8.30 am: I addressed mail that had come in over the weekend, responded to a postgraduate marketing questionnaire, puzzled over undergraduate student destinations, adjusted my teaching commitments (always an additive process), attended to medical updates, and readied myself for a return to the studio and admin related to the immediate project. Mindful of the vicissitudes of copyright law and permissions, I contacted the company that owns the rights to the ‘Scourby Bible’, in order to confirm whether their original permissions (given in 2012) were still valid, and to apprise them of the project’s development. On one previous occasion, a sound project had to be shelved because the record company refused me copyright. So, I always check which way the wind is blowing before setting sail with published material.

12.30 pm: These explanations and confirmations can take longer to compose than expected. Alongside my jabbering, I finalised the article on the ‘Image and Inscription’ project and sent it to the journal’s editor. While pushing forward with new projects, I’m aware of a great effort than needs to be put into publicising those that are already in the public domain. ‘Getting it out there’ is the hardest thing, particularly when you have to be your own agent and publicist.

1.00 pm: Elder son cooks lunch for parents and their Japanese guest (on her first return visit to Aberystwyth). Evocations of a sixteenth century, Netherlandish still life:

2.40 pm: Studiology. I extracted the first sample recording for The Aural Bible III project. It was taken from Matthew, Chapter 11, and is, on the face of it, a curious verse with which to begin a sonic essay on blindness. But below the surface …

I transferred the samples on the production desk so that I could hear each separately and in comparison with one another. It can take an entire afternoon to capture just a few seconds of sound:

6.40 pm: Off to the Rectory for a displaced Holy Trinity Church Committee. (My other life). The time of the interregnum has begun: