Showing posts with label Names. Show all posts
Showing posts with label Names. Show all posts

Mariner 19 "Grebe" 2018 Season


It’s been a busy year and I am finally getting around to thinking about putting “Grebe” back in the water. I bought my ’81 Spindrift Mariner last spring. She was in pretty rough shape. Luckily I didn’t pay much for the boat and trailer as the previous owner had let it sit uncovered for a year or two and the boat had filled with water (and probably frozen). One of the side effects of this was that (because the trailer wasn’t fitted properly to the boat) I have some hull deformation where the trailer bunks pressed into the hull and a crack at one of those points which I have temporarily fixed with epoxy. Apart from that, the boat cleaned up really well. I sailed her quite a bit last summer and thoroughly enjoyed the Mariner’s handling and ease of sailing. I am getting ready to put her back in the water and in anticipation of that I have a few questions.

Hull damage 
First off, I’m really more interested in having fun with the boat and actually sailing it than making this thing look perfect. The hull deformations don’t really bother me as much as the leak… I’d like to be able to leave it on our mooring for a week or two without worrying that it’s going to take on enough water to sink. (I also have a couple of bilge pumps and solar panels, so I can rig those up as well, but I would prefer to figure out the leaks on their own. When I first put the boat in the water it would take on about 2-4 inches of water per hour. That was when I found the crack in the hull where one of the bunks had actually pressed in enough to create a crack in the hull. I did a quick fix on that last summer and got the boat to the point where it would only take on a couple of inches of water over night. The location of the two deformations and the crack is right under the quarter berths (where I can't see it). My tentative plan is to sand the hull, re-epoxy/fiberglass the cracked area, and then paint the hull. A more involved idea I had was to cut large access holes in the quarter berth, build some reinforcing structure in there to repair the hull shape, repair the leak from the inside with fiberglass, fill with fresh floatation foam, and re-fiberglass the quarter berths. Sounds like a lot of work that might be a later project!

Hull and deck paint 
As far as hull paint, I have been reading everything I can on the Mariner forums and on Nate B's Orion website. I do think that I am going to repaint the hull and deck this summer. It sounds there are a lot of options for paints. I am thinking I will try the roll and tip method of application. For the deck, I have a lot of the usual spider cracks. I am not sure if a thorough sanding and painting will take care of that for a couple of years, or should I consider a more involved approach with grinding out the cracks and filling them.

Full Fathom Five Thy Folkboat Lies...




She's up and floating again with an additional pump, battery and solar panel... no damage but a broken masthead that was rotten anyway. Irish Boat Shop fixed it up with a beautiful scarf joint. Pretty sure the pump was what gave out or the float trip for the pump. I'm headed up to sail her tomorrow!

Maps from Books VII

Mistress Masham's Repose
by T. H. White

The Palace of Malplaquet based on Stowe School and Blenheim Palace.

"Tell me about the Horses."
"What about them?"
"Tell me," she said guiltily, "how they ought to be pronounced."
The Professor threw his head back firmly and began to neigh.
"What?"
"Can you neigh?"
Maria tried, to see if she could.
"How did you do it?"
"Let me see, I kept my mouth shut, and I don't think my tongue moved, and I sort of kept on huffing out a wriggly squeal, through the back of my nose."
"You couldn't spell it very well, because you do it with your mouth shut. So there can't be any proper letters, really, not real vowels."
"Well, Dr. Swift used a 'hou' for the huffing part, and a Y for the squealy part, and N's and M's are the part in the nose, Houyhnhnm. It is what a horse says."
"It isn't very easy to pronounce in the book, not when you are reading aloud."
"It is only a question of practice," said the Professor grandly. "Practice and self-confidence." 
                                -From Chapter XXV

Cetology

Moby Dick - Chapter XXXII 
The word cloud was created using frequency of a word's use in the text to generate its relative size.


(click the image for more detail)

Maps from Books VI

The Mysterious Island
by Jules Verne

“Lincoln Island” as engraved by Sédille for Hetzel,
based on a sketch by Verne. Mysterious Island (1875). 
Image from Science Fiction Studies

Maps From Books II

The Wind in the Willows
by Kenneth Grahame
"The sheep ran huddling together against the hurdles, blowing out thin nostrils and stamping with delicate fore-feet, their heads thrown back and a light steam rising from the crowded sheep-pen into the frosty air, as the two animals hastened by in high spirits, with much chatter and laughter. They were returning across country after a long day's outing with Otter, hunting and exploring on the wide uplands, where certain streams tributary to their own River had their first small beginnings; and the shades of the short winter day were closing in on them, and they had still some distance to go. Plodding at random across the plough, they had heard the sheep and had made for them; and now, leading from the sheep-pen, they found a beaten track that made walking a lighter business, and responded, more-over, to that small inquiring something which all animals carry inside them, saying unmistakably, 'Yes, quite right; this leads home!'"

-From Dolce Domum

Maps from Books I

The Jumblies
by Edward Lear 

"For they'd been to the lakes, and the Torrible Zone,
And the Hills of the Chankly Bore...."




I thought this was an appropriate map to begin this series of posts. Edward Gorey illustrated a version of The Jumblies published in 1968 with this wonderful image of the the far side of the Western Sea. It measures 14 x 42 cms.

Concinnitas, or Beauty Reconciled

What does Alberti mean by concinnitas? How does he learn what it is so that he can introduce it into his building? and what role, then, does concinnitas play in investing a building with beauty?

Concinnitas, Alberti’s powerful term for “the absolute and fundamental rule of Nature” denotes, with such a description and by its very nature, a difficult, and illusive theory. While Alberti makes no more specific statement than that concinnitas composes parts “according to some precise rule,” the very framework in which concinnitas is conceived will help the thoughtful architect, philosopher or political thinker in its pursuit, for concinnitas is more than a mere pattern book rule to be followed. Rather it is the way in which Beauty is reconciled to the particular example on earth. Concinnitas translates the ineffable idea of Beauty to us through minute adjustment of proportion, thereby rendering it perceptible to the senses. The pursuit of concinnitas is the highest goal of the architect, or indeed of man in general.

“Everything that Nature produces is regulated by the law of concinnitas, and her chief concern is that whatever she produces should be absolutely perfect.” Concinnitas flourishes in birth and death, in creation and destruction, and in every changing state between these extremes. Indeed, there can be no written formula for such an idea because it is not a static result, but a defining action whose very meaning is to take parts which are in every case different, and arrange them such that they form through their correspondence a complete and perfect whole. Concinnitas is the final and defining quality of architecture, or art in general. As such, it surpasses the crude necessities of shelter and protection, enters the realm beauty, and becomes something that arouses delight in the beholder.

Thus, a discussion of concinnitas must begin with the understanding that it is something which governs both the practical and aesthetic qualities of building; it is behind and above decisions concerning the material or order of building. What Alberti is telling us is that no truly functional thing can be made without concinnitas, and that any discussion of concinnitas must therefore govern and surpass that of firmness and commodity. Architecture, Alberti tells us, in agreement with Vitruvius, is worthy of praise when it is commodious, firm, and delightful. Yet for Alberti, the final requirement is the most vital. “Of the three conditions that apply to every form of construction – that what we construct should be appropriate to its use, lasting in structure, and graceful and pleasing in its appearance – the first two have been dealt with and there remains the third, the noblest and most necessary of all.” In other words, firmness and commodity are necessities not just of a palazzo, but also of a barn. What sets great buildings apart is that they delight our senses with the beauty arising from their proportions, not just relative to themselves, but to the cosmos.

“All care”, he tells us, “all diligence, all financial consideration must be directed to ensuring that what is to built is useful, commodious, yes – but also embellished and wholly graceful, so that anyone seeing it would not feel that the expense might have been invested better elsewhere.” Thus, architecture for Alberti is most concerned with beauty, in that every good which architecture brings to humanity is a result of its grace and appropriateness. “To have satisfied necessity is trite and insignificant, to have catered to convenience unrewarding when the inelegance in a work causes offense.” The task of the architect is to reach beyond necessity and evoke pleasure in the viewer. This is accomplished through concinnitas.

Central to Alberti’s theory of concinnitas is the idea that architecture is a composition of various individual parts that follows a rational arrangement. Beauty, Alberti tells us, “is that reasoned harmony of all the parts within a body, so that nothing may be added, taken away, or altered, but for the worse." It is in the correct manipulation of these elements that beauty is achieved. “When you make judgments on beauty, you do not follow mere fancy, but the workings of a reasoned faculty that is inborn in the mind… for every body consists entirely of parts that are fixed and individual; if these are removed, enlarged, reduced, or transferred somewhere inappropriate, the very composition will be spoiled that gives the body its seemly appearance.”

The theory of concinnitas is grounded in a perfect composition of the various parts. If these elements such as cornices, windows, walls, columns, doors, and porticoes are altered from their perfect manifestation in the whole, concinnitas will no longer be present in the work. Indeed, one might also say that, just as a “reasoning faculty is in born in the mind,” so too a “natural excellence” exists as a potential in every building. The individual building in this description already exists as a perfect idea which the art of the architect attempts to emulate. In other words, a failure to correctly arrange the parts according to the rules of concinnitas regulating the composition of the whole will results in an unsuccessful building, or one that does not attain the perfection it is innately capable of.

How then do we achieve this proportionate arrangement? If beauty is the reasoned harmony of all the parts, then that harmony may be described, Alberti tells us, using Number, Outline and Position. For Alberti number was a quantitative relationship between things in a formula, but more importantly, it was also a qualitative entity in its own right. As George Hersey so beautifully explains there were whole churches, cities, kingdoms and heavens of numbers, each with its own particular character and even genealogical structure. Outline is difficult to understand as it can mean several things. I believe it is directly tied to Alberti's idea of lineamente, or the lines and angles, which form the building (as opposed to the material, or structura). Regardless, it is something like the form, or type of the building, in that in the outline informs us of the building's purpose (to some degree this is also accomplished by ornament). Branko Mitrovic has called lineamente shape, which I think is not far from the truth. Position has to do with Alberti's use of the term collocation, or the placement of the parts of a body in such a relationship that the whole, which they form, has the quality of beauty. We will return to this.

“But,” Alberti continues, “arising from the composition and connection of these three is a further quality in which beauty shines full face: our term for this is Concinnitas; which we say is nourished with every grace and splendor. It is the task and aim of concinnitas to compose parts that are quite separate from each other by their nature, according to some precise rule, so that they correspond to one another in appearance.” In other words, concinnitas takes varying numbers of things which have different shapes, and lie in various positions, and creates (according to a “precise rule”) a complete and beautiful whole.

Concinnitas is not simple the combination of number shape and position, or a glorification of just of position, rather it is the manipulation of the three qualities such that each is altered to form a suitable and distinct whole, appropriate for its unique location and purpose on earth. To make this distinction more apparent, let us even say that position is sufficient to compose a literal version of a building’s heavenly counterpart, but that concinnitas breaths the life into an otherwise inanimate copy. Concinnitas fractures the perfect harmony of ideal beauty just enough for man to comprehend it. In short, concinnitas is like the bending of a perfect rectangle to fit the curvature of the globe it would otherwise be incompatible with.

Monadnock


PRONUNCIATION:(muh-NAD-nok)

MEANING:noun: An isolated hill or mountain that, having resisted erosion, rises above a plain.

ETYMOLOGY:After Mount Monadnock, a peak in New Hampshire, whose name in Algonquian means isolated mountain. Also see peneplain.

USAGE:"Almost every Concord street has one: a household that leaves a monadnock of trash bags beside the road each week."Pay-to-throw is Right Way For Concord to Go; Concord Monitor (New Hampshire); Feb 1, 2007.

From Anu Garg's wonderful Word A Day

A Boy Named Sue, and a Theory of Names

From the New York Times March 11, 2008

By J. MARION TIERNEY *

During his 1969 concert at San Quentin prison, Johnny Cash proposed a paradigm shift in the field of developmental psychology. He used “A Boy Named Sue” to present two hypotheses:

1. A child with an awful name might grow up to be a relatively normal adult.

2. The parent who inflicted the name does not deserve to be executed.

I immediately welcomed the Boy Named Sue paradigm, although I realized that I might be biased by my middle name (Marion). Cash and his ambiguously named male collaborator, the lyricist Shel Silverstein, could offer only anecdotal evidence against decades of research suggesting that children with weird names were destined for places like San Quentin.

Studies showed that children with odd names got worse grades and were less popular than other classmates in elementary school. In college they were more likely to flunk out or become “psychoneurotic.” Prospective bosses spurned their résumés. They were overrepresented among emotionally disturbed children and psychiatric patients.
Some of these mental problems might have been genetic — what kind of parent picks a name like Golden Rule or Mary Mee? — but it was still bad news.

Today, though, the case for Mr. Cash’s theory looks much stronger, and I say this even after learning about Emma Royd and Post Office in a new book, “Bad Baby Names,” by Michael Sherrod and Matthew Rayback.

By scouring census records from 1790 to 1930, Mr. Sherrod and Mr. Rayback discovered Garage Empty, Hysteria Johnson, King Arthur, Infinity Hubbard, Please Cope, Major Slaughter, Helen Troy, several Satans and a host of colleagues to the famed Ima Hogg (including Ima Pigg, Ima Muskrat, Ima Nut and Ima Hooker).

The authors also interviewed adults today who had survived names like Candy Stohr, Cash Guy, Mary Christmas, River Jordan and Rasp Berry. All of them, even Happy Day, seemed untraumatized.

“They were very proud of their names, almost overly proud,” Mr. Sherrod said. “We asked if that was a reaction to getting pummeled when they were little, but they said they didn’t get that much ribbing. They did get a little tired of hearing the same jokes, but they liked having an unusual name because it made them stand out.”
Not too much ribbing? That surprised me, because I had vivid memories of playground serenades to my middle name: “Marion . . . Madam Librarian!” (My tormentors didn’t care that the “Music Man” librarian spelled her name with an “a.”) But after I looked at experiments in the post-Sue era by revisionists like Kenneth Steele and Wayne Hensley, it seemed names weren’t so important after all.

When people were asked to rate the physical attractiveness and character of someone in a photograph, it didn’t matter much if that someone was assigned an “undesirable” name. Once people could see a face, they rated an Oswald, Myron, Harriet or Hazel about the same as a face with a “desirable” name like David, Gregory, Jennifer or Christine.

Other researchers found that children with unusual names were more likely to have poorer and less educated parents, handicaps that explained their problems in school. Martin Ford and other psychologists reported, after controlling for race and ethnicity, that children with unusual names did as well as others in school. The economists Roland Fryer and Steven Levitt reached a similar conclusion after controlling for socioeconomic variables in a study of black children with distinctive names.

“Names only have a significant influence when that is the only thing you know about the person,” said Dr. Ford, a developmental psychologist at George Mason University. “Add a picture, and the impact of the name recedes. Add information about personality, motivation and ability, and the impact of the name shrinks to minimal significance.”

But even if a bad name doesn’t doom a child, why would any parent christen an infant Ogre? Mr. Sherrod found several of them, along with children named Ghoul, Gorgon, Medusa, Hades, Lucifer and every deadly sin except Gluttony (his favorite was Wrath Gordon).

You can sort of understand parents’ affection for the sound of Chimera Griffin, but Monster Moor and Goblin Fester? Or Cheese Ceaser and Leper Priest? What provokes current celebrities to name their children Sage Moonblood Stallone and Speck Wildhorse Mellencamp?

“Today it’s all about individuality,” Mr. Sherrod said. “In the past, there was more of a sense of humor, probably because fathers had more say in the names.” He said the waning influence of fathers might explain why there are no longer so many names like Nice Deal, Butcher Baker, Lotta Beers and Good Bye, although some dads still try.

“I can’t tell you,” Mr. Sherrod said, “how often I’ve heard guys who wanted their kid to be able to say truthfully, ‘Danger is my middle name.’ But their wives absolutely refused.”

Is it possible — I’m trying to be kind to these humor-challenged fathers — that they think Danger would be a character-building experience? Could there be anything to the paternal rationale offered in Johnny Cash’s song, the one that stopped Sue from killing his father: “I knew you’d have to get tough or die, and it’s the name that helped to make you strong”?

I sought an answer from Cleveland Kent Evans — not because he might have gotten into fights defending Cleveland, but because he’s a psychologist and past president of the American Names Society. Dr. Evans, a professor at Bellevue University in Nebraska, said there is evidence for the character-building theory from psychologists like Richard Zweigenhaft, but it doesn’t work exactly as Sue’s father imagined it.

“Researchers have studied men with cross-gender names like Leslie,” Dr. Evans explained. “They haven’t found anything negative — no psychological or social problems — or any correlations with either masculinity or effeminacy. But they have found one major positive factor: a better sense of self-control. It’s not that you fight more, but that you learn how to let stuff roll off your back.”

After hearing that, I began to reconsider my own name. Although I’d never shared Sue’s Oedipal impulse — I realized my father couldn’t have anticipated “Music Man” — I’d never appreciated those playground serenades, either. But maybe they served some purpose after all. So today, to celebrate the Boy Named Sue paradigm shift, I’m using my middle name in my byline for the first time.

Also for the last time. As Sue realized when it came time to name his own son, you can take a theory only so far.

* This article is written by John Tierney