I build the infrastructure for AI Safety organisations to manage their contacts, program participants, alumni and donors while automating as much as possible

Catalyze Impact incubates new AI Safety organisations. I was their first employee, and for a year and a half I co-ran the incubation program:

• Recruitment: finding promising founders through personalised outreach and social media campaigns.
• Selection: reviewing applications and test tasks, and interviewing candidates.
• Program design and logistics: designing the program, arranging speakers and venues, and organising events and trips.
• Participant support: handling requests from founders during, before and after the program.

I also built the systems everything ran on using Airtable bases and Python scripts that automated the repetitive parts of recruitment and selection, and I made some really great spreadsheets.

ML4Good runs 10-day intensive bootcamps that take people from “interested in AI Safety” to actually working on it. I was a teaching assistant at the March 2025 Europe camp where I taught the sessions on AI Agents, Adversarial Attacks, and AI Safety strategy, and coached participants through the rest of the curriculum.

Because the atmosphere at a bootcamp is just as important as the curriculum, I also ran the social side, including a welcome event, a murder mystery, lightning talks, and a Scottish ceilidh.

Vischeck makes an AI agent screenshot its own UI changes and actually look at them before reporting back. Agents are happy to call a layout “good” just by rereading their own code that they never rendered. This package of hook, skill, and CLI makes them take an authenticated screenshot of the local dev server and look at it before declaring victory.

The screenshot CLI handles dev-server auth automatically, and supports dark mode, mobile viewports, element-level captures, and batch screenshots of whole page sets. The hook fires whenever the agent edits a view or template file, so visual verification happens by default.

Sometimes your agent needs to read or write to a Word doc or Excel spreadsheet. By default, it will have to wrangle some Python to do so, so why not make its life a bit easier? Readoc provides 3 different CLIs: readoc extracts the contents of a .docx, .xlsx, or PDF as structured text, readir explores and searches whole folders of mixed documents, and editdoc makes targeted edits to Office files without mangling their formatting.

Point an agent at a shared drive full of policies, budgets, and reports, and it can easily do something useful with them.

Rails Toolkit is a set of Claude Code skills that encode modern Rails 8 conventions and my own project rules, so agent-written code comes out following my interpretation of the Rails way: thin controllers, concern-based models, Solid Queue jobs, Stimulus controllers with modern JavaScript, Hotwire/Turbo patterns, and fixture-based tests.

It also includes some larger workflows: a full application audit that combines the individual skills into a severity-ranked health report for inherited codebases, a database performance review, and a few vendored skills, including an upgrade analyser covering breaking changes from Rails 2.3 through 8.1 and a skill to finally get your test output to not include unnecessary logs.

The Edinburgh University Shakespeare Company presents “An infinite monkey attempts to write the complete works of Shakespeare: a variety show” who also presents:

The Bard Unplugged

“If music be the food of love, play on.” - Twelfth Night Act 1, Scene 1

Music composed and performed on guitar by Mick Zijdel (“Hilariously Clever”, ★★★★★ - The Student), sung by Bella Burgess (“Marvellous singing voice, resonates with emotion” ★★★★ - the Broad Online).

Featuring songs from The Tempest, Cymbeline, Henry VIII, Twelfth Night, As You Like It, Love’s Labour’s Lost, and other original songs by Mick Zijdel.

Book tickets on the Fringe website

This show is only performed on 15 August. Please make sure you book your tickets for this date.

About The Show

“The Bard Unplugged” started three years ago, when I put the songs in The Tempest to music for a performance at the Bedlam Theatre. I still absolutely love the music I wrote for that, and I am glad we get to play it again. When James, the monkey-in-chief, first mentioned this Shakespeare variety show, I thought it would be an excellent opportunity to write some more songs based on the bard’s lyrics. I was mostly right.

Despite having worked on a couple of Shakespeare productions, I’ve always disliked Shakespeare. It’s dense, hard to get through, and has many jokes that don’t make sense to a modern audience. Working on this project has not changed that opinion. It was a real challenge to work with Shakespeare’s lyrics, especially since there’s only so much iambic pentameter a man can take, but a few in particular made the struggle worth it. Shakespeare’s words managed to elicit chord progressions and riffs from me that modern lyrics couldn’t have. Rehearsing the songs with Bella and properly hearing them come to life was always a delight.

I hope you enjoy these songs of love, death, joy, and many birds and trees.

Mick

Credits

Bella Burgess: Vocals
Mick Zijdel: Guitar and Composer
Audrey Nicholls: Lyrics for “Somewhere Out There”
Violet Studdert-Kennedy: Photographer

and the Infinite Monkey team:
James Harvey: Monkey-in-Chief
Alex Kerr: Technical Manager
Isla Duffy: Production Manager
Lou Limpenny: Producer
Nina Ceretti: Producer

Gallery

Artwork from “Ethics Town” podcast

I compose music for theatre and other performance and narrative art.

Podcasts

Themes for audio fiction podcasts.

Short Scoring Projects

Sketches

Short pieces I made for university assignments but did not develop into a full piece.

Theatre Composing

Theatre Sound Design

Other

I wrote my dissertation on “Ancient Rock Music”: the sound stalactites make when hit by a rubber mallet. The project was inspired by a visit to Luray Caverns, Virginia, home of the “Great Stalacpipe Organ”: an instrument that plays the cave itself.

The work had three parts: a physical simulation of struck stalactites using finite-difference and modal methods (approximating them as cantilever bars of variable diameter, in MATLAB), a field trip to record real stalactites, and a virtual instrument built in C++ with JUCE so anyone can play a cave from their Digital Audio Workstation.

Photo from “Mary: A Gig Theatre Show”. Credit: Carla Watson

I work as a freelance sound designer and general organiser in theatre. See also the theatre I did as a student.

Theatre

• Mary: A Gig Theatre Show: Sound Designer
  • Bedlam Theatre (January 2024)
  • Edinburgh Fringe (August 2024): reviewed by The Stage and A Young(ish) Perspective
  • Traverse Theatre (December 2024)
  • Duns Play Fest (May 2025)
  • Edinburgh Fringe (August 2025)
• 25th Annual Putnam County Spelling Bee: Edinburgh Fringe (August 2024)

Running a venue at the Edinburgh Fringe means welcoming hundreds of performances in a month, and having to change between them in minutes. I’ve been there in several roles:

• theSpaceUK 2022 (Deputy Venue Manager): co-ran the Triplex’s 130-seat and 65-seat spaces for four weeks: a team of 10 technicians and Front of House staff, and around 22 companies a day, changing over every week.
• Bedlam Fringe 2023 (Front of House Manager & Programmer): I led the planning for Bedlam Theatre’s return as a Fringe venue after the pandemic, including setting up the management structure and allocating the £50,000 budget. I programmed and liaised with 23 shows from multiple countries for the 90-seat theatre, and recruited, trained, and led a Front of House team of 7.
• Bedlam Fringe 2024 (Front of House Manager): back for a second season, running Front of House and Box Office operations and consolidating the procedures based on last year’s experience.
• Bedlam Fringe 2026 (Production Manager): currently production-managing the venue for this year’s festival.

The Edinburgh Festival Fringe has around 3,500 shows. I used to read the programme cover-to-cover, but that still didn’t tell me much about the shows themselves and which ones I should really go see, so I built the tool I wanted instead: a chat interface where you can just ask the programme what you should go see.

Under the hood it’s a RAG pipeline which does semantic search over the festival data with ChromaDB vector storage, category filtering, and a FastAPI backend serving a React/TypeScript frontend.