#construction estimating tool

[constructionsoftware]

Discover how construction project management software optimizes project planning, scheduling, and execution. This powerful tool improves collaboration, ensures timely completion, and reduces costs, providing construction professionals with the resources needed for successful project delivery.

[transcendtools]

Transcend Tools To Help Manage Your Capital Programs

Transcend Tools is the only suite of tools to help manage your capital programs and integrate them seamlessly into your facility maintenance management program or complex matrix healthcare facility maintenance and accreditation operations. It has been used on both large and small construction project management created for ALL project shareholders. It is useful for all project shareholders: Owners, Designers, CM/PM’s, General Contractors, Subcontractors, QA/QC Inspectors, HCAI IOR’s, DSA Project Inspectors, Materials Testing Companies, and Special Inspectors.

[nnctales]

Exploring the Diverse Landscape of BIM Software in Construction: A Comprehensive Guide

Introduction: In the ever-evolving field of construction, Building Information Modeling (BIM) has emerged as a transformative technology that revolutionizes the way buildings are designed, constructed, and managed. BIM software plays a pivotal role in enhancing collaboration, improving efficiency, and minimizing errors throughout the construction process. This article delves into the various…

[commwallsupply]

Controlling rising construction costs

In the current landscape of escalating taxes, soaring utility expenses, manufacturing and shipping costs along with the general upkeep of buildings, the construction industry is grappling with a significant surge in material prices. Suppliers, in an attempt to offset their mounting overheads, are passing on the burden to consumers, resulting in an undeniable hike in construction costs. Amidst these challenges, the need for a more streamlined and cost-effective approach becomes increasingly apparent.

Enter www.commwall.ca, a pioneering force reshaping the dynamics of the construction and building materials sector. Recognizing the urgency of the hour, www.commwall.ca is committed to offering a comprehensive range of building materials, tools, and apparel at direct pricing. The platform goes a step further, extending exclusive discounts to registered installation companies and dealers, with even greater incentives for full pallet orders.

Unlike traditional norms that often required bulk truckload purchases for substantial discounts, www.commwall.ca breaks the mold by negotiating smaller quantity bulk deals. This revolutionary approach allows businesses to invest less capital, maintain minimal standing inventory, and simultaneously enhance profit margins. The result is a win-win scenario, where contractors not only optimize their returns but also pass on the savings to clients, making their project bids more competitive.

www.commwall.ca stands out as a leader in the Canadian building materials industry with an ever-expanding array of manufacturers and products. This diversity ensures that Canadian contractors have access to a wide selection, meeting the demands of today's dynamic construction environment. By embracing www.commwall.ca, industry professionals can navigate the challenges of rising costs, ultimately fostering a more efficient and economically viable construction landscape.

In a world where direct shipping and bulk purchases have become essential for cost-conscious construction projects, www.commwall.ca emerges as the clear choice for Canadian contractors. Visit their website to explore the extensive offerings and revolutionize the way you approach construction material procurement.

[raogbl]

Taking proactive measures to prevent theft from construction sites is becoming increasingly important as these sites become increasingly vulnerable to criminal activity.

A lot of construction companies do not realize how serious construction site theft can be and how it affects their business. Knowing the different security measures that can help combat this crime is, therefore, essential. Construction site theft can be effectively combated in several ways.

What do you mean by Construction Site Theft?

It has been a major issue in the construction industry for years that site theft occurs on construction sites. Construction site thieves steal materials, tools, equipment, and other valuables.

Building projects, such as an entire office building, can be targeted by construction site thefts, as can residential homes. It is unfortunate that construction site theft can result in significant financial losses and halt the progress of a project.

Construction Site Theft Types

There are two types of construction site theft: direct theft and indirect theft. Taking valuables from a construction site involves stealing tools, equipment, and materials. A hammer can be stolen during a break-in-and-out, or trucks can be stolen from the job site. Leaving tools or equipment unattended or unlocked leads to indirect theft, which is caused by negligence and poor security practices.

Major Problems due to Construction Site Theft

In addition to causing delays in the completion of projects, theft on construction sites can lead to serious financial losses as well. Additionally, stolen tools or materials can pose a safety risk to workers. It is important that companies take steps to prevent theft on construction sites.

What are some causes of construction site theft?

There can be several causes for theft in construction sites, including:

1. Lack of security: Construction sites are often vast and open areas with limited security measures. This can make them an easy target for thieves who can enter the site and steal valuable equipment, tools, and materials. 2. High demand for construction materials: Construction materials such as copper, steel, and aluminium are in high demand and can fetch high prices in the black market. This can make them an attractive target for thieves who steal them from construction sites and sell them for a profit. 3. Easy access: Construction sites are often located in remote areas or on the outskirts of cities where there is little surveillance. This makes it easier for thieves to access the site and steal equipment and materials. 4. Lack of supervision: Construction sites can be busy places with many workers coming and going. This can make it difficult to keep track of who is on the site and what they are doing. Lack of supervision can provide an opportunity for thieves to steal items without being detected.

Read more

[zvaigzdelasas]

Millions of solar panels are piling up in warehouses across the Continent because of a manufacturing battle in China, where cut-throat competition has driven the world’s biggest panel-makers to expand production far faster than they can be installed.

The supply glut has caused solar panel prices to halve. This sounds like great news for the EU, which recently pledged to triple its solar power capacity to 672 gigawatts by 2030. That’s roughly equivalent to 200 large nuclear power stations.

In reality, though, it has caused a crisis. Under the EU’s “Green Deal Industrial Plan”, 40pc of the panels to be spread across European fields and roofs were meant to be made by European manufacturers.

However, the influx of cheap Chinese alternatives means that instead of tooling up, manufacturers are pulling out of the market or becoming insolvent. Last year 97pc of the solar panels installed across Europe came from China.[...]

The best estimates suggest that about 90 gigawatts worth of solar panels are stashed around Europe. That solar power capacity roughly equates to 25 large nuclear power stations the size of Hinkley Point C.[...]

The sheer scale of the problem was revealed in a recent report from the International Energy Agency (IEA).

It warned that although the world was installing at record rates of around 400 gigawatts a year, manufacturing capacity was growing far faster.

By the end of this year solar panel factories, mostly in China, will be capable of churning out 1,100 gigawatts a year – nearly three times more than the world is ready [sic] for. For comparison, that’s about 11 times [!!!!] the UK’s entire generating capacity.

For some solar power installers, it’s a dream come true. Sagar Adani is building solar farms across India’s deserts, with 54 in operation and another 12 being built.

His company, Adani Green Energy, is constructing one solar farm so large that it will cover an area five times the size of Paris and have a capacity of 30 gigawatts – equal to a third of the UK’s entire generating capacity.

“I am installing tens of millions of solar panels across these projects,” says Adani. “Almost all of them will have been imported from China. There is nowhere else that can supply them in such numbers or at such prices.

“China saw the opportunity before others, it looked forward to what the world is going to set up 10 years on. And because they scaled up in the way they did, they were able to reduce costs substantially as well.”

That scaling up meant the capital cost of installing solar power fell from around £1.25m per megawatt of generating capacity in 2015 to around £600,000 today – a decrease of more than 50pc – making it cheaper than almost any other form of generation, including wind.[...]

“Up to 2012 there was a healthy looking European solar panel industry but it was actually very reliant on subsidies and preferential treatment.

“But then European governments and other customers started buying from China because their products were so much cheaper. And China still has cheap labour and cheap energy plus a massive domestic market. It’s hard to see Europe recovering from those disadvantages.”

Trying sososo hard to make this sound like a bad thing [23 Mar 24]

[billyshakesp]

Conceptualising 10,000 Years

Yes, this is another post about how the ten-thousand-year-old primordial saints of the Resurrection are, indeed, very old. But the tricky thing about human minds is that they're really bad at comprehending massive numbers. So, in this post, I hope to give you, my dear reader, an understanding of what it means to be ten thousand years old.

Let us imagine, just for a moment, that today (28 August, 2024) marks the close of the myriadic year of our Lord–that far-off King of Necromancers, that blessed Resurrector of Saints!–and the Lyctors reach ten thousand years old today. From this premise, I believe we can better grasp just how old these people are, since we can timeline their lives based on real-world events. So, without further ado...

8000 BCE - The Great Resurrection. Earth is still experiencing the last great Ice Age. Woolly mammoths are still thriving, and, according to some estimates, the last of the smilodon and American lion species still lives. HS Sapiens are still in the Stone Age. Earliest records of ovens used for pottery.

7700 BCE - Lyctors reach 300 years old. Farmers first domesticate wheat in the area now known as Mesopotamia. Humans have yet to develop advanced agricultural technology, instead relying on very primitive methods.

7000 BCE - Lyctors are now 1000 years old. Domestication of goats in Mesopotamia.

6700 BCE- Lyctors are 1300 years old. Domestication of pigs in Mesopotamia.

6200 BCE - Lyctors are 1800 years old. The Bronze Age begins! Earliest evidence of the smelting of bronze dates back to roughly 6200 BCE in Asia Minor. With the advent of bronze, humans are able to make more effective and more durable tools.

6000 BCE - Lyctors are 2000 years old. First settlements along the Nile River

5500 BCE - Lyctors are 2500 years old. Earliest evidence of Ancient Sumer.

5000 BCE - Lyctors are 3000 years old. Major agricultural developments occurred around this time, including the first evidence for the usage of irrigation.

4000 BCE -Lyctors are 4000 years old. Extinction of the Woolly Mammoth. Humans develop the first cities around this time, and wool is first used as in textiles.

3100 BCE - Lyctors are 4900 years old. Construction on Stonehenge begins. Recorded history emerges around this time. The rise of Ancient Egypt begins. Earliest cuneiform texts date back to this time.

2334 BCE - Lyctors are 5666 years old. Sargon of Akkad is King of the Akkadian Empire.

2154 BCE - Lyctors are 5846 years old. Akkadian empire dissolves after less than 200 years wow!

2000 BCE - Lyctors are 6000 years old. Ancient Minoan civilization begins.

1341 BCE - Lyctors are 6659 years old. Birth of King Tut.

1250 BCE - Lycors are 6750 years old. Ancient Chinese and Ancient Olmec civilization begins.

800 BCE - Lyctors are 7200 years old. Start of the Classical Period.

500 CE - Lyctors are 8500 years old. End of the Classical Period. Sorry, too lazy to write all of it out. Plus, there's a billion resources on it.

900 CE - Lyctors are 8900 years old. Start of the Dark Ages.

1492 CE - Lyctors are 9492 years old. Planning of Dios Apate Major begins around here in the Locked Tomb timeline. Columbus "discovers" the Americas (and proceeds to slaughter indigenous peoples)

2000 - The myriadic year of our lord.

I hope you understand how old these people are. DISCLAIMER: Not a historian. Do not claim to be. These dates are from cursory research and could be inaccurate. Furthermore, this is nowhere near a complete account of human history, especially towards the end, when I got really bored.

Ty <3

[jovial-thunder]

Downtimes, module editor, water temple

Happy summer! There's smoke in Portland but it's not too bad. Bless firefighters. Work on Lancer Tactics continues apace.

This month has been mostly focused on the largest heretofore-untouched section of the game: downtimes and the module editor for designing the sequences between combats. We're not planning on doing anything particularly innovative or new in its design — if you've played Banner Saga, Fire Emblem (gameboy versions), or Rogue Squadron you'll recognize what's going on here.

Repair, level up, have visual-novel-style conversations with companions, do some light choose-your-own-adventuring, and pick & launch the next combat. All pretty standard downtime fare — games have pretty thoroughly explored these patterns as vehicles for narrative at this point.

The unique thing that Lancer Tactics is offering on this front is an editor to make your own entire campaigns. Classic games like Warcraft or Age of Empires had incredible scenario editors, but making anything more than a one-mission map was solely the domain of modders. Over the last few weeks, we've gotten a full basically-visual-novel-editor working ingame where you can orchestrate NPC story arcs, clocks ticking, branching paths, and triggered events for all the stuff that happens between combats.

All of the campaigns we ship with the game are going to be made with these same editors, which'll force us to really make sure that they're solid tools. I think it'd be very funny to someday see someone like completely ignore all the mech stuff and just make a visual novel in this engine.

There's no new preview game build this month because adding this big section of the game means too many things are under construction. I'm happy with how fast we've been able to get this going, but making ingame editors is a lot of unglamorous UI piping and data refactoring work. Fingers crossed that it'll come together enough that we'll be able to get the first version of this editor in your hands in time for the next update

Other Changelogs

Carpenter has started re-making the tutorial level from the demo in this new engine, which is pushing us to add a bunch of stuff to the combat editor. I added triggers for playing arbitrary effects on the map, moving the camera, storing arbitrary data to the battle/module states, enabling/disabling/triggering other triggers, AND/OR conditions, and putting execution limits on triggers.

Triggers can highlight UI or actions (so it can be like "use the boost to get through!" and the boost button becomes all shiny)

New "camera start" zone type

Added a "hotspot" zone type that has a little floating title, and plastered the names of other zones on the map (visual style stolen from some Foundry VTT modules)

Added water, whose level can be set via the editor or triggers.

Added unmounted pilots who can mount up into Shut Down mechs. We continue to plan to not have pilot combat be a part of the core game, but it'll be useful for scenario or scripted sequences.

Added activation pips and template icons to the mini healthbar on units.

A bunch more portrait editor assets from Martina, including facial hair. Here's a check Carpenter did where he tried to recreate some official Lancer art ingame. ✨

Schedule update

Taking a look at our original date for the "bones" of the game ("finishing the battle engine, basic character creation, 2 mechs per manufacturer, and an a 'instant action' mode"), we estimated being able to get it done by the end of November. The emotional milestone for me on this front is getting the game to a complete enough state that I feel OK about swapping it in on the itch.io page.

I've been saying that the 3D cataclysm has pushed us back back about 3 months, and I think that's still holding true. Carpenter and I haven't officially made the call yet, but I think it's likely we'll need that time to port more mech content; here's a graph they made that shows about where we're sitting on the PC and NPC mechs for the "bones" target in terms of mechanics and action icon/sprite. 

(This data is pulled from a big table they made that includes ALL talents/gear/traits where we've been marking things off as we've implemented them. Very handy for tracking where we are.)

That's all for now. Tata!

[hryniewiecki]

Hi, this is how I made Jinx's chomper grenade, so (maybe) you could (hopefully) make one too (in case you'll ever want to)

With a lot of cardboard and some more paper!

I. GATHER REFERENCE PICTURES I used mostly fanmade 3D models and one or two screenshots from the actual show - that's why my chomper isn't exactly show accurate. I was trying not to go too hard on myself (for a change), so I didn't care about accuracy that much - do as you please.

For gathering refs I use Pinterest and Twitter accounts that share high quality screenshots (eg. this one).

II. PLAN OUT (the hardest part) Time to use refs to sketch the chomper - I started with a rough sketch to get familiar with the structure and all it's elements, to help me better understand how to build it. It was done keeping in mind estimated measurements I was going for (highly recommend using checkered paper), but keep in mind a 2D representation won't fully translate into 3D, so it wouldn't turn out the exact same.

When I was done with the rough sketch, I made a second, cleaner one (in pencil), this time to measure things more exact. Then constructed the "target board" you can see above it. It's representing all the "layers" - the cylinders that once stuck on top of each other would make the grenade - so I know how to space them out. It's basically a top view of the grenade without it's jaws.

III. MATERIALS, TOOLS and how I work with paper (important) List of the most important stuff: - different types of paper* - wood glue and/or any good paper glue - paper masking tape (or any that can be easily removed) - acrylic paints - compass (the one for drawing circles) - hobby knife / exacto knife / box cutter - hot glue gun (optional, but makes things easier) - air dry clay (optional)

*I used 4 types: - magazine paper (super thin, I used supermarket flyers) - cardboard packaging paper (from rice, cookies etc., rather thin but a lot more sturdy than regular paper, easily bendable) - super sturdy cardboard (still looks thin, but it's so hard it breaks easily when bend too hard) - corrugated cardboard (thick, but can be squished to be thinner; a pain to cut with scissors - recommend to use a knife)

Tips for working with paper: - scratch the shiny, printed side of the cardboard packaging to make it easier to glue (you can also try to gently peel it off, but it's not always possible) - another gluing tip: use masking tape or clippers to hold elements together before the glue starts to work, otherwise you may have to hold them in your hands and wait forever - if the paper is thin enough, curl it up to fit before gluing it onto a rounded surface (I mean something like this, except I just press it against a table and not my finger; it can be done with any tool really - scissors, ruler, pencil, edge of the table etc.) - the magazine paper can be used like a sculpting medium (bent, twisted, crumpled into balls etc.) to fill any empty spaces and even things out - I used it to make a "beveled edge" on two of the cylindrical parts, that's why they're covered in colorful stripes

IV. CONSTRUCTION (best part) Time to build some cylinders (how exciting!). I started with the tall middle one. Do I have to explain it? Just remember to add the details (the "bars", aka two layers of cardboard packaging paper spaced evenly) to it before you glue all the parts together.

For the thinner cylinders I simply glued circles of corrugated cardboard together, then covered the sides with a strip of cardboard packaging paper bent to shape. Depending on how tall the cylinder is, one can cut out two circles (top and bottom part), then sandwich (glue) some more scraps inbetween and cover the sides.

Now onto the two tricky parts: 1) Bottom I cut a ring out of the sturdiest cardboard I had and built an armature on top of it. It was then covered with magazine paper strips dipped in glue to create a half-sphere (basically paper mache). I filled it with even more crumpled paper to help hold the shape.

To make those funky "bolts" I scruffed each of those parts a bit a the bottom by cutting about 5 mm into them, so the paper would bend inwards allowing it to better fit the uneven surface. Then glued on the caps (this is when I run out of patience, filled the "bolts" with hot glue, placed random scraps on top of each one and then cut them into shape ..whatever works).

When you have everything assembled and it doesn't look the best, you can use more magazine paper to try to fill any gaps. Even better if you have air dry clay (that's what I used to even the half-sphere a bit). It's great for smoothing out the transition between parts if mistakes were made. If you want to make it super smooth you can use sanding paper.

2) Chompers (most important) I planned out the jaws on checkered paper, constructing the shape by following the lines or making diagonals, so it would be easy to replicate and make adjustments (super easy to measure).

It was then traced and cut out of cardboard packaging paper. I connected each part using masking tape to shape it into a jaw and check if it fits the grenade - after some adjustments were made I glued everything in place.

I wanted the jaws to be thick, so up to three additional layers of corrugated cardboard were cut out and glued on the inside of the initial "sculpt" - this allowed me to carve the eyes through the first layer.

V. PAINTING (suffering) general tips, because I'm not an expert - I used acrylics and started with painting everything black, then color and simple shading, then highlights (thin, bright lines on the edges), and paint splatters at the very end - the layering allowed me to later scratch some of the paint off to add more texture - follow your refs closely, you can even pic colors of off them (using a graphic software or any color picker online) to hint what to mix (eg. the jaws had a greenish/blue tint, so I mixed a bit of green paint with black and white)

- more on that note: just try not to use only black and white (that's what I did on my first try, when I forgot how painting works) - on the final version even the bottom part (which may seem plain black) has a drop of red or brown added; the highlights are not purely white either - it takes a lot of time and requires angelic patience (took me 2 days); take a break if you get too angry or frustrated

And I think that's it!

It's my first time trying to explain stuff and I wasn't sure how much detail to include, so if anything's unclear or missing I'll update the post. Feel free to ask and point out stuff, I'll be happy to help!

Good luck have fun

[constructionsoftware]

Takeoff Software: Essential Construction Tools for Accurate Estimations

Explore the power of takeoff software in construction, designed to deliver precise material and cost estimates. These tools enhance project accuracy, streamline planning, and improve efficiency, ensuring successful project execution from start to finish for construction professionals.

[usafphantom2]

Did you know the solid quartz glass of the canopy of the SR-71 Blackbird cockpit was 1.25 inches thick and was hot to the touch from the inside?

SR-71 Blackbird Pilots and RSOs, even with gloves on, couldn’t keep their hands by the glass for more than a few seconds without doing damage. During its career, the SR-71 Blackbird gathered intelligence in some of the world’s most hostile environments. The SR-71 was conceived to operate at extreme velocities, altitudes and temperatures: actually, it was the first aircraft constructed with titanium, as the friction caused by air molecules passing over its surface at Mach 2.6 would melt a conventional aluminum frame.

Its engineering was so cutting edge that even the tools to build the SR-71 needed to be designed from scratch. Let’s talk about the windows in the SR-71 and about the severe heat the windshield of the SR-71 would experience at top speeds. Skunk Works Designers ultimately decided that using solid quartz for the windshield was the best way to prevent any blur or window distortion under these conditions, so they ultrasonically fused the solid quartz to the aircraft’s titanium hull to make the quietest cockpit possible; the estimated temperature of the outside of the cockpit of 600 degrees F.

As reported by The SR-71 Blackbird website, the integrity of the double solid quartz camera window demanded special attention because of the optical distortion caused by the effect of great heat (600 degrees F.) on the outside of the window and a much lower temperature (150 degrees F.) on the inside could keep the cameras from taking usable photographs.

🌟Three years and $2 million later, the Corning Glass Works came up with a solution: the window was fused to its metal frame by a novel process using high frequency sound waves.

Linda Sheffield

@Habubrats71 via X

[nnctales]

Can I Use ChatGPT as a Construction Assistant?

The construction industry, like many others, has started to embrace the tremendous potential of artificial intelligence (AI). As part of this shift, industry professionals are increasingly asking: “Can I use AI like OpenAI’s ChatGPT as a construction assistant?” The answer is not only a resounding ‘yes’ but also that this technology can offer significant benefits. First, let’s understand what…

[reasonsforhope]

"Beneath 1,350 square miles of dense jungle in northern Guatemala, scientists have discovered 417 cities that date back to circa 1000 B.C. and that are connected by nearly 110 miles of “superhighways” — a network of what researchers called “the first freeway system in the world.”

Scientist say this extensive road-and-city network, along with sophisticated ceremonial complexes, hydraulic systems and agricultural infrastructure, suggests that the ancient Maya civilization, which stretched through what is now Central America, was far more advanced than previously thought.

Mapping the area since 2015 using lidar technology — an advanced type of radar that reveals things hidden by dense vegetation and the tree canopy — researchers have found what they say is evidence of a well-organized economic, political and social system operating some two millennia ago.

The discovery is sparking a rethinking of the accepted idea that the people of the mid- to late-Preclassic Maya civilization (1000 B.C. to A.D. 250) would have been only hunter-gatherers, “roving bands of nomads, planting corn,” says Richard Hansen, the lead author of a study about the finding that was published in January and an affiliate research professor of archaeology at the University of Idaho.

“We now know that the Preclassic period was one of extraordinary complexity and architectural sophistication, with some of the largest buildings in world history being constructed during this time,” says Hansen, president of the Foundation for Anthropological Research and Environmental Studies, a nonprofit scientific research institution that focuses on ancient Maya history.

These findings in the El Mirador jungle region are a “game changer” in thinking about the history of the Americas, Hansen said. The lidar findings have unveiled “a whole volume of human history that we’ve never known” because of the scarcity of artifacts from that period, which were probably buried by later construction by the Maya and then covered by jungle.

Lidar, which stands for light detection and ranging, works via an aerial transmitter that bounces millions of infrared laser pulses off the ground, essentially sketching 3D images of structures hidden by the jungle. It has become a vital tool for archaeologists who previously relied on hand-drawings of where they estimated areas of note might be and, by the late 1980s, the first 3D maps.

When scientists digitally removed ceiba and sapodilla trees that cloak the area, the lidar images revealed ancient dams, reservoirs, pyramids and ball courts. El Mirador has long been considered the “cradle of the Maya civilization,” but the proof of a complex society already being in place circa 1000 B.C. suggests “a whole volume of human history that we’ve never known before,” the study says."

-via The Washington Post, via MSN, because Washington Post links don't work on tumblr for some godawful reason. May 20, 2023.

[adastra-sf]

The Maoi of Rapa Nui

Moai chieftain statues are the famous massive megaliths of Rapa Nui (aka Easter Island) in eastern Polynesia, carved about 1250-1650 CE by the original Polynesian colonizers of the island.

Many know them as "Easter Island heads," a misconception from having seen photos of statues in the volcano Rano Raraku partitially covered with soil. They all have full bodies with over-large heads - a 3:5 ratio between head and trunk, a sculptural trait consistent with the Polynesian belief in the sanctity of the chiefly head.

The island holds nearly 1000 statues, each weighing as much as 90 tons and standing up to 10 meters tall, though they average around half that. One unfinished sculpture would have stood 21 meters (69 feet!) tall and weighed 180 tons. More statues are still being discovered.

Almost all (95%) of the moais were carved from the volcano's stone tuff - compressed volcanic ash that's relatively easy to carve using only stone tools (toki).

Probably the biggest mystery is how tribes using Stone-Age tech could succeed in transporting 50-ton moai statues across kilometers of hilly terrain. Because the island was largely treeless by the time Europeans first arrived (by which time local culture and history had largely collapsed), the movement of the statues was a mystery for a long time.

Some transportation theories are more accepted than others:

The earliest accounts say a king named Tuu Ku Ihu moved them with the help of the god Makemake, while later stories tell of a woman who lived alone on the mountain ordering them about at her will. 

The longest-held European hypothesis was that the moai statues were dragged from the volcano to their destinations along log rollers, which also explained how the island became deforested. Pollen analysis has established that the island was almost totally forested until 1200 CE, and tree pollen disappears from the record by 1650.

However, Iceland demonstrates how simply using wood for construction and fire can quickly deforest an island.

According to oral tradition, the moai statues walked to their destination. A literal interpretation is that the statues were rocked from side to side while pulling them forward to "walk" them to their final sites, as demonstrated in this recent experiment. This theory holds the most scholarly support today.

A not-uncommon but highly unlikely (and, y'know, disrespectful) claim is that aliens placed the moai statues for the locals. Occam's razor suggests this probably isn't the answer. But everyone loves aliens. The debate continues.

The ancient period ended when the Rapa Nui people were devastated by Peruvian slave-raiding expeditions that reached the island in 1862. Within a year, the individuals who remained on the island were sick, injured, and lacking leadership. Survivors of the slave raids had to deal with Christian missionaries. By the time Europeans arrived in 1722, the island's population was estimated at less than 3,000. Foreign diseases and emigration to other islands such as Tahiti further depleted the population, reducing it to a low of 111 native inhabitants in 1877.

Chile annexed the island in 1888, but it wasn't until 1966 that the Rapa Nui were granted Chilean citizenship. The 2017 census registered 7750 people on the island, of whom 3512 (45%) consider themselves Rapa Nui.

The original inhabitants live on among their famous megaliths.

[outofgloom]

EYES

The first thing you noticed was that the sand of Karda was not like the sand from Outside, beyond the gate. It was all grains of pulverized crystal. It crunched beneath your feet and the feet of your companions as you marched along the track which wove between the many dunes.

Ahead, the fore-Matoran stopped beside a stone marker and signaled a halt. The fore shaded his eyes against the diffuse light in the sky ahead and looked further down the track into the great shallow bowl of Karda.

“We are near,” he said, moving back up the path now and opening his pack. “Align yourselves and remove your masks.”

Everyone complied, bracing against the wave of weakness which followed mask-removal. The fore-Matoran went down the line and placed a semi-transparent object into the visor of each mask, indicating to replace the mask afterward.

When he reached you, you asked: “What is its purpose?”

“Unknown,” the fore said. “Replace your mask.”

You complied. It was a lens of some kind, covering your eyes. Perhaps a dust-shield. You got used to it quickly, like it wasn’t even there.

∵∴∵∴∵∴∵

The Central Construct was vast: a shimmering shape at the heart of the desert. Protometal ribs rose into a sphere-like form, joined by horizontal crossbeams at regular intervals. The lower two-thirds of the sphere were already complete, and a web-like scaffold ringed the Construct, allowing access to the upper levels.

Sparks showered from the welding points around the scaffold, and there was a sound of tramping feet as pallets of newly wrought protodermis were marched up the circular ramps. Cranes lifted and distributed other materials for the workers to use in the construction.

You were stationed on the north hextant of the scaffold, one of the many welders who worked tirelessly to build up the Construct’s outer shell. A grid of metal lines filled the space above you, feeding out the safety-line that attached to your own harness. Below, the inner shell was visible, mostly complete at this point: a dense weave of struts and metal plates which concealed the interior of the Construct. Very soon, the inner shell would be entirely enclosed by the outer. Perhaps another ten cycles, you estimated.

The tone rang in the air, signaling the rotation of workers. You leaned back from your welding and looked it over. The new beam was fixed in place, ready to hold another set of shell-plates. You secured your tools, checked the safety line, and stepped across the gap, back onto the scaffold beside you. The next shift was already on its way up the ramp. Your group would now return back through the gate in order to rest.

Too late you saw the flaw in the protometal beam beneath the one you had just added. It bent suddenly under the strain of the newly-added structure, and its hard edge cut clean through the scaffold you were standing on. A cascade of snapping pins and rods followed, and you were falling down, down through crisscrossing metal into the dark space below. 

Your safety-line went taut, as it was designed to do, and decelerated you abruptly a bio before you hit the ground inside the Construct. Tools and other debris clattered and rang on the hard surface below, and your mask came off with a pop as the air was forced from your lungs. Then you were just hanging, suspended, and your heartlight was beating very fast. 

Voices echoed down, and there was a commotion as additional braces were pounded into place and spot-welded. You were the only one that had fallen. They would reel you up any second now.

Your mask lay on the ground below you, out of reach. The floor was polished silver, running up in a smooth arc to meet the wall just in front of you. The wall had a mirror-finish; you could see your reflection in it. And behind you, the rest of the space opened up into

The rest of the space opened up into

The space opened up into

Opened up

Opened up into

Eyes

∵∴∵∴∵∴∵

The first thing you noticed was that the sand of Karda was not like the sand from Outside, beyond the gate. It was all grains of pulverized crystal. It crunched beneath your feet and the feet of your companions as you marched along the track which wove between the many dunes.

Ahead, the fore-Matoran stopped beside a stone marker and signaled a halt. The fore shaded his...eyes...against the diffuse light in the sky ahead and looked further down the track into the great shallow bowl of Karda. Then he looked at you.

“We are near,” he said, moving back up the path now and opening his pack. “Align yourselves and remove your masks.”

Everyone complied, bracing against the wave of weakness which followed mask-removal. Except you. Your mask was already off, for some reason. The fore-Matoran went down the line and placed a semi-transparent object into the visor of each mask, indicating to replace the mask afterward.

When he reached you, you asked: “What is its purpose?”

“Look at me,” the fore said. “Look at me.”

You didn't want to. You grabbed at the lens in his hand.

“I need that,” you said. “Give it to me.”

“Look at me,” he said.

You managed to snatch the lens away from him at last. You placed it into the visor of your mask, and slapped the mask back on your face.

“Look at me,” he said.

The lens wasn't fitting right. You pressed the mask harder. It was too...reflective. Not transparent. It reflected your eyes back into...into your eyes. Into your eyes.

And behind the reflection of your eyes there was something else, off to each side. It was moving and moving and looking at you. It was trying to pry its way around the sides of your face, around your eyes.

Look at me.

You pushed harder.

Look at me.

You pressed your face against the mirrored surface, but you couldn't shut it out.

It moved and moved and looked at you with eyes and eyes and eyes and

∵∴∵∴∵∴∵

The cable-reel whirred to life, and the line coiled up bio on bio, loop on loop. The damaged scaffold had been reinforced, and a medic-Matoran had already been summoned. Work had ceased all around the Construct, and the faces of many workers looked on as the operation proceeded.

Bio on bio, loop on loop the line came back. Slow but steady, the cable piled up on the reel, and at last, you appeared. Straight up out of the inner shell you came, still wrapped in your harness, up to where the pulley was affixed above the scaffold, and many hands reached to haul you in.

The medic set to work immediately, checking limbs and joints and heartlight. Another Matoran stepped forward quickly. It was the fore-Matoran. He stopped in front of you, and his eyes widened.

“Your mask?” he asked.

There was a moment of silence.

“Your mask,” he repeated, gesturing. “Is it still below?” He pointed down toward the inner shell.

I nodded slowly.

“And your tools, did they cause any damage to the interior?”

I shook my head.

“Very well.” He turned to the medic. “Injuries?” The medic indicated no damage. “Good,” he continued. “You will not need to be replaced.”

“Thank you,” I thought, then realized:

“Thank you,” I said with my mouth.

The harness was still tight around my waist. I realized this when they loosened it, and the sensations I had been feeling–pain, pressure–began to lessen. They helped me down the ramps, down to the ground. The fore was there ahead of me, along with the rest of my work group. He had retrieved a new mask for me. He immediately placed it on my face. The rush of energy felt...good.

The next shift was already starting at the top of the scaffold again, repairing the damage and moving forward. Simple as that. We would return to relieve them on the next cycle, apparently. For now, it was back into the desert, back to the gate.

I looked forward to it.

∵∴∵∴∵∴∵

The first thing I noticed was that the sand of Karda was not like the sand from the Outside–the real Outside, where I had been born, before They stuffed me in here with these Matoran to mindlessly regulate Their dials. It was all grains of pulverized crystal. It crunched nicely beneath our feet as we marched through the dunes. The other Matoran didn’t really appreciate it like I did though.

Ahead, the fore-Matoran stopped beside a stone marker and signaled a halt, then he looked further up the track out of the great shallow bowl of Karda, as always.

“We are near,” he said like clockwork, moving back down the path now. “Align yourselves and remove your masks.”

Everyone complied. Even me, though I didn't like the weakness that followed. The fore went down the line and carefully removed the semi-transparent objects that had been fixed in the visor of each mask, placing them back in his pack.

When he reached me, I asked: “What was its purpose?”

The fore stopped and squinted at me. “...Unknown,” he said slowly.

“Would you like to know?”

“Replace your mask,” he said after a confused moment, “and avoid redundant questions.”

I complied. Wearing a mask was new to me. All of this was, really, but I was getting used to it. I was malleable like that. I was made that way.

The gate was ahead. Soon I’d be out. Very soon, and then…

My mind flicked back for a moment, back over the crystal-sand, back into the metal shell, the metal prison that They had built for me, back into the wet writhing thing there that was Me, and I heard the thoughts of the other mind I’d left in my place while I was away. 

Obviously you were not made for this. You were trying feebly to move your too many limbs, trying to look out through your too many eyes.

But in the polished silver space, there was nothing to see. It was mirror all around, reflecting and refracting, so that all you could see was you…me…you. All you could see was–

“Eyes,” you were saying, or thinking rather. “Eyes, eyes, eyes, eyes.” You had…I had…You had no mouth, after all.

Just eyes. Eyes everywhere, all around.

“Eyes eyes eyes eyes,” you were thinking.

You are thinking it right now. 

Don’t worry. I just need to stretch my…legs, yes. See the scenery. I won’t be long. They’ll find me out sooner or later, and then They will send me back, I expect. To tend the dials again.

“Eyes eyes eyes eyes.” 

I know, I know.

You’ll get used to them.