Brock – Page 49 – Brock at Cliff Cottage

2017-10-012019-09-17

Industrial Arts, Craftsmanship & Values

The 1950s and the 1960s were a privileged time. Yet, there are only some aspects of it that I would want to return to. It was exceedingly sexist. Men worked outside the house, while women were confined inside suburban houses. At school, girls were required to study home economics which was in general divided into two sections, textiles (with an emphasis on sewing) and cooking (and nutrition). Boys were required to study industrial arts.

I am not going to mention more about home economics in this post, except to say that I probably would have benefited from learning more about cooking. Similarly, many girls would have benefited, if they had been allowed to study industrial arts.

Industrial arts was obligatory for four (later three) years. One period a week was devoted to draughting, and the construction of technical drawings. The other days were spent working in one of three subject areas, each for a third of the school year, in rotation. The subject areas were woodworking, metalworking and electricity and electronics. For my last two years of secondary school, I took a two year specialization in electricity and electronics. Others were able to specialize in other areas, such as house construction or automotive mechanics. Some people didn’t take any practical subjects at all, after the obligatory years.

There is a Norwegian term, sløyd, that roughly translates as woodwork. Here children use obsolete hand tools to make objects that are either obsolete themselves, or are made in a fraction of the time by industrial machines. I am not sure why sløyd is taught. It shows a great deal of disrespect to children, and the value of their time.

In industrial arts, we learned how to use hand tools, but we also progressed rapidly to machine tools. One does not waste time using a hand saw if a compound mitre saw is more appropriate. This does not mean that the Canadian industrial arts program was perfect. In metalwork, I learned to work with sheet metal, blacksmithing and machining. However, I was never exposed to welding.

Fast forward fifty years …

I am tired of sitting around cafes, gossiping while consuming sugar rich drinks and cakes. Something similar can be said of gyms with their sweat enhanced fragrances. I want to invite people to use their time more constructively, by using the workshop at Unit One. Yes, there will be a “fredag fika” a Swedish term for a sociable coffee break often held on Fridays. It is designed to help bond and consolidate a group of workers. At Unit One it should allow people to discuss projects: present, future and (if necessary) past.

Before people will be allowed to use equipment on their own, they will have to be certified. The first will have to be for general health and safety. When a person enters Unit One, they have to know where their own personal protective equipment is located. Similarly, they will have to know what they are expected to do, during different types of emergencies, including fire and assorted forms of personal injury.

When it comes to certification to use the various tools, one approach is to test out a person using the specific machine. A better approach is to have the aspirant design and make a product that requires a number of different operations on a variety of machines.

Certification misses one vital element – the motivation to work.

Perhaps one should begin with the Arts and Crafts movement, and acknowledge the contributions of William Morris, and several others. That is not going to happen. The two contemporary (?) works that are most inspiring are both written by David William Pye (1914-1993): The Nature of Design (later The Nature & Aesthetics of Design), 1964 and The Nature and Art of Workmanship, 1968.

The workmanship of risk is one of Pye’s most important concepts. It is “workmanship using any kind of technique or apparatus, in which the quality of the result is not predetermined, but depends on the judgment, dexterity and care which the maker exercises as he works (The Nature and Art of Workmanship, p. 20).

He also wrote that people make things to effect change. However, most designed objects are palliative. They do not enable new behaviours. He uses a transport example to illustrate this. One can walk instead of using a car, but one cannot fly instead of using a plane. He also notes that design is limited by economy rather than technique. Since all design is an economic trade off, it is always a failure.

Pye also regards design as arbitrary. Products are developed under the assumption that tools can bring people happiness. His view is that tools can, at best, only help people avoid unhappiness.

There are two other writers that one may also want to read on the philosophy of work, Richard Sennett and Matthew B. Crawford.

Richard Sennett has written extensively about work. The Hidden Injuries of Class (1972) written with Johnathan Cobb is a study of class consciousness among working-class families in Boston. The Corrosion of Character (1998) explores how new forms of work are changing our communal and personal experience. Respect in a world of inequality (2003) examines the relation of work and welfare system reforms. The Culture of the New Capitalism (2006), much like the earlier Authority (1980) address similar issues.

800px-Richard_Sennett_2010 — Richard Sennett (photo: Ars Electronica, 2010)

Yet, it is the newer Homo Faber project that examines work in a 21st century context, an exploration of material ways of making culture. The Craftsman (2008), Together: The Rituals, Pleasures, and Politics of Cooperation (2012) and Building and Dwelling: Ethics for the City (to be published in 2018) on the making of the urban environment.

Lewis Hyde states that Richard Sennett’s “guiding intuition” in The Craftsman is that “making is thinking.” http://www.nytimes.com/2008/04/06/books/review/Hyde-t.html?_r=1&8bu&emc=bua2&oref=slogin

What I found particularly interesting about The Craftsman, was Sennett’s use of computer programmers as an example.

I will now elegantly hop over Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance (1974) to focus on a 21st century replacement, Matthew B. Crawford’s Shop Class as Soulcraft: An Inquiry into the Value of Work (2009). In addition to obtaining a Ph. D. in political philosophy, Crawford has also worked as an electrician and mechanic, and owns and operates Shockoe Moto, an independent motorcycle repair shop.

matthew b. crawford — Matthew B. Crawford (photo: Adam Ewing)

Crawford writes about work that requires mastery of real things. This work can be more intellectually demanding that more abstract varieties. He feels that maintenance and repair work cultivate ethical virtues, and foster habits of individual responsibility. Crawford wants people to replace passivity and consumerism with self-reliance.

Tools are not the most important elements in a workshop. It is the values that are promoted therein.

“It is permissible to study sciences and arts, but such sciences as are useful and would redound to the progress and advancement of the people. Thus hath it been decreed by Him Who is the Ordainer, the All-Wise.”

Baha’u’llah – Bisharat

2017-09-302019-08-05

Renewal of Furnishings

Ye have been enjoined to renew the furnishings of your homes after the passing of each nineteen years; thus hath it been ordained by One Who is Omniscient and All-Perceiving. He, verily, is desirous of refinement, both for you yourselves and for all that ye possess; lay not aside the fear of God and be not of the negligent. Whoso findeth that his means are insufficient to this purpose hath been excused by God, the Ever-Forgiving, the Most Bounteous.

Kitab-i-Aqdas

Since I retired, Alasdair and I have made a few simple modifications to that building formerly known as the garage (with attached shed), but now referred to as the workshop (with attached annex). My hope is that this building will result in something more than just more conspicuous consumption, but will be a small center for practical social change.

In the Baha’i Faith, there is a requirement to refurbish, as shown in the above text. This text generates discussion, not only in terms of what should be included (cars?) but also the handling of antiques and rare possessions. Some days, I read the text as an admonition to keep possessions longer than is common today. The Tripp-Trapp chairs in the house are about 34 years and 28 years old, respectively. They are still used daily. None of our cars have lasted 19 years, yet. However, I will be very disappointed if my 2023 VW Buzz doesn’t last at least 19 years. In fact, I have every intention of keeping it until my 100th birthday in 2048, when it will be 25 years old.

VW Buzz — A VW I.D. Buzz prototype from 2017. It is expected to enter production in 2023. I am not sure how often I will be carrying surf boards on the roof, as I expect to end my active surfing career in 2018, at the age of 70. The Buzz may be in some way described as environmentally friendly, but it does consume large quantities of materials. It could become a symbol of conspicuous consumption in the future. (Photo: VW)

The workshop is designed to aid refurbishment, not just selfishly – but also in terms of community. It is a place where products are to be designed, and prototypes made. If the prototypes are successful, then further copies may be made. This may even involve batch production.

An equally important act is the publication of product information. The workshop is, naturally, an open source environment. Products designs developed there are to be made freely available to others. This blog will be an important element in distributing information. However, there are other things that need to be done. One of the challenges of the open-source movement is quality control. Products need to be tested, and the results of those tests have to enter a feedback loop, so that designs can be improved.

Woodworking is the initial focus of the workshop. Shop cabinets and French cleat storage units will be some of the first products to be made. The goal is to have the workshop in working order by 2018.01.01. “Machine Alley”, a 6-meter (20 feet) long section of the workshop will consist of eight 600 mm (24 inches) long units, with a uniform height. Machines will have their own particular unit assigned to them. However, it should be a relatively easy task (less than one hour of work) to move a machine to a different location.

bty — The first production machine purchased for the workshop, a planer. This length of wall is to be known as “Machine Alley”, and will be the location where stationary machines will be kept. Photo: Brock McLellan

A large number of wooden products are being considered for the workshop including: a replacement garden shed, a winter garden, kitchen cabinets, a replacement dining table and chairs. At the community level there may be a need for geodesic dome greenhouses that could be produced at this, or another workshop, in the Vangshylla community.

As our own personal refurbishment becomes more complete, I see a gradual transition to other materials than wood. A solar water heater is one example of a product that uses very little wood, more plastic and a lot of metal. With the use of active systems, it is here that we are entering the world of mechatronics (mechanics + electronics + a lot more).

Aerial Euler diagram showing the sub-fields of Mechatronics (Photo: Rensselaer Polytechnic Institute, 2012).

Personally, I would also like to learn other construction skills. I have made a decision that using a gym or studio to exercise is a waste of time and money. Lifting a few tons of wood or steel is as good exercise as lifting weights. I won’t even mention the word, spinning. In the Unit One blog, there has been some discussion about making paving stones, and using stucco (rendering) on walls. These activities will keep anyone in shape.

While I would like to work with heavy materials for as long as possible, aging is an ongoing process. At some point a refocusing on robotics may be natural. Regardless, a key element is a focus on community – and the needs of others. I am looking forward to using the workshop over the next 19 years. By then, at the age of 88, there could be yet another refurbishment, with new horizons opening for me to explore.

2017-09-242023-07-03

Why Stucco? A concise summary

the_bo_kaap_cape_town — The Bo-Kapp area of Cape Town features colourful stucco houses (Photo: http://www.holidaybug.co.za/)

Here is a summary of the reasons why one should choose stucco as an exterior cladding. This is not a balanced article, it does not include the reasons why stucco should be avoided.

1. Versatile

Can be applied over many different types of surfaces including concrete masonry or wood framing

Can be applied seamlessly

Can be layered to creates a heavily textured surface

Can be used in new builds as well as renovations

2. Installs quickly

A conventional house usually requires between one and two days, including drying time

3. Energy efficient

Low U-value (or if you prefer the inverse, high R-value)

4. Durable

Expands and contracts as the temperature changes

Reduced risk of flaking, cracking or crumbling

Can last over fifty years with little maintenance

Rot, mildew and mold resistant

5. Enhances value

Earthquake resistant

Fire resistant

Sound dampening

6. Low maintenance

In warm and dry climates, little or no maintenance, except occasional washing to remove spots or stains

In hot and humid climates, little maintenance

In cold and wet climates, little maintenance provided

snow is cleared away from walls
eavestroughs direct water away from walls (that’s a Canadian word for gutters)

7. Reduced house insurance premiums (in North America)

8. Many options

Textural

Coarse
Pebbled
Raked
Smooth
Swirled

Colour

Pigment mixed directly into the mix
Can be repainted

2017-09-212023-07-03

Stucco

My childhood home was clad in rockdash stucco. There are no rocks in it, only 3 – 6 mm pieces of broken coloured glass. It is a technique not favoured today, in part because it is extremely difficult to repair.

314+Ash+Street+New+Westminster+BC — Pi House, 314 Ash Street, New Westminster, British Columbia, Canada. I last lived there in 1972. It looks as if the new owners have had to repair the stucco to the left of the entrance. Repairs are what makes rockdash stucco houses so problematic to own.

My wife’s childhood home was also clad is stucco, but in a form of roughcast, which is slightly less of a problem to repair because it adds stones to the mix, whereas rockdash puts them on top.

Despite the fact that there are numerous ugly stucco buildings, I still find it the most appealing method of cladding. It has only taken me forty years to come around to this view. OK, sixty five years plus. Wood rots. I’m not in a social class that uses stone – being neither a laird nor a crofter. I’m not brutal enough to appreciate massive concrete. Nor am I English, so brick doesn’t have much appeal either. I am stuck with stucco.

I had considered manufacturing cement fiber sheeting, but in order to make the sheets thin enough (4 – 8 mm), the process requires the use of expensive silica sand and even more expensive special purpose chemicals.

Wikipedia states that stucco is the predominant exterior wall material in both residential and commercial construction in five states: California, Nevada, New Mexico, Arizona and Florida. https://en.wikipedia.org/wiki/Stucco

While many stucco houses use a subdued pallet, this does not apply in all cases. Personally, I would like to have our house continue to be bright yellow.

Bright-Yellow — My preferred colour of stucco, here combined with stone and wood, in a climate warmer than Norway’s. (Photo: http://thestuccoguy.com/stucco-colors-which-one-to-choose/)

There are many other colours available, some even less subtle:

Another-Pink-Theme — Another attractive colour for a stucco building. I grew up with pink inside the common rooms, as well as outside our house. My bedroom was blue. (Photo: http://thestuccoguy.com/stucco-colors-which-one-to-choose/)

There is not an excessive amount of information about DIY stuccoing on the net. Here are three important sources:

For restoration work: https://www.nps.gov/tps/how-to-preserve/briefs/22-stucco.htm
Text materials about contemporary methods: http://thestuccoguy.com/
Videos about contemporary methods: https://www.youtube.com/user/StuccoPlastering

My plan for the spring of 2018 is to use stucco as part of Project Pumpkin, the construction of a ca. 15 m3 gardening shed, to replace one expropriated.

2017-09-212019-07-20

Paving Stone Robotics

A not-yet-famous historian reminds me that history is not a series of inter-related anecdotes. I am not going to let this or any other fact interfere in the telling of this vision of the future.

Anecdote #1

The story begins at the dawn of the current millennium, when three students taking their teaching qualifications had to find a project. The project selected resulted in the construction of a presentation program that systematically showed the process of making ciabattas using pictures, a few words and audio tracks. It should be noted that the baker for whom this presentation was made, had some learning issues.

Before the existence of the presentation program, the baker would be helped by one of a group of teachers (for lack of a better word) who could remind the baker of the steps to be followed. Unfortunately, there could be some procedural inconsistencies between the different teachers, that the baker found disconcerting.

Using the presentation program, inconsistencies were eliminated in the mind of the baker. More importantly, after three months the presentation program itself could be eliminated, because the baker had managed to implement the procedures into her brain.

For some consistency is a more important attribute than for others. It is an extremely desirable characteristic in robots.

Anecdote #2

Building a shelving unit for the gardener, I am trying to follow the spirit of the accompanying instructions. The instructions are more literary than most novels, relying on descriptive paragraphs, rather than bullet points, to inform. The next sentence gives a possible explanation for this approach. It reads, “Remember the mid-shelf braces.”

This instruction does not tell me, with any precision, what I am supposed to do with these braces. The braces have tabs at both ends, each has to be bent and inserted mid-shelf into the two shelf supports at the front and back of the unit, respectively.

Perhaps the most important skill computer programming has taught me, is to analyse what has to be done, and to implement it using code.

Anecdote #3

Billi Sodd is lazy, inconsistent and easily distracted. As a robot, Billi is a complete failure! However, since Billi is just about the only person who can actually make paving stones in our neighbourhood, I have to put up with his weaknesses.

I am considering giving Billi a new role. Rather than just using his labour, I want to use his knowledge of making paving stones to automate the production process. So, Billi has become not just head janitor, but paving stone informant.

Anecdote #4

The official chronology of Local Motors https://localmotors.com/heritage/ is interesting, not so much in terms of what is presented, but what is missing. Back in 2012, LM was interested in two types of production facilities – Minifactories, such as one built in Phoenix, Arizona, and Microfactories, in the form of 40 foot long containers that could be shipped anywhere, used to produce one or more vehicles, then moved on again. These microfactories have entered Local Motor’s “forgetting book” (Yes, that’s a Norwegian expression, Glemmebøken, which is where all forgotten lore ends up).

Reboot

A potential micro paving stone factory.

bottombox4 — 10 foot high cube container, Something like this could become home to a micro paving stone factory. (Photo: containertraders.com.au)

Why would anyone want to house a paving stone factory in a container? The main reason is that each residence only needs a limited number of paving stones. So, after x square meters have been made, the equipment can be given or sold to others.

The inside of the container would contain hoppers filled regularly with cement, sand and water. The content would be transported inside the container at even more frequently intervals, to a mixing area, where 30 kg batches would be prepared, mixed then poured into forms.

I envisage the production facility of consisting of a 1800 x 1800 mm surface, divided into nine 600 x 600 mm work areas, as shown in the following diagram. As before, station 1 is used to prepare the forms using a release agent, potentially Pam or vaseline. Station 2 is for the filling of the forms, with concrete as well as rebar, along with vibration. At stations 3, 4, 6 and 7 nothing happens. Waiting is a virtue. At station 5 the surface of the paving stones are textured. At station 8, the paving stones are removed from the forms. They must still be stored and allowed to cure, for up to several days.

7	8	1
6	Mixer	2
5	4	3
Sand hopper	Water hopper	Cement hopper

Here are some specifications for a 10 foot (3 meter) container:

Length External/ Internal	3000/ 2840 mm
Width External/ Internal	2438/ 2352 mm
Height External/ Internal	2896/ 2698 mm
Weight Tare/ Gross	1300/ 10160 kg
Volume External/ Internal/ Useful	21.18/ 18.02/ 16 m3

2017-09-182019-07-20

Concrete Paving Stones

This spring we added more gravel to improve the driveway. It cost about NOK 4000. As expected, it required a lot of work to move (position, is the polite technical term), Yet, it effortlessly produces potholes, and in general doesn’t work perfectly.

What is needed is a driveway surface that would still allow grass to grow, and cars to drive.

gressarmering 2 — No. This is not what our driveway looks like. This is an ad for Grassarmering. It shows what Asak Miljøstein wants us to buy, at a cost of NOK 75 000 (plus labour). Sorry, Asak. It just isn’t going to happen. Photo: Asak Miljøstein.

This is “Gressarmering” from Asak Miljøstein. It is 400 x 400 x 100 mm and weights 22 kg. There are 6.25 stones per square meter. I’m not sure that one needs this quality of product for a driveway, and I would consider using stones with only half the height. Many other paving stones only have a height of 40 mm. Regardless of the size, paving stones need rebar. One approach is to make smaller and lighter stones, for example a 3 x 3 arrangement of exactly 9 stones per m2, with an aim of reducing each stone’s weight to about 7 kg, and the square meter weight to 60 – 65 kg. for a total weight of 12 – 13 000 kg, for an estimated 200 m2 (or 1800) paving stones on the driveway.

The retail price of Gressarmering stones is NOK 60 each, or NOK 375 per square meter, or NOK 75 000 for the driveway, labour excluded. Cement can be purchased for about NOK 1 a kilo, and sand for even less. Thus, the raw material costs should be considerably under NOK 60 per square meter, or about NOK 12 000 for the driveway, for an alternative product. This is consistent with other information presented in some Youtube videos, that state that the material costs of building one’s own paving stones are about 20% of buying them.

Youtube videos

The first step for many DIYers is the inspiration phase, known more correctly by spouses as the procrastination phase. This is where countless Youtube videos are consumed. To begin with all of the ones I found about making concrete paving stones used rubber molds.

https://www.youtube.com/watch?v=2ctNaoUrfYM

The process of making a rubber mold from an existing concrete paving stone is described. It was interesting, but I decided that it was not my job to keep the plastic industry profitable. The one part of the video that was important was the use of a vibrating table to ensure that the concrete occupied all of the mold, and didn’t leave air gaps.

https://www.youtube.com/watch?v=DTGLuBzADuo

Professional Communications – Week 7 Presentation, is an unusual title for a DIY video. It was also labled, Making your own concrete pavers. This is obviously some sort of student video. Technically, it has a lot of issues, including low quality sound and not much better video. Yet, it is the most important video that I watched today.

The mold used was made out of scrap lumber and plywood. Pam, the non-stick spray found in every American food store, was used as a release agent. They provided information on mixing concrete, putting it into the mold and adding rebar. One waits 30 minutes, then gently uses a brush to give texture to the surface. One waits yet another 30 minutes, and the stone can be removed from the mold.

https://www.youtube.com/watch?v=GWImU7CCU8g

This video shows a simple vibrating table made out of a sheet of plywood. The plywood is attached to an old car tire, as well as an electric motor with an eccentric shaft. This system creates a lot of vibration, however improvements could be made so that paving stones in their molds don’t simply vibrate off the table.

https://www.youtube.com/watch?v=Vh3m_SKtJrc

This vibrating table is interesting, but the mechanics of it are too complex. The table top does do a great job of keeping the paving stone forms in place.

Workflow

One of the challenges is that neither a single paving brick nor a square meter of them, may be the ideal manufacturing unit. Sheet material is most often 1200 x 2400 mm. This makes 600 x 600 a useful size that could allow 2 x 2 = 4 paving stones to be manufactured simultaneously, with a material handling weight of somewhere around 30 kg. One sheet of MDF or plywood would make 8 separate units (for 32 paving stones).

Station	Start	Stop	Activity	Tools and materials; comments
1	0	10	Prepare forms	Release agent
2	10	20	Pour concrete	Vibrator, concrete mixer; cement, sand, water, rebar
3	20	30	Wait	No work needed in this position.
4	30	40	Wait	No work needed in this position.
5	40	50	Roughen surface	Brush; Brush surface to create rough texture.
6	50	60	Wait	No work needed in this position.
7	60	70	Wait	No work needed in this position.
8	70	80	Remove	Trolly; Remove, move and store paving stones.

This looks like too much work for one person, about right for two, ideal with three (probably with the third person only working at intervals) if breaks can be staggered. This allows the production of 24 paving stones an hour. Given a 7.5 hour working day, only the first six hours can be used to initiate stone production. The last 1.5 hours goes to clean up, and waiting for the last stones to cure sufficiently to be removed from their molds. That results in 144 paving stones a day. The total production of 1800 paving stones would require 12.5 working days.

Another approach is to binge produce with shifts of workers. The production of 1800 paving stones would require 76.5 hours of continuous activity, 3 days 4.5 hours.

bdr — Driveway with fresh layer of gravel. The trailer can legally carry 1600 kg of paving stones (or anything else). It can easily hold 5 x 9 = 45 paving stones per layer, weighing 315 kg. This would allow 5 layers (225 paving stones) to be carried. Photo: Billi Sodd

One of the fun things about DIY is finding cost effective solutions. Anyone can buy an expensive release agent. When Billi Sodd repeated the suggestion of using Pam, this crossed some inbuilt environmentalist barrier in Precious Dollar, who was then challenged to find other solutions that don’t involve sprays. Moral: Make offensive comments, and someone will be motivated to find a better solution!

2017-07-032021-12-30

The Naked Truth

Woman in bikini lying on paddleboard in water. Above her head is a red keyboard. — An advertisement for a Logitech Keys-to-Go Keyboard. The keyboard occupies about 0.2% of the photo’s area; the woman about 4%; the paddle board (with keyboard and woman) about 14% or 10% without these elements; water about 86%. (Photo: Logitech)

This post is especially for Arild, an inmate at another institution – currently on leave.

This post began to emerge after Arild sent an email to Billi Sodd about Modesty, a series of 8 paintings depicting seven generations of (western) women dressed in beach wear at 20 year intervals from 1910 to 2030. Since 2030 is still well into the future, two choices were offered – the minimalistic, with the wearer dressed in a hat, and the maximalistic, with clothing resembling that of a burkini. Here is a translation of that letter:

“In the name of modesty, you have made a very daring piece of art. The idea and execution are good, but you must remember that there are some groups in the country that may feel offended by what you present here. Even I am a religious teacher at an academy in the county and raised in Western Norway, so I am highly provoked, and thus violated when I see a woman in microbikini. My many Muslim friends will consider it almost blasphemous to equate their decent Burkini dressed women with the West Decadent and Sexualized Women’s Idea.

Art’s essence is to be provocative, so you’ve succeeded with your artwork. Congratulations! But: Is it all art that benefits, has the limits of freedom of expression? I give you a good advice, dear apprentice painter: If you want to keep your head, do not try to show the two futuristic paintings to an Imam or other Muhammadans. Even I am :raised in a Protestant spirit, and then you will meet a provocator with understanding and respect, but not necessarily with acceptance. As mentioned, the artwork is well done and you have shown good color understanding. I want to take this opportunity to recognize your talents in the subject. I look forward to further contributions in your further artist career, be aware of the choice of themes.”

Billi admits that his intention was to provoke. His work begs the question: What are the limits of propriety? It goes beyond beachwear. It goes beyond clothing. I have considered painting a second series, with a focus on men, but not in terms of clothes. That’s because men dress in cars. The sportscar is the male equivalent of the female microkini. Of course, this series would have to feature 1957 – most probably a Chevrolet. I am considering the years: 1897, 1917, 1937, 1957, 1977, 1997, 2017 and 2037.

Male clothing, in this case a 1957 Chevrolet Bel Air 2-door hardtop. (Photo: hotrod.com)

Despite believing in God, and being a member of a religious community, I have an appreciation of the atheistic feminist movement, Femen. Their grievances with established religion are largely justified. Scandals emerge almost daily to prove their point. At this stage in human development, I can support large portions of the Femen manifesto, including:

“FEMEN Ideology: Atheism […] FEMEN’s Objectives: church – by putting these institutes through subversive trolling to force them to strategic surrender. […] FEMEN’s Requirements: to universally and completely separate the church from the state and to prohibit any intervention of the religious institutions in the civic, sex and reproductive lives of modern women.”

A typical photo from a Femen protest. (Photo: Femen.org)

This post was updated 2021-12-30 at 17:00 with the following

Shanzhai by example

Billi Sodd 2015 Anstendighet/ Modesty 1910

Billi Sodd is a persona representing an older prisoner with issues, yet in the process of developing himself to become a(n artistic) painter. Since he is learning, he refers to himself as an apprentice, rather than a journeyman or a master. Like everyone, he was imprisoned by his past, until he decided to break free of it. Yet freedom is a relative term. At the most fundamental level, no living human is free to stop breathing. Every person is a slave to biological imperatives.

Billi’s most significant work so far, Anstendighet/ Modesty, consisted of 8 paintings. These paintings are based on a single template, a stencil. They deliberately imitate cartoons with large patches of solid colour, and an absence of shadows. Anstendighet/ Modesty was made in 2015, and shows how the western concept of modesty has transformed itself during during a period of 100 years. It consists of six paintings showing a young (ca. 20 years old) adult women at twenty-year, generational intervals from 1910 to 2010, each dressed in bathing costumes of the time. In addition, there are two additional paintings, variations on this theme, showing potentially more extreme changes for 2030, labelled 2030 Mini and 2030 Maxi.

The so-called originals were given to Verdal prison. However, a reworking of the subject is planned, with the goal of releasing high-definition images, so that anyone could make their own giclée prints using ink-jet printers. As long as the printing instructions are followed, these prints would be regarded as equals to the original paintings. If the instructions aren’t followed, something even better than the original may result.

In many ways Billi is an antithesis to protesters in these COVID-19 times, who want to open society faster, pressing R0 (in this case the viral net reproduction rate) values to greater heights. It is disheartening to see people like Elon Musk complaining about the shutdown of Tesla’s Fremont factory. He seems to have forgotten the lesson learned from a childhood reading of Isaac Asimov’s Foundation series, reported by Neil Strauss, “you should try to take the set of actions that are likely to prolong civilization, minimize the probability of a dark age and reduce the length of a dark age if there is one”.

An invitation to the original showing of Billi Sodd’s work Anstendighet/ Modesty (in Norwegian and English) in 2015 can be downloaded using the download button below. VF refers to Verdal fengsel = Verdal prison.

In 2020, Billi is considering a new series, PPE, based on current experiences of COVID-19. No decision has been made regarding the number of paintings. It could be as few as two. One showing protective measures taken during the 1918 Spanish flu epidemic, as well as the current one. A third, simply showing a child hiding under a school desk, and titled nuclear attack, could refer to events in the early 1960s.

After this re-emergence, Billi Sodd next appearance is expected to be a celebration of Billi’s permanent release from Verdal prison at a Halloween party to be given on Tuesday, 2028-10-31. The theme of this party will be shanzhai. Mark that date on your calendar now!Anstendighet VF Download

Here are three additional relevant quotations from Han’s book.

“In the Buddhist notion of the endless cycle of life, instead of creation there is decreation. Not creation but iteration, not revolution but recurrence, not archetypes but modules determine the Chinese technology of production…. Foremost in modular production is not the idea of originality or uniqueness, but reproducibility. Its aim is not the manufacture of a unique, original object but mass production that nevertheless allows variations and modulations.” (p. 35)

“Shanzhai products often have their own charm. Their creativity, which cannot be denied, is determined not by the discontinuity and suddenness of a new creation that completely breaks with the old, but by the playful enjoyment in modifying, varying, combining and transforming the old.” (p. 40)

“The creativity inherent in shanzhai will elude the West if the West sees it only as deception, plagiarism and the infringement of intellectual property.” (p. 41)

Closing thoughts: People’s transformational abilities, that is, a competence to alter/ convert/ reconstitute raw components into something useful, are to be applauded. Take the steam engineer, who is able to extract latent energy found in assorted solids, liquids and gasses and mould it, so that it works for the benefit of humankind: moving train cars, drying lumber, generating electricity. Take the weaver, who is able to take flax (from Linum usitatissimum) or fleece (from Ovis aries) and transform it into cloth. Take the programmer who, using a simple vocabulary, instructs a computer to manipulate data to provide and display meaningful information.

For further information about early Chinese printing and related activities, see: The History and Cultural Heritage of Chinese Calligraphy, Printing and Library Work (2010, ISBN: 9783598220463), a publication of the International Federation of Library Associations and Institutions, edited by Susan M. Allen, Lin Zuzao, Cheng Xiaolan and Jan Bos.

Yang Jianxin writes that “According to the historical records, wood blocks for printing started in the Tang Dynasty (618–907 A.D.). During that time in the center of Zhejaing Province, a book store sold the collected poems of Bai Juyi and Yuan Zhen in an edition printed by wood blocks.” (Allen et al, p. 26)

2017-07-022018-04-06

8 Classes of People

There are two types of people – those who refuse to classify people, and those who put everyone into some sort of category.

Here, we are going to strip everyone of their individualism and insist that they place themselves into one of eight ranked groups. These rankings reflect the degree to which an individual is engaged in do-it-yourself activities.

Sometimes, literary sources can be just as schizophrenic as the authors writing about them. Such is the case here. Reading http://www.dictionary.com/browse/do-it-yourself one finds that the phase do-it-yourself is “has its origins in 1950 – 1955”, at the same time that it is used “as a modifier, attested by 1941. The expression is much older.” Depending on what “much older” means, one might be able to call it a mid-20th century term. It relates to amateurs, and is defined as “the practice or hobby of building or repairing things for oneself, usually in one’s own home.”

Class 0. User

This class of person has no role in the acquisition of an object, but in some manner of speaking has that object thrust upon them for their use.

Class 1. Shopper

There are two operative words that distinguish a shopper from a user. The first is that the shopper selects the object. The second that she pays for it.

Class 2. Assembler

Here one is entering the “flat-pack” universe. Ideally, an assembler can follow instructions, so that the object ends up looking and functioning as intended.

Class 3. Hacker

The primary characteristic of a hacker is her ability to modify an object, especially in terms of appearance or operation.

Class 4. Constructor

It is at this level that fabrication skills become important. Craftsmanship is a term often used to describe the necessary skill sets. Since the start of the new millennium, many have seen computer programming as a new form of craftsmanship. For further details, see: https://en.wikipedia.org/wiki/Software_craftsmanship

Class 5. Prototyper

Experimentation is a key word to describe the activities of someone in this class. Engineering is not an activity that leads instantly to nirvana. Vague ideas ha ve to be fleshed out. Proposed solutions have to be tweaked, teased and tinkered with. The results are not always beautiful.

Class 6. Designer

Once engineering is complete, product design can begin. While many think of aesthetics, ergonomics is also an important consideration. With design work completed, batch and other forms of small-scale production can be used to make a limited series of objects.

Class 7. Manufacturer

The preliminary step before large-scale manufacturing involves real-world testing. Not everyone will treat an object as delicately as its designer. Thus, it is important that insights be gained into how an object will be used, and misused. There will be few amateurs at this level but new opportunities are arising through programs such as Kickstarter or Indiegogo.

An inspiring real world example

Cedar Anderson’s work over a decade developing a revolutionary bee hive shows just what can be done. World class innovation, performed by amateurs. See: https://www.honeyflow.com.au/ especially the Flow Story.

Three generations of the Andersons, with their revolutionary bee hive (Photo: https://www.honeyflow.com.au)

2017-07-012023-10-13

Fishino

The original is not always the best.

Rather than sticking with Raspberry Pi, the innovators at Cliff Cottage are using Asus Tinker Boards. The Tinker Board is simply a better machine. Not perfect, perhaps not even good, but better. A similar sea change may be happening with the Arduino.

The Fishino Uno is yet another Arduino Uno board, in term of connectivity and size. However, it is more than that. It has many features that the Arduino lacks: internet connectivity, large storage capacity using a micro-SD card and an on-board RTC (real-time clock) with battery backup. There is a minimal change to the Arduino form factor, caused by a 7mm wifi antenna overhang.

Fishino diagram — The Fishino – more than another pretty face in the sea of microprocessors. (Photo: www.open-electronics.org)

These improvements make Fishino better suited for home automation systems, than the original Arduino. The WiFi module allows the Fishino to be used as a WiFi station and/or access point, and allows smartphone control even without a WiFi connection.

In summary, some of the characteristics of the Fishino that make it better than the Arduino.

Fully compatible with Arduino Uno
WiFi module on board, that can be uses in station mode, access point mode or both
MicroSD slot on board
RTC (Real Time Clock) with backup lithium battery on board
Increased current capacity on 3.3V supply section
Connectors compatible with breadboards

fishino image — Fishino is the same size as an Arduino except for the 7mm wifi antenna overhang. (Photo: www.open-electronics.org)

For further information see: https://www.open-electronics.org/fishino-arduino-become-wireless/

Shield

A shield is a printed circuit board that fits on top of the main Arduino (or Fishino) board, offering additional attributes to the system. Here we will mention two that can be used in home automation.

Fishino Octopus

PWM – For the next few minutes please don’t ask what PWM means. Pretend that it refers to Portland International Jetport, or Peter Wallace Myrick or anything else … Just accept that there is something called PWM, and that it can be important.

Some motors, including those on sewing machines, require variable speed. In the past, a rheostat was used to adjust the electrical current flowing through it. This wastes power because it uses the same amount of energy regardless of the motor speed. What isn’t used to power the motor is released as heat.

What was needed was an efficient power adjusting tool. PWM solved this problem. On an Arduino / Fishino Uno there are only six PWM outputs. Many times this is far too few.

The Octopus expansion shield allows 16 PWM outputs and 16 additional digital inputs or outputs. Up to 8 of these can overlap, allowing a system to manage 128 PWM outputs and 128 digital inputs or outputs.

A Fishino Octopus powering 16 servo motors. (Photo: www.open-electronics.org)

Fishino Colibri

Engineers do not always have the greatest understanding of how the natural world functions. Colibri means hummingbird, and surprisingly, it is not a fish. An octopus isn’t a fish either, but we won’t force the issue.

The Colibri is used to provide power to RGB LED lighting. These use 4 channels to provide a full range of colours using PWM control signals.

Fishino Colibri — The Fishini Colibri – a RGB LED light controller. (Photo: www.open-electronics.org)

By the way, PWM stands for Pulse Width Modulation.

2017-06-082018-04-05

R* and other realities

Billi Sodd comments on metaphysical dimensions

the-treachery-of-images — *La trahison des images by René Magritte, 1928-9, Oil on Canvas, 635 × 939.8 mm*

In an attempt to explain my own artworks to Arild, an inmate at another institution, I have been forced to rely upon another frequently misunderstood artist, René Magritte, and his painting – shown above – The Treachery of Images. In the work he writes, in French, “This is not a pipe.” It is a true statement because what he is trying to say is “This is an image of a pipe.”

In the Billi metaphysical language, there are an infinite varieties of realities. Because it is so difficult for me to keep such a large number of these in my brain, I have codified them into several different levels, and one special instance.

I use the letter R to represent a reality level. In my work, I am particularly concerned about five levels of abstraction, including the one level where I work exclusively.

R is the day to day reality that people experience in their day to day existence. There is absolutely nothing remarkable about it, if one excludes the fact that life, in itself, is totally remarkable.

R* represents my own personal life, the only life I understand as an insider. This is the special instance of life from which I view other lives, the other Rs moving about me.

R+n is my way of representing aggregated realities, such as families. However, nothing further will be said about these in this post.

R-n is my way of representing abstraction.

R-1 (theatre) is a three dimensional art form that unfolds in time. From my perspective it is the artform that is closest to reality.

R-2 (film) is a three dimensional art form that has been compressed to two dimensions. However, like theatre it also has a time dimension.

R-3 (photography) removes the flow of time from an artwork. Yes, there is a temporal element in that all photographs are taken at a precise moment in time.

R-4 (painting) is the level at which I work at. In my own particular work I consciously avoid the use of shadows, and gradiations of colour in order to avoid giving my works “depth”.

R-5 (drawing) provides an almost perfect level of abstraction for the artist. Here, the line is paramount.

These levels work for me, a visual artist working in two dimensions. Sam, a fellow inmate and sculptor, has a totally different perspective on reality. She codes every artwork A in terms of dimensions (3 or 2) and time with c = continuous, d = discrete, i = instantaneous, n = not relevant. Using her system A3c codes theatre while A3n codes sculpture. In contrast, A2d codes film, A2i codes photography, while A2n codes painting and drawing.

In my next post, I will try to explain to Arild why these different levels of abstraction mean that an image of a naked person is very different from a naked person.

Billi