Clyr Ink Press encompasses much more than just our SLP/ATP work, as each of us is far more than just an SLP/ATP; that is to say, all manner of personal pursuits combine with our professional roles and services, and some of those are reflected in the various projects displayed below… basically just for fun.
Please note that this section is still very much in progress (e.g., you might occasionally see empty placeholders here and there).
These writing projects are not part of the embedded tutorials related to communication disorders (and similar).
I like to splice stuff together for fun (but the end product is often left only roughly finished once I have amused myself).
This is what happened when I woke up with Worf Voice.
This is an accessory to Gabriel García Márquez’ Cien años de soledad (100 years of Solitude).
This is a capstone project.
This is a dictionary of new words.
(Click on the cover to download.)
Prominence: from Sensation to Language
Doctoral Dissertation (1997)
Cognitive Science and Linguistics
Residual Trace: The Taleworthy Catastrophes of a Thrillseeking Child
This collection of loosely autobiographical short stories, essays, and recipes reflects on human diversity and the effects of a thrillseeking childhood on the consequent adult’s personality.
This work also helps to differentiate creative schizotypy from autism.
Medicine Bottle Label
Watched some old Superman stuff, and this image emerged.
I use a folded business card because I love to play around with fancy design work (on the outside), but I also want the information to be in an accessible format (on the inside).
At work, in the SpEd wing, I have been individually assigned a desk where many others are first-come in a “hoteling” milieu, thus the sudden desire for a nameplate. For accessibility, the font is Open Dyslexic 3 in oxblood on a cream background (with a rainbow surround as a social statement). I wanted the graphic element to float, so I ordered a couple of pieces of edge-polished plastic from TAP with which to frame the card stock. (The opposite side - which hovers over a separate desk - is a small version of the window cling shown below.) Double-sided tape holds the paper in place (which was a mistake, as it darkens the print). Copper foil tape keeps the plates together. The wood is lignum vitae, which has a delicately enticing, exotically spicy aroma (and an occasionally olive cast, before it was polished with block butter).
The overall composition (i.e., a torch-flanked oval frame) is based on b&w line stock, from which the smoke and ribbon shapes are modified. The flambeau design was somewhat inspired by a “Stile Bellagio” sconce, but with more of a neoclassical shaft. The rest of the work is entirely original.
Vinyl Window Cling
The artistic notion is that this is a window (e.g., a screen, stained glass, oiled water, complex retinæ… anything) that is other-than-human in nature and nurture… it could be some emergent entity that might be created by beings who have compound light-sensitive organs; after all, there are dozens of different types of “eyes” here on Earth alone. The framework is a Voronoi diagram (such as we see in sponges and collections of bubbles) with a spiral shell pattern in the center to which it adheres. (My first impulse had been a nautilus design.) Most of the views give upon worlds that were defined with various fractal applications, other than the soap bubble and the textured light-through-water on the left (whose mathematics were embedded in life).
The (im)practical notion is that this has been printed on frosted vinyl to cling to a 41” x 17” window in my home, balancing light, beauty, and privacy.
Drawn profiles (Affinity Photo)
Teal opera gloves
White felt (tongue)
Brass brads (hinge)
Foam core board
White foam (teeth)
Corrugated silver paper
3.5” glass lenses
Neoprene O rings
2 voice-output devices
16” cardboard box
Dash panels (Affinity Designer)
Silver duct tape
Silver marching band gloves
Foam and more foam (tracks)
Paint: yellow, silver, red, blk/wht
Black electrical tape
Clear peel-n-stick label paper
Drew my face as a polyhedral model. Covered with aluminum tape. Emphasized with black pin striping. Lined with peel-n-stick black felt. Earpieces of glasses hold it on. Added bits and bobs (LEDs, batteries, switches, stator winding, CPU, etm).
Extra long orange faux fur (hair)
Cardboard concrete form (head)
Pink luxe fleece, spray adhesive (skin)
Foam eggs and balls, ornament screws (eyes, nose)
Bamboo seamless socks (nose)
Peel-n-stick felt, red and black (mouth lining and pupils)
Microfiber gloves (hands)
Red tule (open mouth)
Clothing: black tie, green lab coat, Brooks Brothers green gingham shirt (micro check), Kidoriman plaid pants, red-and-white striped socks, brown-and-white saddle Oxfords
Papier màché (head)
Acrylic paint (skin)
Dry floral foam (nose, ears)
Microfiber gloves (hands)
Clothing: red knit tie, blue lab coat, blue shirt, black slacks, black socks, black boots
Puppy Mood Music
Scoring affects our perceptions of the scene.
Well Well Well
This duet (feat. Howard Jones and the Doctors Who) still needs quite a bit of work.
Do not Want to Build a Snowman
I made this quickly just to get the idea to quit bugging me.
I woke up with a distinct case of Worf Voice:
Of course, it sounded better to me due to bone conduction, but still…
Naturally, recording some of his best lines became a moral imperative:
Sadly, I had to interrupt my fun to head over to the main campus; however, when I got there, I happened to walk up behind a guy who was wearing a very heavy tool belt…
Life is amazing.
For various reasons, there exists no commercial, accessible version of Gabriel García Márquez’ 100 years of Solitude, either in English or the original Spanish (Cien años de soledad). While copyright restrictions allowed us to create an accessible version to accompany a purchased (inaccessible) volume, that ePub file cannot be distributed more generally (as that would compromise the hard copy sales); however, in the course of that project, we did extend the genealogical charts for the Buendía and Iguarán families. Beware: such charts contain spoilers.
Genealogy of the Buendía and Iguarán families before the founding of Macondo
Genealogy of the Buendía family after the founding of Macondo
The children of the Aragonese merchant and his wife were both born by 1569 (when Sir Francis Drake invaded Riohacha).
José and Úrsula were married at 19 years of age. They are first cousins, as are José's aunt and Úrsula's uncle (whose child was of José and Úrsula’s generation, and died at 42 years old).
Nicanor Ulloa (see the next chart) is also identfied as Úrsula's first cousin, which would have to be through a grandparent not also shared by José.
The “Shared” persons in the chart are one indiviual. There is no other grandparent whom José and Úrsula could share (a) without making the aunt and uncle siblings instead of first cousins, and (b) while leaving Úrsula to be an Iguarán originally (i.e., the shared grandparent would have to be female under the apparent naming conventions).
José and Úrsula are first cousins (married at 19 years of age).
José Arcadio Segundo and Aureliano Segundo are physically identical twins.
Rebeca is adopted, and claims a bishop as her first cousin.
In addition to Aureliano José, and the twins with Remedios Moscote, Colonel Aureliano Buendía had 17 sons by 17 different women, for whom only a few of the names are given, as follows: A. Triste (i.e., tr. “Sad”), A. Serrador (“Sawyer”), A. Arcaya (from a surname of Basque origin), A. Centeno (“Rye”), and A. Amador (“Lover”). These name translations do not appear in the story; they are posed here simply because the author drops all sorts of other clues to soft mysteries, and the import might have been intended to be apparent in Spanish.
Aureliano José was going to have had 7 children with Carmelita Montiel.
This video is a walkthrough of a canned demo of my Capstone project, Reasoned Impulse, which is explained in more detail in this Medium article.
My brain has always suggested new words to me, most of which are lost to time; recently, I have started writing them down.