |
| 136 | Gackt | Tea Cup | 5:28 |
| 137 | Gackt | Etude | 6:24 |
| 138 | Gackt | ありったけの愛で〜Llv〜 | 5:36 |
| 139 | Gackt | ピース | 4:12 |
| 140 | Gackt | この夜が終わる前に | 4:58 |
| 141 | Gackt | 君に逢いたくて | 5:33 |
| 142 | Gackt | Dears〜LLV〜 | 6:58 |
| 143 | Gackt | サクラソウ | 2:42 |
| 144 | Gackt | Love Letter | 4:55 |