Showing posts with label process. Show all posts
Showing posts with label process. Show all posts

Sunday, January 19

moments and years

I missed the chance to commemorate the true birthday of this little blog, last Monday. but today, January 19, 2025, marks exactly 20 years since the first actual, fully-fledged post: a response to our first key reading assignment about webdesign and such.

what a different world. such a different place it was. or maybe twenty years ago wasn't so very different, and it only seems so because I and my perspective have changed so much since then. 

what happens if I stitch together a few snippets from all the blogged Januaries of each year since 2005? what new montage will spill into this digital page in between them all?

I tried my best to pull from sections nearest to the 13th and 19th of the month (a thing much easier to do from the posts before 2014ish, when the apex of graduate school + its aftermath slowed down my writing here so much).

what I notice amongst these snippets and what you notice will be different, I imagine. I notice the unending pulse of learning and academia. books and thoughts chasing each other in circles. comments about the weather seem to sit neatly in the background with questions of identity and all its tangly unspooling. these words always have been for me more than anything. does all this pontificating from past amelia still sound like useful advice? mostly yes, I think. but I would say that, wouldn't I?

2006

the fact that energy is behind it all is somehow unifying. simple

...

linguistic structures will be a low-key class. it is full of people i don't see in my other classes. the other english majors. non tech writing people: the lit majors, the teaching majors. it's weird.

2007

get used to the fear and the doubt. get used to being faced with new facets of your own ignorance. get used to the pain. embrace humility. you can't always feel in control.

but really, how comforting is that?

I don't know. I'd take humility over false confidence anyday. but then the humble rarely get much respect.

2008-2009 (a pause.)

2010

the world is big.

there's a lot going on in it. even in this mostly empty house, there's me sitting at the table, typing, stretching a bit of CSS out over a half-built website skeleton, scribbling a few what-ifs, listening to Radiohead. and I made banana nut muffins this morning.

2011

in the beginning, this blog was just a place for all my first impressions--all my doubts and worries about the usefulness or meaningfulness of all the stuff I was learning. after that semester, I decided to keep blogging--mainly about writing (Starcustard and random short stories), school (rhetoric, more webdesign, and Isotope), and life (philosophical thoughts about my job, vague complaints about boys, and so forth). and so it continued. I'm still here. I still blog.

...

what do those stories say about me?

I'm thinking about all the texture of my life. all the patterned and patternless history I've collected so far. telling stories is one way to remember it. and on the other hand... telling and retelling and re-remembering these stories is one way to completely revise the past. after a few months or years, it becomes easy to bend the details. to emphasize the funny parts. to leave out the things that make you look like a bit of an idiot.

how I envision myself is pretty complicated, I guess. perspective is weirdly limited like that.

2012

 

which we am I talking about, anyway? and when? and where? 

2013

it may not make any huge difference in the long run, but even so, the ultimate pointlessness of things should not be dragged up as an excuse for us to stay in bed all day. at least not more than once or twice a year, anyway, right?

2014

this seemingly misnamed semester will inch along to spring in due course. and when that happens, finals and stress will no doubt prevent me from enjoying it as thoroughly as I could, but for now... well for now, the semester is glowing with warm, cozy pillows full of insight and excitement. this might be the best January ever.

2015

I have spent much (but not enough) of this long, mostly-pleasant weekend sitting by the window, trying to focus on readings for classes. 

.... 2015 is here, still all new-feeling. gradually we'll get to see both how it changes my life and how it doesn't.

2016

today it is raining in spurts, like a chilly and unkempt spring. Tuesday's snow is long since melted. it'll be back this weekend. the universe is giving us yo-yo-ing seasons, somewhat drab all the way through, with occasional bright sunset smudges.

the trees are bare. my apartment windows open onto more distant views than they did in summer and fall. at night, more and more streetlights perpetually leak into my bedroom under the edges of the blinds. I notice the faces of buildings I have never seen from such an angle before.

2017

it's empowering to reflect on the background structure of your whole life. to actively participate and acknowledge your role in either accepting/reinforcing or resisting/revising the culture you swim in. and that seems important. that's what it takes to make all of that power and structure more open-book, more readable, more transparent and less like a vice.

2018

if I had the brainpower on this Friday evening to make some additional academicalish comments on how these beautifully-commentated marble races and our fascination with them could link up interestingly with some of the tenets of object-oriented ontology, I would. but I don't know all that much about object-oriented ontology myself, and should probably not let it distract me much more than the Marblelympics already have from writing up nicely finished dissertation chapters about digital ethnography and distributed commons-based peer-production and what that all may mean for technical communication and human culture and such.

2019

and then the speaker said something about facebook hopefully having a major role in someday establishing some kind of global online government. after that, according to my notes, I typed out this:

"eeeeek."

does the world want and need to be connected by a central online platform, really? is the capitalist interest that facebook has in being the medium by which everyone is connected anything we can trust?

2020

all this potent potential meaning curled up in to hold. and then there are all these phrasal verbs, too: hold back, hold up, hold out, hold off, hold against, beholden to...

to be held as a parent holds a young baby is to be safe. comfortable. cared for. right?

to be held is also to be restrained. controlled. and to be restrained isn't usually considered comfortable, though... right?

or is it?

2021

and when I listened to this recent episode of So Many Damn Books with George Saunders I felt more affinity for Saunders's love of teaching writing than perhaps I might once have felt. his advice is to remember that you're never just teaching 20-somethings who barely know what to do with their adulthood when you meet them-- you're also teaching the 40-something-year-olds that they'll become. I like that. (not all college students are 20-somethings, but the concept holds. we are all humans-in-progress.)

2022

why does this small saga of knitting woe and triumph deserve documentation in this little blog of mine? I don't know if there's an answer, other than my typical interest in capturing bits of experience and emotion in as vivid and accurate description as I can. I like to write these vignettes of where and when and how, with all the metaphor and adjectives they need to vibrate satisfyingly from my imagination to yours.

2023

I trust that learning is happening, little by little, in all of our spongey-curious brains.

2024

January, perhaps fittingly, seems so very long. all the transitions it spans-- all the shifting, deepening of the dark season, the post-holiday recoveries, the shiny new beginnings of a calendar year and of an academic semester-- all of that is a lot for 31 average winter days.

I don't know if it really did feel longer for me this year, or if I'm only saying that because it seems like an appropriate thing to sigh into this semi-bleak and impermanent world.

- - -

and now what? do I still blog? 

time will tell. if you'll indulge me, I have one more excerpt, this time from May of 2014, when so much of me was so unsettled and rearranging itself and I clung to my love of writing as if nothing else mattered:

from time to time I wonder what it is I'm trying to do here. does it matter what I'm trying to do here? I write. our reasons for enjoying things are seemingly inarticulable. is there irony in that? I claim that words can make everything better. is that true even when the words crumble into meaninglessness as they fail at encompassing feelings? do I mean that even crumbled words are worth something?

yes. crumbled and halfhearted attempts at capturing it all still beats blank silence. I know only so much stuff fits into one life. there are only so many live possibilities. this is the way it needs to be, I guess. but the way everything is carved up now isn't how it'll always need to be carved. our crumbled communications don't stand still; they change.

.... and even if I can't really say I know exactly what writing means, I can try to explain what I like about my practice of it.

I like the pausing and sifting through potential descriptions and the shuffling of parts of speech. I like the dancing of clauses and punctuation and space. I like the starts and stops and backtracking, the meandering fragments that stretch so subtly for their finish. I like the way these little symbols can twist and mold intangible thoughts into a dozen differently shaded shapes. I like unknotting a tangly draft, picking out the pieces that don't belong and pulling away each piece that does, tidying it all into a hopefully-clean curl of interesting prose. sometimes I save the scraps for later. sometimes I can't. .... I write for the writing's sake. I sketch and wonder and experience plenty of other things for the same reason. they don't have to be means to some other end, these creative processes. maybe all the best things are their own ends, or at least neatly wrapped around something like one.

after twenty years, does this blog count as art? as an end in itself?

doesn't matter. it's here. I'm here. for now.

Monday, November 25

miscellaneous tapestry

the many instantiations of various spinning and weaving arts and crafts consume me. there remains no time for blogging.






these are little tapestry weavings in various sizes. 
and I have a scarf-in-progress too:


so much in the middle of unfinished. which is as it should be I suppose. a merry-go-round of works in progress. 

Wednesday, December 20

the tournament of TTRPG books, final round

the final round:
Dungeons & Dragons (5e) vs The One Ring (2e)
 

in the beginning, along with a lot of scribbly scattered notes and spreadsheets of metadata on each RPG book, I mapped out my relative prior experience with each of the 16 systems, like so:  

None-- The One Ring (2e), Cyberpunk RED, and A Song of Ice and Fire
    
Barely any-- Wrath & Glory, Scion: Hero, and Exalted 

Some-- Pathfinder (2e), Shadowrun (5e), Mage: the Awakening, and Changeling: the Lost

More than some-- World of Darkness, Star Wars: Force and Destiny, and 7th Sea (2e)

Lots-- Vampire: the Masquerade (5e) and Dungeons & Dragons (5e) 

there were some idle thoughts about coming up with a color code to go along with this, even. maybe it would've started with grey, then blue, yellow, green, up to a nice purple for the ones I've played most, or something like that? not important, I suppose. arbitrary distinctions to signify those slightly less arbitrary.

in any case, The One Ring has already vanquished one of my most-played RPGs. does it have what it takes to beat the other? 

either way, it will feel like Tolkien wins.

we recently finished listening to The Fellowship of the Ring narrated by Andy Serkis. so excellently done-- all the voices and the singing. I loved it. at least 20 years have gone by since I last read the book myself. I still mean to reread them all at some point, but who knows when. there is such a richness in that story. it is beautiful, touching, deep, and timeless. I'm not saying anything here that hasn't been said a hundred times.

last week, we gathered friends at our table to begin another D&D campaign. I'm still working on putting the finishing touches on my first-ever bard: Ennagold Lindenrill, a wood-elf from Waterdeep. the rest of the party shall include a couple of wizards, a couple of clerics, and a paladin. it's exciting to be gearing up to play once again after about a year and a half spent in other game systems.

judging these two against each other is as expectedly challenging as most of the last few matches have been. which do I value more? the focus, simplicity, and artistry of the newer book, or the flexibility, openness, and mainstream appeal of the older? which deserves this more? the world-changing system that paved the way for pretty much all the others, or the beautiful latecomer based on a world-changing fantasy that paved the way for it in the first place?


SYSTEM Dungeons & Dragons (5e) The One Ring (2e)
cover tagline = "Arm yourself for adventure."
"Enter the world of Middle-earth..."
publisher =
Wizards of the Coast
Free League Publishing
pub. date =
2014 2020
original cost =
$49.95 $49.85
length =
11 chapters / 320 pages
10 chapters / 240 pages
my exp. level =
very much lots
none prior

 

the easy part is judging these two on aesthetics. The One Ring will probably never lose on that count. I bet the designers of this book put as much attention and effort into its appearance as Tolkien himself put into the elvish language. it seems to me almost as perfect as any functional book could ever be (semi-garish cover notwithstanding). beyond the surface of the pages, too, the aesthetics of this epic storyworld come with all the depth and richness of their source material. it's lovely.

and while The One Ring is soaked in the vibes of deep green-grey forests and cozy, semi-lit hobbit holes, D&D injects all that with a little more brightness. the saturation is turned up, the gleam of adventure a little more polished against a grab-bag stage-set of fantasy. they aren't opposites, but we might say they are different shades of the same hue: The One Ring a deep piney dark-olive, like those magical woven elf-cloaks in shadow; D&D more like new grass, or spring-time oak leaves in the sun, or a green leather satchel freshly polished. you can tell serious, weighty stories in either game, but D&D will always feel lighter to me.

judging on mechanics, I have a harder time choosing which I like more. The One Ring is simple and unique. it's character creation options are very focused, its gameplay processes similarly so. destiny and heritage and lore combine to draw strong lines around the possible story arcs. player characters rotate through adventuring phases and fellowship phases. journeying, counseling, and resting are given just as much attention (if not more) than combat.

D&D divides its gameplay slightly differently into exploration, social interaction, and combat. it's close enough to the same ingredients, but used in a significantly new recipe. and much like an easy, endlessly-adapatible recipe (like this one-- so easy and so fun to mix and match with), D&D feels infinitely flexible. dial down the combat and add more exploration or skill challenges or socializing if you're feeling like it-- it'll still taste awesome. it will still be exciting. 

in terms of approachability, do these games come out equal? as I've said before, D&D has the advantage of being very well known, with an established fan base and a widespread community to help ease new players into it. practically, playing D&D can be as basic or as convoluted as you choose.

without the same relatively longstanding advantages, The One Ring does just fine. I like its organization and approach a bit better, and that beautiful simplicity earns it plenty of points here.

if we wanted to get quantitative about it, we could tally things on a rough scale like so, dividing a pool of 10 points per category between the two systems...

SYSTEM Dungeons
& Dragons
(5e)
The One
Ring
(2e)
points for aesthetics = 2
8
points for mechanics = 6
4
points for approachability = 6
4
total =
14
16

 

a close match if there ever was one, eh? and honestly, I keep wanting to fudge the points further. (full transparency: I have fudged them up and down and back already a few times. this is my tournament, so it's allowed, right?) I mean, are the aesthetics of D&D so very lackluster in my eye? and maybe shouldn't the mechanics be weighted more heavily, given that's what the game is essentially built out of? 

but beyond my trusty old three-pronged rubric... I wrote last time that I value vividness, simplicity, and consistency in these forms of interactive art. I seem to have the most imaginative fun with a clear framework in which to invent freely, wildly, with all the power of the game's limitations to help me build something cool. 

so which of these truly offers me more of that feeling?  

in another prior match-up, I also wrote that compared to D&D, The One Ring's character creation process seemed so limited, so relatively constrained. this remains pretty much my only grasped-at disappointment with The One Ring, I think. a barely-there complaint. and yet I concede that there is a nice structure to it and to everything else in the game, though. it's fitting, given the game's setting and all that. it's a great framework for narrative gameplay, narrow and vivid in its scope.

on the other hand, D&D has a bigger, wider frame. just as sturdy and serviceable, if far less technically beautiful. 

I think what really makes the most sense, to me today, is to add a fourth category and do a little bit more math. so here we go-- along with aesthetics and mechanics and user-friendliness, I'm going to look quantitatively at flexibility

and there, using this arbitrary system I've suddenly applied across this match, I'd give D&D a whole 7 and The One Ring the remaining 3. it's still awfully close, but D&D ekes out the higher score. 21 to 19. 

 

imagine approximately three seconds of a low and subtle drumroll for us, please?


the 2023 champion of the Tournament of RPG books: Dungeons & Dragons (5e)


Monday, July 11

more knitting mishaps

a month or two ago I came across this almost-finished fingerless mitt in one of my craft piles. the rest of the thumb is all that needs knitting (still, I confess, even now at the time of this writing). 

a grey fingerless mitten, thumb unfinished

but it did need a partner. I have two hands, and if one hand is cold the other probably is too. you know how it is.

but because finishing the thumb of this fingerless mitt did not sound like the most entertaining knitting task at the time, I instead fished up the leftover grey yarn from another craft pile and started on the cuff of the second mitt. I figured I would get them both to the same point of thumblessness and then do both thumbs in succession. easy. a perfect plan.

one small ball of grey yarn being knit slowly into a mitten; new set of needles just visible in the corner

so that's what I did. or rather, started to do. and then... 

mishap the first:
I absently knitted right past the point where I should've started increasing for the thumb gusset section... so I had to tear several rows back and then go find the actual pattern to reference properly, rework it, and then... 

mishap the second:
somehow I lost one of my double-pointed bamboo needles. little Hamilton is most likely to blame... but did he chew up a whole knitting needle? or did he just hide it insufferably impossibly well somewhere?

I may never know. 

but what I do know, after the discovery that we'll just have to count as...

mishap the third:
... is that all this recent mitt knitting was completely pointless!

for lo and behold-- after searching at three different craft stores in three different states while I was traveling in May, and after finally purchasing new double-pointed needles of the apparently rare size of 2.5 (or 3mm)-- lo and behold what did I find when I tidied and sorted out my horde of craft things the other week? 

I found one full and complete version of this same fingerless mitt, just waiting for its thumbless partner to match.

one small ball of grey yarn, one just-begun mitten cuff, and two other mitts, one finished and one just missing a thumb

here they all are together, an almost trio. I don't think there is yarn enough for two full pairs. I'll have to think of something else for this grey yarn. something simpler. without pesky thumb sections.

(none of this was at all as thrilling as my wintertime knitting mishap of eight months ago, by the way.)

in the meantime, the poor, unnecessary third cuff shall be ripped back one final time.

and eventually, someday, I'll have to get on with knitting that unfinished thumb after all.

Tuesday, July 5

what is in a name?

as promised, I have written up and organized many, many, many photos for a full stand-alone page chronicling my adventures (so far) with this lovely old spinning wheel, now posted neatly alongside my about page and a draft/test page for an audio workshop I hosted once upon a time.

before: a disassembled saxony spinning wheel, dark with grime
{ before all the learning about and cleaning of }


the spinning wheel, all cleaned up, reassembled, and almost functional
{ after all the cleaning and fiddling and reassembling } 

she needs one more replacement part and much more practice before she produces any yarn at all. so in the meantime, I do wish to solicit your opinions on her name. I'm weighing these three options at the moment...

Lydia, (after my father's maternal great-great grandmother Lydia Ann Taylor, 1852-1888),
Charlotte (after another of my father's maternal great-great grandmothers, Charlotte Amelia Van Orden, 1828-1895),
or Phoebe (after my mother's maternal great-grandmother Phoebe Rebecca Reynolds, 1863-1922)

...but at any point I could decide that Selina (after my mother's paternal great-great-grandmother Selina Tibbs, 1817-1891) or Florence (after my father's paternal great-grandmother Florence Charlesworth, 1879-1931) are worth considering. those two remind me a bit too much of a town in Kansas + the famous British nurse, respectively, but who knows if some quirk of my spinning wheel's personality will nudge them into the running.

Friday, July 1

why not weaving?

embroidery hoop warped with green thread, surrounded by little piles of yarn and ribbon

is there such a thing as too many summer projects?

let's pretend there isn't. 

it's okay after all if I don't finish any or all of them. it's summer. 

Thursday, June 30

one week later

top-down closeup of my old spinning wheel

from what I've seen around the internet this week, plenty of people name their spinning wheels. I'm still thinking about what this one might want to be called. Angelica? Penelope? suggestions are welcome. 

both wheel posts on a drop cloth-- one black with grime, one clean(er) wood

almost every day in the past week, I've spent at least a little time scrubbing grime off of her various parts. there's actually paint underneath-- a yellow/tan sort of color. 

don't worry-- I'm plotting a comprehensive, photo-filled documentation of the whole "cleaning/fixing/learning-to-use my antique spinning wheel" process. stay tuned. 

spinning wheel drive wheel, partially cleaned

so far, from a group of antique wheel experts and aficionados on Ravelry, I've learned that this wheel was likely made in Canada by a family of wheelmakers called Paradis. I haven't dug much deeper into them yet, but one kind commenter estimated a date between 1860‐1870. 

if it is that old, it is in pretty remarkable shape for its 150 years. well cared for, I imagine. 

I hope I can also care for it well enough for it to last at least one more lifetime. 

Wednesday, June 22

the best crochet hat

in December, as part of my end-of-semester/birthday/holiday celebrations, I picked up a simple drop spindle and two 4-ounce packets of Kraemer Mauch roving in two colors-- "pomegranate" and "oregano"-- from my local yarn shop (Fiber Creek).

and then I used all the youtube videos and blog posts to figure out how to turn it into yarn. I'm still learning, practicing, and enjoying the simplicity and beauty of the whole process. add twist to bits of fiber, and it becomes something else.

one mini-skein of lumpy yarn and one medium-small skein of nicer yarn, both pomegranate pink

something differently usable.

and now this is what I'm using that pomegranate pink yarn for. a lovely crochet hat.

mid-June in Arizona is not a time one needs a hat, but that's okay. what else does one do with only 140 yards of handspun pink yarn?

this is the hat pattern I love, from a blog called Yarning for Sanity. I make mine less slouchy than the photos there show, and it fits my head and hair and face just delightfully. I have made several hats from this pattern and at least two (one red, one grey, and maybe a blue one too?) are currently kicking around in our coat closet. 

I love the hat this pattern makes, and I simply love the pattern itself (though on this work-through I have made a few adjustments that make the V-puff stitches line up more thoroughly from beginning to end). this crochet pattern ultimately writes itself into the object you're making as you make it. once you're five rows in, you don't need the words anymore-- the stitches become readable in themselves. it's easy enough to remember what goes where at which intervals. otherwise, just a few quick references to check row counts is really all you need. lovely.

the idea of reading objects is very cool. reading craft projects is especially cool-- at the very least it makes it easier to know what you're crafting and whether it's coming out as it should.

and with regard to others' knitted objects, in if a given piece of knitting is legible enough and a given person is literate enough in knitting stitches, that's magic. inspiration! reverse engineering! creative remixology and all that.

is it silly to think of reading physical crafted objects as a sort of craft forensics? taking a static scene and seeing through it into the preceding processes? all objects, after all, can be considered slow events. we can look at an object, or a piece of content, or a work of art, as just that... or we can try to look through it and see how it came to be.