#dovetail joint

[power-chords]

Someone once told me, when looking for answers / don't look in corners, just in the spaces

[guitarbomb]

Unveiling the Ed Sheeran Stadium Edition Guitar: A Masterpiece for the Stage

For Ed Sheeran fans and acoustic guitar aficionados alike, Sheeran By Lowden presents the ultimate musical instrument: the Stadium Edition acoustic guitar. This exceptional guitar isn’t just any instrument; it’s a forensic replica of Ed Sheeran’s personal stage guitar, which accompanied him throughout his monumental Mathematics Tour. Handcrafted Excellence and Limited Availability Sheeran By…

[dijidweeeb]

The Dovetail Joint, Log Cabin Construction, Home Building

[sjw-themes]

Traditional Kitchen Open concept kitchen - huge traditional galley dark wood floor and brown floor open concept kitchen idea with a farmhouse sink, shaker cabinets, white cabinets, granite countertops, gray backsplash, stone tile backsplash, stainless steel appliances, an island and black countertops

[geocyclist]

Band saw dovetail jig, 1:8 slope

[makswoodworking]

Woodworking Joinery Techniques: A Comprehensive Guide for All Skill Levels

Woodworking joinery techniques are an essential part of any woodworker’s skillset, as they help create sturdy and visually appealing connections between wooden parts. In this article, we will delve into some popular woodworking joinery techniques, discuss their applications, and provide step-by-step instructions for mastering them. Whether you’re a seasoned woodworker or just starting, this guide…

[get-back-homeward]

ETA: Listen to the audio on archive.org [x]

Q: “John, earlier before we started recording, you said it was in effect written as two separate songs.”

JOHN: “Yeah. I seem to remember, like, the submarine… the chorus bit, you coming in with it.”

PAUL: “Yeah.”

JOHN: “And wasn’t the other bit something that I had already going, and we put them together?”

[interview taped for the Ivor Novello Awards night in March 1967]

[get-back-homeward]

PAUL: Do you want to start it again then?

JOHN: No, you do it then. I’ll just…play—

PAUL: Nooo, no!

JOHN: —‘cause you’ll never hear it with two of us. Anyway just sing—

PAUL: Anyway, you know how to sing it. You know how to do it.

JOHN: Okay, well, I can’t quite sing it.

PAUL: Oh, yeah, okay. Just a critical…mic (?). Can you read that?

JOHN: Yeah, I can read it okay, Paul. Right! You play on your track, and I’ll play on mine.

[power-chords]

Charles Gladfelter, you get me!

[payasita]

dovetail-jointed

[adubsar]

Dovetail joints in Achaemenid Palaces

Dovetail joints have been used in woodworking for thousands of years. About 2,500 years ago in ancient Iran (Persia) they were also used in the construction of Achaemenid palaces (such as Persepolis, Susa or Bardak Siah Palace in Bushehr province in the south of Iran). (550 to 330 BC). They were used to connect different stone parts of the structures.

Photo Source

Joining two pieces of stone with a dovetail joint at Persepolis.

This method has also been used in Urartu, Median, Egyptian, and Greek civilizations.

[fallingtowers]

so i'm watching dollhouse currently, and watching a non-buffyverse whedon joint has got me thinking about the phenomenon of whedonspeak. it's fascinating to me, because there have been plenty of moments in dollhouse where a character has said something patently whedonesque and i've been like :/ ahh yeah i see why people can't stand this style of writing. but on btvs, where the dialogue is generally a lot more heightened than on dollhouse, it really doesn't bother me at all (outside of a handful of really egregious examples).

the big reason for this, i think, and the one i always bring up when i'm defending the dialogue on btvs, is that on btvs it always felt like a tool of characterization. at first blush it may seem like e.g. buffy and willow have very similar voices, but the truth is it's all stylized, but in different ways. and btvs is so good at characterization (a lot better, i would argue, than dollhouse) that by the end of the show you know the characters' voices so well that you can clock it instantly when a line isn't 100% in character. it helps, i think, that btvs is patient zero for this kind of dialogue -- it became an established style of the show, but it wasn't yet an established style of writing in general (note that before it was known as whedonspeak, it used to be called "buffyspeak"). it works well because it's tailored to the tonal sensibilities of btvs, whereas if you just slap it onto any old story it's bound to feel incongruous and grating.

(also, as a sidenote, by and large, btvs knew exactly when to drop the banter. that's another thing -- these days whedonspeak as a concept is so bound up in people's minds [and with good reason!] with that particular brand of annoying mcu-ass ironic storytelling that has to mock itself at every turn for fear of coming across as self-serious. but btvs is a very heartfelt work of art! it [not always, but often] takes the emotions of its characters seriously! when buffy comes home and finds her mom dead on the couch, she doesn't go "well that just happened." you hit a certain threshold of dramatic weight and the whedonspeak falls away.)

there's another reason it's become so pervasive, though, i think, and it's one i kind of sympathize with. it's got to do with the demands of television as a medium. i think modern tv and film is the form of storytelling that has the biggest gulf between Showing and Telling. like, in a novel or a comic or whatever, you can just use narration to shed light on a character's thoughts or plans or whatever, but on screen you don't have that luxury, and these days voiceovers and flashbacks and stuff are generally regarded as being kind of graceless. so you've got Showing, which always runs the risk of being too vague and confusing, and you've got Telling -- and dialogue is really your only method of Telling -- which comes with a whole host of potential pitfalls. it might feel too on-the-nose, or too stiff and contrived. or it might commit the cardinal sin of 21st century entertainment: being Boring.

that's the thing, right. screenwriters are always trying to figure out how to do good exposition. one instance of dialogue i found grating on dollhouse is a scene where echo is dreaming, and the audience needs to be told she understands she's dreaming. so what do you do? in writing, you'd just describe her moment of realization, but on tv you can't do that. so instead, they have echo go, "oookay... i think we can all agree this isn't real." which like, if we view it as an attempt to content with the limitations of the medium, it makes sense! she's alone, so she has no reason to say "this is a dream," so we solve that problem by having her make a little joke to herself. but in practice, it just kind of falls flat.

in conclusion, the art of writing dialogue is one thing and the art of writing exposition is another, and neither is at all easy, and in screenwriting specifically they often dovetail in a particularly torturous way. we're still gonna be trying to figure this out when the sun burns out probably. i certainly don't have an answer. i do have a piece of advice though: watch buffy the vampire slayer. it's really good, and the dialogue is only a little annoying

[bsaka7]

Amy Lawrence: When Arsenal faced new challengers, Arteta and his players found new solutions (full text below)

The Tottenham Hotspur DJ cranked up the volume at full time as Arsenal’s players made their way towards their supporters. It seemed like an attempt to drown out the provocative noise of celebration, but Mikel Arteta didn’t need words to express himself as he went to embrace his players. All week, they pushed themselves when Arsenal dearly needed it and the manager’s compliments after the 1-0 win were heartfelt.

Preparations for this match had thrown up complication after complication. “I didn’t enjoy it because I didn’t sleep much,” Arteta said. “I looked ahead to Spurs for four or five days and I had a clear plan how to do it. I prepared all the meetings, the training sessions and everything. Then I get the news that we’ve lost a player, and then another player and then another player, and I had to completely change it and adapt the plan to the players that we had available. It was a great challenge.”

Rising to that challenge was something he and his players addressed with seriousness and sacrifice. It required adaptability, mental and physical willingness, and, for some of the personnel out on the pitch, the determination to stretch their body to the limits.

Jorginho, who pressed and harassed and was a general nuisance to the opposition with the leadership necessary for the occasion, was cramped up in stoppage time. It was only his third full 90 minutes for Arsenal this calendar year. Jurrien Timber, who has been feeling his way back carefully from his anterior cruciate ligament injury, played with combative relish to start and finish a Premier League match for the first time.

There was a perception that this was a good time to play Arsenal, with the first-choice midfield decimated. At one point, there were four Hale End teenagers watching on and warming up from the sidelines.

The team meetings building up to this north London derby were intense and full of heart. Can you play 90 minutes? Yes. Can you play a different position? Yes. Whatever the question, they endeavoured to give a positive answer. Every player selected stood tall, listened, adjusted and bristled with positive attitude. This was a match about finding solutions to problems.

Strategically, Arsenal turned to a good, old-fashioned 4-4-2. It was a practical way of best using the limited resources available, to pair Jorginho and Thomas Partey in central midfield so they could share the load, while Bukayo Saka and Gabriel Martinelli were positioned to scrap when necessary and zip forward when possible.

Kai Havertz, with Leandro Trossard in support, dovetailed efficiently enough. But it was the defence, the rock upon which this team is built, that enabled Arsenal to tackle this game with confidence, despite the deficiencies they would have preferred to do without.

Let’s talk about Arsenal’s back line for a moment. They have a culture, a shared love of defending, an inbuilt understanding between them, which has created a collective fearlessness. That is about to get its biggest test next weekend at Manchester City.

But in general, the way they help each other out and defend as a group, rather than individuals, makes them bigger than the sum of their already impressive parts. It must be wearing for attackers trying to break them down.

The partnership of William Saliba and the matchwinner Gabriel is well established, but it was notable that David Raya and Timber, two newer members of the rearguard, played with character and authority.

Raya’s calmness and confidence have kicked on enormously since last season. As for Timber, this felt like a breakout performance. He played so assertively that it felt as if he had been part of this for years. Winning this match with his own contribution felt like a moment when he was officially inducted into the back four. Welcome, Jurrien, to this very exclusive joint.

Arsenal needed a moment, a hero, to seize all the points and it came when Saka delivered a perfect invitation for Gabriel to turn his head into a human cannon ready to fire the ball into the happy oblivion of the Tottenham net.

Arteta was delighted with the collective response from his squad. “Loving the game means that you can do things regardless of the context,” he says. “Jorginho loves the game. When he’s not playing, he’s training like an animal every day even though he’s won everything. When you ask him to play 90 minutes, which he hasn’t played for months, he can do it.

“The same with Jurrien. It’s been a year out and he hasn’t played 90 minutes at all. He was struggling but he managed to do it for the team. Kai, without a pre-season, I don’t know how many minutes he’s played, but he was unbelievable. All of them — that’s the spirit and the characters we have that I love.

“It’s a tough week coming and, instead of finding excuses, we did the opposite. The team got hungrier and hungrier to play the game. We have people that are hard and have thick skin. They love the game and we love winning. To love the game and win, you have to do things that people call ugly. ”

The fixture list hardly threw up a gentle set of away games to open the season, with Aston Villa, Tottenham and Manchester City in early succession. Even though the performances have not been perfect enough for Arteta, finding ways to win the first two, without conceding a goal, augurs well.

The week ahead remains hugely demanding, with a Champions League trip to Bergamo to play Atalanta, before the Etihad and all the vibrations that brings.

There will be more problems, more questions and the need for more solutions. One thing Arteta can be sure of is that his players will do their absolute best to find them.

[even-in-arcadia]

Hey your tags on lighthouse design are so, so cool! The first eddystone light seems a contender for “most haunted lamp around” hehe

Ah I'm so glad you found it interesting! It is definitely very haunted - aside from the men who were swept away there was another keeper who died at 94 when the light caught on fire and he ingested molten lead while trying to douse the flames. (He lived for 12 days afterward somehow!) And that's not even mentioning all the ships the rocks claimed before the lights were built!

The Royal Greenwich Museum has a gorgeous wooden architectural model which gives an even better idea of what a feat of engineering the Smeaton design was:

and here's an illustration of how the dovetail joints were cut into the rock! (!!!)

and finally since I'm already here proving WAY more information than you asked for, dear anon, here is a jaunty little tune that is ostensibly about the keeper (and his mermaid wife) but has nothing to do with lighthouse construction:

[cadere-art]

The Abimaat are an offshoot of the basin region Apinaat people: when the southern invasion of the Apinaat Hordes was broken by the allied Gican and Cianjian, they remained trapped in the South and settled there. They live off their caviþ herds in a climate much colder and arid than the one their ancestors were born to. The Abimaat are pygmies: the caviþ (pronounced cha-vith) they raise and ride would be too small for adult antioles of any other nation. They frequently enter in violent conflict with the Cianjian, but have reached fragile accords with the Gichan among which their services as mounted warriors or messengers are highly valued.

Life south of the Kantishian mountains is hard for the Abimaat. Their life's blood, the caviþ, are not adapted to the much colder climate, and they frequently suffer frost injuries to their bare legs and necks. The increased care needs has much reduced the number of animals an Abimaat clan can keep, diminishing their wealth and food security. Where the Apinaat loved their livestock, the Abimaat treasure them, putting the same amount of work into saddle blankets and neck warmers as they do for their own clothes. Abimaat produce beautiful tapestry works, woven in a single piece to their final shape. Their work is not fine, producing heavy fabrics of thick yarns, but the colorwork, dovetailed color joints, and striking abstract shapes gives it a high value nonetheless.

[tanadrin]

okay last post bitching about Chomsky i prommy

but i liked this article by Ibbotson and Tomasello--i think it shows how chomsky really hobbles himself by being fundamentally incurious about languages other than english, and how a lot of chomsky's revisions to his theories have been efforts to bolt on epicycles when he encounters data that challenges them. in the alternative view, you don't need any special cognitive faculties to explain language acquisition: faculties like joint attention and the ability to parse other people's intentions are enough, and it's also, from an evolutionary perspective, easy to see why those faculties evolved in the first place absent a specific selective pressure for "acquire language."

this actually dovetails with something The Vital Question mentions in passing--the way new faculties evolve in organisms, whether behavioral or physical, usually involves repurposing preexisting faculties. you have fins you repurpose into legs; you have feathers to keep warm, which you repurpose to aid in flight; you evolve a neuronal cluster to smell better, you repurpose this into a new lobe of the brain. i think from an occam's razor point of view the usage-based theory of language acquisition accounts for the data better and in a simpler way than chomsky's account does.