SCA Life

Same Rules Different Game

I made a FB post recently

Had another experience to post about.

At work, there is a small group of us who play pickleball. About a year ago, I got persuaded to join in. I played a bit of racquetball in college but sports aren’t really my thing. I have made it clear to everyone that I play for the physical activity of it. I want to run around. I would prefer not to embarass my teammates or myself but I am not necessarily interested in winning.

There are about 3 of us who are about my skill level and about three of who are much better than that. One of my co-workers is pretty competitive. He saves his John Macinrow tantrams for himself at least.

We rotate around today and he gives me some unsolitcited advice on how to play better. I somewhat sarcastically acknowledge it.

I then go on to play worse for a while. Not on purpose but he is my head now. In waiting to hear more advice, I am tempted to tell him “you can either be on my team or in my head, pick one.” I also wanted to give my own unsolicited advice, “get out of your own head as well.”

The whole point however is more about playing the game. While he and I are playing by the same ruleset, we are not playing the same game. He wants to make good shots and would really prefer to win. I want exercise. I am willing to improve at the speed of my experience but no faster.

This applies to many things, especially the SCA. We are all playing broadly by the same rules (the mega ones; obviously our specific subsets have other rules). But we are all not playing the same game. Before you are tempted to help correct someone’s game, find out what they are actually playing and whether they even want your help.

One commentor thought I should expand on it so here it goes. And I noticed that Sir Gebhart posted similar about heavy fighting.

People have different motivations for what they do. They have different goals. They have different access to resources. This should be obvious.

However, unsolicited feedback is a giant assumption that the other person wants to achieve the same goals as you. You are forcing your vision of “the game” on them. We have seen these comments before:

That outfit isn’t period; You should do this.

If you want to be a knight, you should do that.

The assumption is, you aren’t doing it the way I would do it so you are doing it wrong. Basically, you must share my goal of being the best.

But not everyone is playing that game. Perhaps, they enjoy something different. If you want to give legitimate feedback, then you have to work to understand what you are seeing.

The first thing is you need to understand the other person’s goal. What are they trying to achieve? What is their motivation?

Next once you have that, what kind of feedback are they looking for? Pretty often with my crafts, I am pretty aware of my limitations. I may not have access to certain equipment or certain techniques. Feedback that involve those things isn’t helpful.

Lastly, that feedback needs to be given in such a way that the other person will accept it and do something with it. This doesn’t mean sugar coating it and it doesn’t mean the “compliment sandwich.” But it also doesn’t mean snide one-liners either. The feedback also needs to be something the person can do. Telling someone who is just starting that they need to improve with an advanced technique isn’t going to help.

What does all of this mean? It means that you have to get to know the person you are giving feedback to. It is not as simple as a few sentences. It is a conversation. If you don’t have time to learn all of these things, then maybe you need to keep your feedback to yourself.

It is quite different when someone approaches you and asks for feedback and that is almost always a conversation.

Paper, Persona, SCA Life, Vinegar

Post about Posters

At Duchess Wars, Hrefna held a class on SCA:iri and other ways to present information. She mentioned tri-fold posters are popular in the science community to give quick updates on research. And one of the things she stressed was develop your own “brand” or “theme” so people can readily identify your posters. I do have more current drafts; below are the images from before the more recent revisions.

I like the idea. Here are three mock-ups on posters I will put together for upcoming craftperson’s displays.

I have chosen to use my device colors to help brand them. On the more recent versions, I have included my name and contact information.

Here is a persona study poster. I talk about Bath, and the three Oswyns and where they are in development.

I think this is my favorite one. It is about vinegar and why I call it anti-brewing.

Then lastly one about paper. It is medieval recycling; especially compared to modern paper.

Paper, SCA Life

Second Pages

I pulled my second set of sheets this past weekend. Basically I am on hour 3 of the 10000 needed for mastery. But it is getting there. It is kind of relaxing.

We will take it as read that I have the vat charged. Here I am getting ready to put my mould and deckle together. In most moulds, the screen is attached to the mould. I actually like this one better because it is easier to clean off and couch the sheets.

Then you dip the mould into the vat. In general, you start away from you and pull it towards you.

It is hard to show the detail. First notice, the screen is completely covered. And I am doing very little shaking. Compared to the first sheets I pulled, these are much more smooth. The fiber was beaten much more finely. That is the big difference. And I am getting less clumping.

Draining the sheets. It takes a lot of water to make paper and then you need to give rid of a lot of water. This is another reason I like the removeable screen; easier to drain. Notice, the paper fibers aren’t moving anywhere. It is not very strong because it is so wet but they are holding together well enough to resist gravity.

Now couching (rhymes with smooching) the sheet onto a felt. It is not necessarily actually felt. Felt is just jargon for whatever wick-able substance you try the paper on. Several of these are built up into a post.

Here is the post on the press.

I transfer the sheets onto boards to dry and as proof of concept, it works! As you can see, when the sheets are dry enough, they start to peel off the boards by themselves.

Ok. They look like crap. I will grant you that. These are much smoother than the first sheets. There are tears and folds due to poor technique by me. Those will get better with time. And I need to glaze them yet. That should help with smoothness as well. I think they are too thin for the purpose as well. But for early stages learning something? I will take it.

Might pull some more before Artisan’s Day but if I don’t, I feel I can demonstrate the process well enough to talk about it.

Paper, SCA Life

First Pages

*photos wouldn’t load and I forgot which ones now..*

In preparation of Artisan’s Day, I knew I had to stop procrastinating and actually try to make some paper.

I made my first 6 sheets this week. And it was indeed lessons that needed to be learned.

First off, making paper is actually pretty easy. It is often taught to grade school children. Now they are given recycled modern paper but all of the important steps are the same. For the record the steps are:

  1. Process fibers into pulp
  2. mix pulp with water
  3. use a screen of some kind to lift out the pulp
  4. remove excess water

Pretty easy, right? As one video I watched on Chinese hand-made paper said, “there is a subtly”. Yes there is.

For my first 6 papers, I bought a papermaking kit last December and used the pressed cotton fiber that came with it. Rip up that fiber, add water, and mix with a paint mixer. So I did that.

Added that pulp to more water. I needed a better mould so I bought better moulds.

I pulled the sheets, couched them, made a post, and then pressed them in the press for ~24 hours.

I then took the sheets out of the press and brushed them onto boards to dry further.

Things don’t dry quickly in my basement.

Some lessons. How you process your fiber is critical. While I am sure these first 6 sheets are fine for art uses, they are not very smooth or regular. I have purchased some fiber that another place has beaten. In our period, fibers were beaten by hand or by trip hammers. By hand is possible for me but time consuming. So already beaten fiber is a good first step. We will see if this helps.

I may need to move to pour moulds. A pour mould is a like the mould and deckle in the photo above but it has a much deeper mould. The idea is that you pour the fiber for each sheet into this large mould. All of the fiber from that pour makes 1 sheet of paper. You have a lot more control per sheet this way. It is slower but makes a nice paper.

Drying. I don’t want to make a more “modern” drier. So I will have to figure out how to use heat or the sun to make this happen.

The inevitability of this is our technology is advanced much further than the medieval. It is actually harder to go back to what was before. If this was a 15 century paper mill, I would have a water wheel on a stream that drove my trip hammers. I would have a ready source of linen to be beaten. I would have a loft with built in fireplaces to hang the paper to dry. I could go back further. If this was a 10th century, Islamic paper mill, I would have slaves to beat the fibers into pulp by hand. I would have fires built behind a plaster wall to keep the wall warm to dry the paper. This just isn’t how the modern world works. I could buy an electric beater. That is about $5000. I can build a cheap drying box which is a box fan, and corrogated plastic sheets for probably less than $100. I could build my pour moulds with plastic window screening and cheap MFB frames.

To build a water wheel, trip hammers, a drying loft, and a source of linen is extremely expensive in the modern world.

I will take this back as far as I can. But first, I need to be able to make the product I am after. Then I can engineer or decide on the steps to make it more authentic. So mastery first then authenticity.

Paper, SCA Life

A Pressing Matter – finale

This weekend I finish the press.

After a few weeks and many coats of polyurethane, we get this.

Very shiny 🙂 In period, they would have waterproofed with linseed oil and I could have done that. My friend has poly so we used that.

Next we drive the stay for the press screw through the upper support. We did use a dremel to widen the hole a bit and I didn’t do as good of a job as I could have. There is a little bit of splintering but not too bad.

On the top side, we add the set screws.

Then we add some feet to the base plate.

Here is all the parts before we add the rods to make the frame. The foot of the press screw is just a set screw on the bottom.

We cut some PVC pipe that will provide some vertical support and protect the long screws.

The photo of the long screws inside of the PVC didn’t turn out. Here is the finished press.

Persona, SCA Life, Uncategorized

The Generations of Oswyn

I have been thinking about my personae lately. And I have figured out how they are connected.

If I did a Roman persona, the name would be Marcus Aemilius Vivianus. Mostly because I just like those names. Vivianus is in honor on my WoW character, Vivacity, a draenei restoration shaman. With a name like that, this would be a minor sub-family of the Aemilii. There is some evidence of a Vivianus in Roman Britain. I then envision that this Aemilius Vivianus was a Roman solider in Britain. Either he or one of his descendents or freed slaves took the additional cognomen of Cygnus. When the Roman troops were recalled from Britain, this Vivianus Cygnus remained in Britain.

So from that time to the time of Alfred the Great, this family lived in the Somerset area but I don’t know what they may have done. But the Swan as a symbol was adopted somewhere along the way. When Alfred issued the Charter establishing Bath as a burh, Oswyn’s family was one of founding families of the new port city of Bath.

From the 10th century on to the 16th century, the family took the last name Swann and the fortunes changed. Where they were once at least a lesser nobility (being reeves in Bath), they solidly landed in the raising middle class. I personally will blame the Normans and the drop off in prestige of Bath for that. It is in the early 1500’s that Bath sees a brief revival before the Dissolution of Monastries by Henry VIII. Then in 1590, Elizabeth grants a new charter to Bath and the spa recovers.

Oswyn Swann is probably a bit before Elizabeth. Part of that is I don’t particularly care for ruffs and such. There are some great artwork of Pieter Aertsen’s that I think captures the look I think Oswyn Swann has. So the main question is, does Dutch middle class fashion equal English middle class fashion? I don’t know the answer to that.

So around 1595, a technical school was established in Bristol which in time becomes the University of Bristol, and another branch, the University of Bath. It looks like papermaking was happened around London but certainly these nascent schools would need paper. Before there was a formal school, there would have been early education attempts. And Bristol being a major port, there would need for paper for charters, bills of sale, the churchs and such, etc. I am going to assume Oswyn Swann is active in the Somerset region as a paper merchant sometime between 1500 and 1560.

The last Oswyn is probably an offshoot of the main family around the time of the Conquest. As he is the least developed of the personae, I will just let him be for a while. The connection will come.