Quotulatiousness

June 25, 2020

Designing a JAPANESE Inspired PICNIC BENCH from Scratch | The Picnic Bench Project – Part #1

Filed under: Woodworking — Tags: , , — Nicholas @ 06:00

Matt Estlea
Published 24 Jun 2020

This isn’t going to be your basic, run-of-the-mill picnic bench. This picnic bench is going to be a one-of-a-kind, Japanese influenced picnic bench with all the traditional hand-cut joints you could ask for.

This is going to be a great project, don’t miss out on it!
#designingapicnicbench #buildingapicnicbench #thedesignprocess
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My name is Matt Estlea, I’m a 24 year old Woodworker from Basingstoke in England and my aim is to make your woodworking less s***.

I come from 5 years tuition at Rycotewood Furniture Centre with a further 1 year working as an Artist in Residence at the Sylva Foundation. I now teach City and Guilds Furniture Making at Rycotewood as of September 2018.

If you’re interested in studying at Rycotewood, view their courses here:
www.mattestlea.com/rycotewood

I also had 5 years of experience working at Axminster Tools and Machinery where I helped customers with purchasing tools, demonstrated in stores and events, and gained extensive knowledge about a variety of tools and brands. I discontinued this at the start of 2019 to focus solely on video creation and teaching.

During the week, I film woodworking projects, tutorials, reviews and a viewer favourite ‘Tool Duel’ where I compare two competitive manufacturers tools against one another to find out which is best. I also have a Free Online Woodworking School which you should definitely check out!

www.mattestlea.com/school

I like to have a laugh and my videos are quite fast paced BUT you will learn a lot, I assure you.

Lets go make a mess.

Capitalism and slavery

Filed under: Books, Britain, Economics, History, Liberty, USA — Tags: , , — Nicholas @ 05:00

In Quillette, Matthew Lesh explains why glib claims that slavery was somehow “essential” to early capitalism or that slavery was the cause of western wealth just don’t hold up to any historical scrutiny:

Auction at Richmond. (1834)
“Five hundred thousand strokes for freedom; a series of anti-slavery tracts, of which half a million are now first issued by the friends of the Negro” by Wilson Armistead and “Picture of slavery in the United States of America” by George Bourne.
New York Public Library via Wikimedia Commons.

It has become a common trope that slavery and the slave trade is responsible for the industrial revolution, if not our entire modern prosperity. Slavery is often called capitalism’s “dark side.” A recent column in the Guardian claimed the slave trade “heralded the age of capitalism” and Guardian columnist George Monbiot said on Twitter: “The more we discover about our own history, the less the ‘trade’ on which Britain built its wealth looks like exchange, and the more it looks like looting. It meant extracting stolen resources and the products of slavery, debt bondage and land theft from other nations.” The same line has been taken by London Mayor Sadiq Khan, who tweeted: “It’s a sad truth that much of our wealth was derived from the slave trade.”

But what did the “father of modern economics,” Adam Smith, actually think about slavery? And is it responsible for our modern prosperity?

Adam Smith argued not only that slavery was morally reprehensible, but that it causes economic self-harm. He provided economic and moral ammunition for the abolitionist movement that came to fruition after his death in 1790. Smith was pessimistic about the potential for full abolition, but he was on the side of the angels.

Smith’s The Wealth of Nations, published in 1776, contains perhaps the best known economic critique of slavery. Smith argued that free individuals work harder and invest in the improvement of land, motivated by their interest in earning a higher income, than slaves. Smith refers to ancient Italy, where the cultivation of corn degraded under slavery. The cost of slavery is “in the end the dearest of any,” Smith writes.

His thinking about slavery can be traced further back. In the Lectures on Justice, Police, Revenue and Arms, delivered in 1763 long before Britain’s abolitionist movement was formalised, Smith writes:

    Slaves cultivate only for themselves; the surplus goes to the master, and therefore they are careless about cultivating the ground to the best advantage. A free man keeps as his own whatever is above his rent, and therefore has a motive to industry.

Smith describes how serfs in Western Europe — in feudal relationships with lords — were progressively transformed into free tenants as they acquired cattle and tools. Harvests were more evenly divided between landlord and tenant to encourage better use of land, and tenants eventually progressed to simply giving the landlord a sum for lease. As government became more established, the influence of lords over the lives of tenants was also loosened.

Capitalism was, as Marx described, the next stage in human development after feudal slave relations. Smith’s commercial society is in direct opposition to a slave society. Smith, at his core, is an advocate for individuals being free to specialize and trade, including to trade their labor. Everyone acting with regard to their “own interest,” not because of coercion, creates general prosperity.

Smith’s case against slavery is proven by history: The huge uptick in human prosperity came largely after the end of feudal relations and the abolition of slavery and the slave trade. We are many magnitudes richer than when lords held slaves, or even chattel slavery proliferated in the Americas. The setting free of humanity led to extraordinary innovation and entrepreneurialism. This is only possible, as Smith argued, when individuals can benefit from the fruits of their own labor (slaves cannot hold property in their own name, and hence cannot trade or choose to specialise).

We didn’t become rich because a few hundred years ago people toiled on farms in awful conditions. In fact, the opposite. “It was precisely the replacement of human muscle power with that of steam and machines which did away with the vileness of chattel slavery and forced labor,” Tim Worstall has explained.

USA Starts the Atomic Arms Race | The Cuban Missile Crisis I Prelude 1

Filed under: Europe, Germany, History, Military, Russia, USA, Weapons — Tags: , , , , , , , , — Nicholas @ 04:00

TimeGhost History
Published 24 Jun 2020

When WW2 ends the former Allies find themselves at odds with each other over ideological and economic world domination. In an atmosphere of increasing escalation, the US pulls ahead in the nuclear arms race. While the Soviet Union tries to catch up, they are far behind, and yet humanity soon faces potential destruction many times over.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory

Hosted by: Indy Neidell
Written by: Spartacus Olsson
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Spartacus Olsson
Edited by: Daniel Weiss
Sound design: Marek Kaminski

Colorizations:
– Daniel Weiss

Sources:
– Bundesarchiv_Bild_183-30562-0001,
– Color by Klimbim

Soundtracks from Epidemic Sound:
– “Cold Eyes” – Elliot Holmes
– “Juvenile Delinquent” – Elliot Holmes
– “Nightclub Standoff” – Elliot Holmes
– “Scope” – Got Happy
– “Zoot Suit” – Elliot Holmes
– “Car Chase in Virginia” – White Bones
– “When They Fell” – Wendel Scherer
– “Kissed by Thunder” – Elliot Holmes

Archive by Screenocean/Reuters https://www.screenocean.com.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
1 day ago
This is the first of two preludes before we will cover the Cuban Missile Crisis day-by-day in 13 episodes. Our hardcore fans might recognise this series, as these are a remake of the very first series that we ever did on this YouTube channel. Not only did we improve the set and the audio and video quality, also did we gain access to a lot more unique archive material. These episodes were also edited by dedicated editors (back then Spartacus had to edit them) and we have the help of Ryan who makes graphics and our coloriziation squad who bring history to life. We have come a long way since the old version of this was first published. We thank everyone for sticking around but especially those who joined the TimeGhost Army at www.patreon.com/timeghosthistory or https://timeghost.tv. We wouldn’t be here without them!
Cheers,
Joram

What is the purpose of public art?

Filed under: History, Media, Politics — Tags: , , , — Nicholas @ 03:00

In his latest Age of Invention newsletter, Anton Howes engages with a topic that is in the headlines today as we find ourselves in the midst of an unexpected outbreak of iconoclasm:

The John Cassidy (1860-1939) statue of Edward Colston, which stood in Bristol from 1895-2020 before being taken down and thrown into Bristol harbour during the protests after the death of George Floyd.
Photo by William Avery via Wikimedia Commons.

… public art in the eighteenth and nineteenth centuries used to be about inculcating virtue, which is something we seem to have forgotten. Public art was explicitly moralising, and not in the subversive way so often seen today, which leads us to question ourselves but rarely gives us answers. Back then, public art was instead meant to inspire. In painting, for example, the most prestigious and public-facing genre was history painting. History painting showed allegorical, mythological, and religious scenes, as well as those from actual history, in order to illustrate the exploits of the great and good, setting an example to us of integrity and public-spiritedness.

Importantly, the subjects of history paintings were taken from classical Greek or Roman history, or from mythology or religion, because such figures were generally uncontroversial — they could be upheld as paragons of virtue in a way that more recent and local historical figures could not. And the same went for statues, which became the main mediums of public art because the spaces available for history paintings were lacking. (The great room of the Society of Arts, by the way, has some of the few major history paintings in the country, all executed by the troubled self-proclaimed genius James Barry — the fastest riser in the Royal Academy’s history, and also, as far as I know, the only person to ever be expelled from it)

So, if some public statues have become controversial, that’s a clear sign of their failure. To the Victorians who put up the statue of slave trader Edward Colston in 1895, he must have seemed a distant and uncontroversial paragon of philanthropy. But today, he is mostly remembered for his murderous avarice. As such, he doesn’t deserve space on our streets or squares, for much the same reason that people in the eighteenth century avoided putting up statues of Oliver Cromwell — depending on your politics, he was either an ambitious and fanatical tyrant, or a selfless promoter of parliamentary liberties. Either way, it was the controversy itself that made him unsuitable: controversy got in the way of moral education. (Funnily enough, Cromwell seems to have got his public statues in the 1890s, too, just like Colston — maybe it was a low-point for the quality of history-teaching?)

I’m worried, however, that we’ve lost the self-confidence to replace them with statues that uncontroversially inculcate virtue (and in more than just a subversive or critical way). I suspect it take the delusions of grandeur of a James Barry to pull it off — someone who thought the history painter akin to a poet, like Shakespeare. But, as Tim Almond pointed out to me on twitter, perhaps we already do have such forms of virtue-promoting public art, and that all that has changed is the medium. Thus, rather than gazing upon statues or history paintings, we instead watch blockbuster superhero movies.

20mm Lahti L39 Antitank Rifle (Shooting & History)

Filed under: Europe, History, Military, Weapons, WW2 — Tags: , , , , , — Nicholas @ 02:00

Forgotten Weapons
Published 12 Sep 2016

Sold for $10,350.

The Lahti L39 was the Finnish answer to the need for an anti-tank rifle, developed just before the Winter War. The rifle was created by noted Finnish designed Aimo Lahti, who had pressed for it to use a 13.2mm cartridge. However, arguments for using a 20x138B cartridge won out, based on hopes to use that cartridge in both antitank and antiaircraft roles, as well as testing that showed the 20mm projectile to have greater terminal effect.

The L39 was not available for use in the Winter War (having been adopted barely 2 months before the Russian attack), but was used extensively in the Continuation War. While improved tank armor quickly became thick enough to protect against the round, it was used for a variety of anti material roles, attacking machine gun positions, bunkers, light vehicles, and more. In 1944, an anti-aircraft version was also produced, firing in full auto and using 15-round magazines.

Today, ammunition is available from a few companies, typically using lathe-turned new cases and surplus 20mm Vulcan projectiles.

http://www.patreon.com/ForgottenWeapons

QotD: Cultural appropriation

Filed under: History, Politics, Quotations, USA — Tags: , — Nicholas @ 01:00

In the ever-widening gyre of what cannot be appropriated without causing offense, now even American heroes are off limits. Apparently, Caucasians are no longer allowed to quote Martin Luther King. While I almost sympathize with the view that too many people of all colors tend to only quote King’s more saccharine words, it is surreal that some African-Americans would be outraged that others quote such an admirable American: “MLK belongs to us. Do not dare to quote my MLK. My Martin Luther King Jr., was not here for white people. Keep his name out your thin-lipped mouth. Y’all banned forever.” Belongs? Like a possession? Is the bitter irony of talking about King as a possession — mere chattel, the private property of a particular group — lost on some members of the current generation of African Americans? I had thought that, at least since the passage of the 13th Amendment, people could not be owned.

Joseph Mussomeli, “Victim Privilege, Cultural Appropriation, & the New Enslavement”, The Imaginative Conservative, 2018-02-09.

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