Bookmarked Creating an xml file with a script from google spreadsheet (Stack Overflow)

You need to create an xml file with a script from google spreadsheets. I use the code from these two topics:

Google Script Export Spreadsheet to XML File

Looking to create an XML feed from a Google Sheet Table

I was asked about the ability to export the results from a Google Form as an XML file. I found this script which gets me part of the way there, I just need to work out how do produce child elements.
Checked into Werribee Open Range Zoo
Went to Werribee Open Range Zoo for the . There are the usual Post-COVID changes, such as 1.5m and sanitisation stations. However, the biggest changes were in relation to ‘enrichment’ and choice. There seems to have been a change in ethos and language. As we did the tour, there were things like spikey balls for the ostriches or sand for the rhinoceroses. It was explained that these were provided to improve their lives. Additionally, there was a lot of discussion around not forcing animals to do anything. Instead, they were incentivised to do what was best for them, such as being given a treat for coming when called. I am sure that some of these approaches are not necessarily new, but the explicit choice in language does represent a significant change in my opinion.
Read Writers on Writers

Provocative, crisp and written from a practitioner’s perspective, the series starts a fresh conversation between past and present, and writer and reader. It sheds light on the craft of writing, and introduces some intriguing and talented authors and their work.

One of my recent finds on Audible was the Writers on Writers series, it involves one author writing about another author:

Writers on writers is a series of short books in which leading authors reflect on an Australian writer who has inspired and influenced them.

This was different from something like the Fontana Modern Masters series, which from my experience provided a structured ‘guide to intellectual currents’. Although like the Fontana series each book involves an engagement between the two authors, where this series differs is that each book is unique in voice and style. For example:

  • On John Marsden is Alice Pung’s letter of gratitude.
  • On David Malouf is as much a reflection on Nam Le’s writing and what it means to be an Australian writer as it is about Malouf.
  • On Patrick White is Christos Tsiolkas’ more methodical analysis about what made White’s writing so powerful.

What is interesting about these books is that knowledge of either writer is not essential as each book offers its own insight.

Listened Oceans Apart by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

Oceans Apart is the ninth and final studio album by The Go-Betweens, released in 2005. All the songs were written by Grant McLennan and Robert Forster. The album was recorded at the Good Luck Studios in London between November 2004 through to January 2005, except for “Boundary Rider” which was recorded at The White Room Recording Studio in Brisbane.

I always remember Oceans Apart, it did win an Aria, but I am not sure I ever heard it in full at the time it was released. I certainly never owned it. Listening now, it represents a classic Go-Betweens album, with a contrast between Robert Forster’s spritely upbeat tracks set-up in contrast with Grant McLennan’s dreamy pop. Although the band reunited with producer Mark Wallis, for me this album does not quite match the completeness of 16 Lovers Lane. I wonder if it misses the ‘Go-Betweens drama’ as Amanda Brown has put it or if a part of this disappointment is my own listening? I am going to assume the later. I think once I got over that I found that the hooks and melodies to be quite infectious. I also found the use of programmed beats and synthesisers worked, which seems ironic at time with how much the rallied against some of this in the 80’s.
Bookmarked Learning recognition beyond an ATAR by gregmiller68 (

Despite the need to engage in rigorous processes to develop Learner Profiles for students, in mid December when HSC/VCE/SACE etc., and ATAR results are released, we will still see the media bombard us with league style comparisons of schools and their end of year results. There will also be many schools, promoting enviable ATAR results of students suited to an examination approach to learning. However, I remain positive that one day, and one day soon, each one of our students will leave each one of our schools with more than one number on one day and a certificate filled with only marks and bands. I look forward to the day, hopefully one day soon, where we will have a Learner Profile which showcases the very best of who a young adult is and what they can do so they can find their place of meaning in this rapidly changing world.

Greg Miller talks about the various efforts in Australia to recognise learning beyond ATAR. This includes New South Wales Digital Wallet, South Australian Learner Profile Pilot Project and the New Metrics Project. It will be interesting to see how technology develops to accommodate these changes, whether it be timetables and assessment.
Listened album by The Go-Betweens by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

Bright Yellow Bright Orange is the eighth album by Australian indie rock group The Go-Betweens, released in February 2003 on the Trifekta Records label. It was nominated at the 2003 ARIA Music Awards for Best Adult Contemporary Album, but lost to John Farnham for The Last Time.

Bright Yellow Bright Orange moves away from the rawness of The Friends of Rachel Worth to cut back to a more acoustic sound. Although not new, with 16 Lovers Lane being a heavily acoustic, this album is more stripped back about this album.

Bright Yellow Bright Orange is a perfect example of how guitar pop can sound when stripped of shallow musings and regurgitated anthemics.

The post-punk charge that found its way into some of the band’s early recordings is all but gone; the band focuses almost all of Bright Yellow Bright Orange (their eighth full-length) on their acoustic, folk-inflected side.

It may not be as quirky as the 1980’s but it is has an accentuated, intense beauty.

Liked The Year in Quiet Quitting by Cal Newport (The New Yorker)

Quiet quitting is not a life philosophy or policy proposal that needs logical scrutiny. It’s also not a political weapon to be wielded to prove how much more woke or conservative you are than everyone else. It’s both more incoherent and essential than all of that. Figuring out how work fits into a life well lived is hard, but it’s an evolution that has to happen. Quiet quitting is the messy starting gun of a new generation embarking on this challenge. The specifics of what a young engineer says in his TikTok video might annoy or confuse many of us, but it shouldn’t. The content here isn’t that important. What matters is that Generation Z is waking up to the fact that the unnatural melding of self and work induced by an adolescence lived within online spaces isn’t sustainable. They’re finally—thankfully—ready to ask what should come next.

Replied to Technology in education – friend or foe? by Gill (

I can absolutely appreciate the validity of the arguments the authors raised particularly the big one – for young people (and actually, many adults as well) the primary function of technology is entertainment so attempting to change this to a learning focus (and expecting it to easily translate) is far from ideal. Technology provides an endless menu of distractions. Even as I’m writing this blog post, there are other tabs in my browser tempting me and my attention does flit from time to time. And that’s on a task that was self-initiated.

I find this such an intriguing topic Gill, especially in a post-COVID world. Your discussion of technology and distractions has me thinking about the challenge to justify the impact many years ago. I feel that the biggest challenge is actually being mindful about the choices, too often if feels like choices are made out of convenience, rather than some deliberate consideration.
Liked Indiekit (

The IndieWeb is a community of personal websites, connected by simple standards. These follow the principles of publishing content at your own domain name and owning your data.

Indiekit uses these standards to help you publish content to your own website and then share it on popular social networks.

Paul Robert Lloyd’s Indiekit looks like another interesting blogging platform. It offers a different approach to the IndieWeb that does not depend on WordPress.
Replied to Why I Haven’t Embraced WordPress Blocks by David ShanskeDavid Shanske (

Indieweb Post Kinds actually does a few different things. It creates a taxonomy to classify posts, similar to the old post formats options. This just allows for automatic creation of archives. I also use the selector to change the interface, but this could be done differently. It also uses Parse This to create rich embeds of linked content. But it adds the microformats for different types of Indieweb posts outside of the traditional content block using WordPress filters. That is something I never particularly liked, and wouldn’t mind replacing with something integrated into content.

I have long been intrigued by this David, so thank you for sharing. I have tinkered with blocks in my long form site, but still see it as overkill most things.

For my two cents worth, I really like the idea of integrating the response box into the content.

Liked A Zettelkasten, Commonplace Books, and Note Taking Collection by Chris AldrichChris Aldrich (

Below I’ve aggregated a list of some of the longer articles and material I’ve written about these topics. The completist can find and search my site for even more specific material with these tags: zettelkastencommonplace books, and note taking. I’ve also contributed a fair amount to the Wikipedia pages for zettelkasten and commonplace books.

Replied to The Downsides of Generalism by Wouter GroeneveldWouter Groeneveld (

The path to generalism is indeed more challenging, yet the reward at the end of the rainbow is genuine satisfaction. Generalists are much more creative. Generalists are more curious. Generalists as system-thinkers are better at solving high-level problems.

I am not sure if I am really a generalist with various pokers in the fire as you seem to have Wouter, but I am always willing to dive into new areas of learning. I wonder if the biggest challenge with this is the narrative, something you touch upon. This week I was asked to step into a different position, one more technical. It is not necessarily my background, but it is what is needed for the project I am a part of. I plough on, connecting the dots, making new pictures, remaking old ones.
Bookmarked Is the fediverse about to get Fryed? (Or, “Why every toot is also a potential denial of service attack”) (

I love that the fediverse exists. And I have the utmost respect for the gargantuan effort that’s going into it.

And yet, I am also very concerned17 that the design decisions that have been made incentivise centralisation, not decentralisation. I implore us to acknowledge this, to mitigate the risks as best we can, to strive to learn from our mistakes, and to do even better going forward.

So to the ActivityPub and Mastodon folks, I say:

Consider me your canary in the coal mine…

Aral Balkan reflects upon the perils of managing his own instance of Mastodon. He explained the ever present dangers of denial of service and the challenges associated with this. (Personally, I experienced this in part once when Balkan shared a link to a post I had written.)

The big issue according to Balkan is the incentive to join an instance that seemingly absolves users of such problems, this however just kicks the can down the road. For Balkan, instances should be limited from getting too big and ideally we should all have our own instance linked to our own domain, the ultimate form of verification.

I have tinkered with using my site as an ‘instance of one‘. Although I liked the idea, I could not get it all to work how I would prefer, so I persisted with my POSSE approach. This also have me thinking about Jim Groom’s reflection on life in the cloud. I guess the reality is that there is always a cost.

Listened album by The Go-Betweens by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

The Friends of Rachel Worth is the seventh album by Brisbane indie band The Go-Betweens, released 12 years after their sixth, 16 Lovers Lane. For this album, Robert Forster and Grant McLennan were joined by all members of American indie rock bands Sleater-Kinney and Quasi as well as new bassist Adele Pickvance. The album was recorded in Portland, Oregon at Jackpot! Recording Studio by Larry Crane.

McLennan said, “Rachel felt really natural – it wasn’t like Robert and I had separate managers or any of that industry bullshit. We’d always wanted to record in America, too, so that was a real dream. I think it has a really mysterious, otherworldly, ‘lost’ feel to it.”

Listening to The Friends of Rachel Worth, I am left thinking that any sort of follow-up to 16 Lovers Lane is going to be something of a come down. I think Pitchfork captures this dilemma in suggesting that the album feels like a ‘relic of another era’.

The Friends of Rachel Worth comes off as a relic of another era. New generations of Aussie pop bands have emerged since those early days

I remember listening to an interview about David Byrne’s album with St. Vincent, in which he talked about thinking about first space the music would be performed when writing the music. This album feels like music written for smaller spaces. For me, this particularly comes through in the way that the vocals have been recorded, they always feel close. There is also something raw about the sound and feel that reminded me in part of their first album Send Me a Lullaby, but still the precision of their later work.

The result is an album that combines the rawness of early recordings with the spare and pristine emotion of the band’s later material

Although there are explorations and extension of their sound, with synths, strings and distortion, gone are the layers of production.

Watched 1899 by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

1899 is a multilingual German period mystery-science fiction television series created by Jantje Friese and Baran bo Odar. It premiered on Netflix on 17 November 2022. It received mostly positive critical reviews, with praise for its casting, directing, cinematography, and acting. The creators had ideas for two more seasons, but in January 2023, the show was cancelled.

I really enjoyed Dark and although it was slow to start, really enjoyed 1899 by the end of the first season. It is interesting to see the show cancelled by Netflix:

Plans are a funny thing in the streaming business. Obscure shows like Squid Game can find their audience, become cultural juggernauts, and then get additional seasons. Others, like Warrior Nun, can also find rabid fans but just not enough of them to stay alive. As the streaming landscape expands, the possibility of any show surviving starts to feel like Squid Game itself—and the thrum of “red light,” “green light” leaves everyone on their toes. 

Listened album by The Go-Betweens by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

16 Lovers Lane is the sixth album by Australian indie rock group The Go-Betweens, released in 1988 by Beggars Banquet Records. Prior to the recording of the album, longtime bassist Robert Vickers left the band when the other group members decided to return to Australia after having spent several years in London, England; he was replaced by John Willsteed. The album was recorded at Studios 301 in Sydney, between Christmas 1987 and Autumn 1988.

16 Lovers Lane was the final release from the original version of the band. The Go-Betweens broke up in 1989 and would produce no other material until Grant McLennan and Robert Forster reformed the band, with a completely different line-up of personnel, in 2000.

I doubt that it is any surprise that 16 Lovers Lane is my favourite Go-Betweens album. It was meant to be there breakout with a big push from the record companies. I am not sure what makes the album click, maybe it is the influence of multi-instrumentalist Amanda Brown, the addition of John Willsteed on bass and guitar, the impact of big-name producer Mark Wallis, or the natural progression of time and technology? One thing that stands out to me is the consistent sound throughout. Gone is Tallulah’s experimentation with the funk grooves or distortion, this is instead replaced with the acoustic guitar that beds much of the album. Although it is heavily produced, leading to some songs being difficult to reproduce live, it still feels more subtle and subdued than say Spring Hill Fair. All in all, I feel that you can easily listen to their previous albums with an feeling that each provided its own piece of the puzzle to allow this album.

One thing to note is that a little bit like Before Hollywood, it is interesting listening to Streets of Your Town. Although it fits with the acoustic vibe of the album, it jumps out like a familiar landmark during a long drive. Even though the lyrical content is dark:

Don’t the sun look good today,

but the rain is on its way

Watch the butcher shine his knives,

and this town is full of battered wives

In some ways it almost feels too upbeat, neither fast nor slow, almost joyful compared to the rest of the album.

For me, one of the interesting things about the album is the legacy. I grew up seeing Cattle and Cane and Streets of Your Town late at night on Rage, however I never really knew anyone who actually listened to The Go-Betweens. It was not really until their second coming that I really went beyond the singles.


That Record Got Me High podcast explore some of the connections between Bob Dylan and The Velvet Underground.

SBS Classic Albums – 16 Lovers Lane provides some useful insight and context to the album and The Go-Betweens in general.