The spectres are textural. The surface noise of the sample unsettles the illusion of presence in at least two ways: first, temporally, by alerting us to the fact that what we are listening to is a phonographic revenant, and second, ontologically, by introducing the technical frame, the unheard material pre-condition of the recording, on the level of content. We're now so accustomed to this violation of ontological hierarchy that it goes unnoticed. But in his Wire piece, Simon refers to the shock he experienced when he first heard records constructed entirely out of samples. I vividly recall the first time I went into studio and heard vocal samples played through a mixing desk; I really do remember saying, 'It's like hearing ghosts...'

Just do it! Go and do it! There are no valid excuses [not to]. We see our excuses as real things, but they’re just a barrier you built between you and what you want to do because you are afraid to try it and fail. No one wants to fail, but you will never know if you don’t try it. Maybe the first few times, you’ll have a bad time…but then you won’t.

A video by fiilmaker Andrea Dorfman and poet/singer/songwriter Tanya Davis. "Society is afraid of alonedom, like lonely hearts are wasting away in basements, like people must have problems if, after a while, nobody is dating them. but lonely is a freedom that breaths easy and weightless and lonely is healing if you make it."