Setting the Stage: Scenery for Model Railroads

Carl Swanson, ed. Model Railroader: Best of Scenery. (2020) Collection of articles, some revised, all well done, most brief and to the point. Model Railroader staff and the contributors have perfected the art of combining pictures with text to help the reader learn. Three stories show layouts with impressively plausible scenery. Throughout, there is the explicit and implicit advice to observe the world around you. Recommended. ****

Winners (Short Story Contest finalists)

 Michael Blackburn, Jan Silkin, Lorna Tracy, eds. Stand One. Winners of the Stand Magazine Short Story Competition. (1984) Just what it says, 13 stories by unknown writers, all good to very good. The first-prize winner tells of a Vietnam vet suffering from what we now call PTSD, told by his sister. The satire on ignorant law enforcers, venal TV personalities, and the fear engendered in uncomprehending neighbours and family arise naturally from the narrator’s naive and loving story. It’s a well-constructed story, but also a well-told one.

     Most of the rest are well-constructed, but not well told. Reading them, I don’t feel that the narrator felt compelled to tell me the story. For example, Hakanono, a satire on colonial attitudes, achieves its aim of showing the stupidity of assumed superiority, but in the end we care neither about the colonial administrators nor about the natives they despise. Well, I didn’t. And the suggestion of supernatural intervention didn't supply the frisson apparently intended by the author.

     The stories are very much of their time, relentlessly well-intentioned in their depiction of life's shadows. Most of the authors (and I suspect the editors, too) haven’t forgiven life for not fulfilling the promises of childhood. They haven’t yet seen that the loss of illusion is necessary to gain what little wisdom we can bear. ** to ****

A Brief History of English

Beginning of Canterbury Tales

The history of English has two main themes: first, the words (lexicon) come from many sources, and second, the grammar is fundamentally a simplified Germanic one, marked by an almost complete absence of grammatical gender. English is essentially a multi-layered creole.

The prehistoric peoples (who settled the islands 5,000 years ago or earlier) as far as we know left no traces in the English language. Then there were the Britons, a motley crew of miscellaneous Celtic tribes. These were conquered by the Romans, whose language had some influence on the Celtic dialects, mostly in place names. They built forts and roads, and romanised the indigenous people. Many place names date back to the Roman occupation, for example London (from londinium), and names ending in -chester, -cester, or -caster (from L. castellum).

From about 450 AD, several northwest European peoples invaded the Island. First came the Angles and Saxons, followed by the Danes and the Norwegians. The Anglo-Saxons brought their languages with them, and adopted or adapted some words and place names from the Celts they displaced or enslaved. For example car (originally from Latin), the Avon, Salisbury (Salis- from Celtic Sorvio, a personal name, plus Anglo-Saxon burh, a fortified settlement), and many other place names in southwestern England. The Danish and Norwegian invasions affected the northern and eastern Anglo-Saxon dialects, which are still distinct from the southern and midland dialects that became the language of the court. Anglo-Saxon as written is a jumble of dialects that are mutually intelligible enough that they form a language.

In 1066, William the Bastard of Normandy conquered England and brought Norman French with him as the language of government and trade. Over the next couple of centuries, the existing Anglo-Saxon dialects and Norman French blended into what we now think of as Middle English. By 1400, it was not only a practical language but a literary one: Geoffrey Chaucer wrote his Canterbury Tales (1387-1400) in his Middle English, London-centric dialect. It became the source of modern English, which in vocabulary is basically Anglo-Saxon with an overlay of French, and a grammar regularised and simplified as Anglo-Saxon and French speakers mashed up their languages into a mutually intelligible creole. Hence cow, bull, cattle for the animals, beef for their meat. Anglo-Saxon houses and fields made up French real property. French and English shared a plural ending -s, which became the near-universal way of making plural nouns, and gender survived only in the third person pronouns and some feminine suffixes.

During the Roman era and throughout the Middle Ages, Latin and Greek words were adopted into the vernacular all over Europe. In English, that produced “church”, “bishop” and “bible”, for example. During the Renaissance, English speakers, like other Europeans, adopted many more Latin and Greek words. By the later Middle Ages, scholars had developed the habit of using Latin and Greek terms when writing in their local languages, and still do so today.

In 1473, Caxton brought printing to England. During the 1400s and 1500s, Middle English was evolving into Early Modern English (the language of Shakespeare). Printers wanted standard spelling (and to some extent also standard vocabulary) to widen the market for their books. Thus, English spelling became standardised at a time when its pronunciation changed rapidly. The result is the most inconsistent spelling system in the world: each of the main streams of language that make up the Modern English lexicon has its own spelling system.

Here's the Lord's Prayer in Anglo-Saxon:

Fæder ure þu þe eart on heofonum; Si þin nama gehalgod to becume þin rice gewurþe ðin willa on eorðan swa swa on heofonum. urne gedæghwamlican hlaf syle us todæg and forgyf us ure gyltas swa swa we forgyfað urum gyltendum and ne gelæd þu us on costnunge ac alys us of yfele soþlice (note: the old english "þ" is pronounced "th")

Read more at: https://www.lords-prayer-words.com/lord_old_english_medieval.html

Fæder ure þu þe eart on heofonum;
Si þin nama gehalgod
to becume þin rice
gewurþe ðin willa on eorðan swa swa on heofonum
urne gedæghwamlican hlaf syle us todæg
and forgyf us ure gylta
swa swa we forgyfað urum gyltendum
and ne gelæd þu us on costnunge
ac alys us of yfele soþlice 

Note on pronunciation:
There are no "silent letters".
Anglo-Saxon "þ" is pronounced "th" as in "thin";
Anglo-Saxon "ð" is pronounced "th" as in "this";
The vowels are pronounced as in "pat, pet, pit, pot, put";
"y" like "ee" in  "beet".
"æ" is a vowel about halfway between "pat" and "pet";
both vowels in double vowels are pronounced;
"c" before e and i is pronounced like "ch"  in "chin",
otherwise like "k"

Fæder ure þu þe eart on heofonum; Si þin nama gehalgod to becume þin rice gewurþe ðin willa on eorðan swa swa on heofonum. urne gedæghwamlican hlaf syle us todæg and forgyf us ure gyltas swa swa we forgyfað urum gyltendum and ne gelæd þu us on costnunge ac alys us of yfele soþlice (note: the old english "þ" is pronounced "th")

Read more at: https://www.lords-prayer-words.com/lord_old_english_medieval.html

Fæder ure þu þe eart on heofonum; Si þin nama gehalgod to becume þin rice gewurþe ðin willa on eorðan swa swa on heofonum. urne gedæghwamlican hlaf syle us todæg and forgyf us ure gyltas swa swa we forgyfað urum gyltendum and ne gelæd þu us on costnunge ac alys us of yfele soþlice (note: the old english "þ" is pronounced "th")

Read more at: https://www.lords-prayer-words.com/lord_old_english_medieval.html

 

Hong Kong should be independent

Hong Kong

From a NYT piece by Samuel Chu, who is a U.S. citizen, a pro-democracy activist and wanted by the Hong Kong police.

I had violated Article 38 of the new law, which states: “This Law shall apply to offenses under this Law committed against the Hong Kong Special Administrative Region from outside the Region by a person who is not a permanent resident of the Region.”

This law violates all standards of international law. No country may extend its jurisdiction beyond its borders without a treaty. (A treaty is a mutual recognition of some limited jurisdiction.)

I think the Chinese Government has over-reached. It has violated the treaty which granted it jurisdiction over Hong Kong. It has violated international law with this unilateral claim to jurisdiction outside its borders.

I think the citizens of Hong Kong have every right to protest this law, to agitate against it, and to advocate democratic freedoms for Hong Kong. If the Chinese Government is unwilling to accept these rights, then Hong Kong citizens have the right to secede.

I support the pro-democracy movement in Hong Kong. I oppose the Chinese Government’s attempt to reduce and eliminate Hong Kong citizens’ rights and freedoms. I advocate for the independence of Hong Kong as a sovereign state.

Oh dear, it seems I may have broken the law. So under article 38, the Chinese Government will have to issue an arrest warrant for me.

Financial Crimes

Arianna Huffington. Pigs at the Trough (2003). Here it is 17 years later, and the game continues. Some of the star players have been retired (some via criminal indictment), the rules have been tweaked to benefit the cheats more than ever, and the referees no longer pretend to control the game.
     Huffington’s book is a detailed overview of the financial scandals of the early 2000s, with names like Enron and Andersen showing up in several chapters. Lessons learned? Just keep on buying the most complaisant legislators available. Five years later, we saw the financial meltdown of 2008, in which the rescue money went to the perpetrators instead of their victims. Business as usual. If the bail-out money had been credited directly to the borrowers’ accounts, most of them would have become home-owners pretty quick, and the decade-long limping towards recovery would have lasted maybe three years.
     History doesn’t repeat itself exactly, but humans solve problems in much the way as their ancestors did. These solutions toss up the same problems as before, and the cycles continue. If you find a copy of this book, read it. It will help you recognise the players on the current teams of malefactors. ****

Mathematics and the News

 

 

John Allen Paulos. A Mathematician Reads the Newspaper (1995) I bought this book because I’d read Paulos’s Innumeracy, a seminal book that I think every teacher should read. This book extends one of his themes, that the media are a prime source of innumeracy, and so tend to distort and misinform. Each section corresponds to a section of the paper, News, Sports, the Arts, etc. The misuse or misreporting of statistics features in all sections, but the unwarranted surprise at coincidences, and confidence in economic and sports forecasts, together come a close second.
     Once again, Paulos muses on the vagaries of voting. Every voting system ever attempted has produced results that annoy a large section, sometimes even the majority, of voters. If he were to write today, he would note the vacuousness of political polling, which always produces more or less misleading results.
     But mathematics is about patterns and processes, so even the society section, with its reports about charity balls, the doings of famous people, etc, gives opportunity for mathematical musing about relationship networks, and the interconnectedness of our social circles, which Facebook et al have made more obvious than ever in the 25 years since Paulos wrote the book.
     This was a re-read, I enjoyed the book, but not as much as Innumeracy. ***

     Update 2020 08 13: Percentages are real problem.
     One of the most common errors is to report a percentage change without reporting the base rate. For example, "XYZ increases the cancer of some obscure organ  by 150%". True, it increases the rate from 1 per 100,000 per year to 3 per 100,000 per year.
     Another egregious error is to confuse percentage points with percentages. Thus, "Unemployment rate increases 2 %". Yup, it rose  from 5% to 7%, which is an increase of 2/5, or 40%.

   Update 2020 12 22: Raw numbers vs Rates: How to misreport covid-19

     Every day now we hear the number of new cases and deaths from covid-19. Almost never the rates. For example, Ontario reported some 2100 new cases the other day, while Alberta reported about 1800. But Ontario has roughly three times the population of Alberta, so the rate in Alberta is about three times higher.

     The mistake is to treat every jurisdiction equally, which hardly ever makes sense. The same error shows up when reporting miscellaneous numbers about cities and towns. Such as crime rates. Small towns naturally have fewer crimes, but related to population, the crime rates are usually higher than in the large cities.

     Related to time, the rates are of course lower. Hence the pained astonishment when a neighbour murders his family. This suggests that we pay more attention to events along our individual time-lines, and less to events within the communtiy at large. Our preception biases mislead us.

     Rule of thumb: Do The Arithmetic! Always calculate the rates.

     

Design in the 1960s

Alan Fletcher, Colin Forbes, Bob Gill. Graphic Design: Visual Comparisons (1963) One of a series published by Reinhold Studio Vista, pleasant to look at, useful for anyone interested in design, and collectively a good documentation of 1960s design theory and practice. The designs have worn well: the 60s have cast a long shadow, perhaps because designers explored the technical boundaries of their craft.
     Here, we see mostly advertising and related messaging in print. Notions of suitability and decorum gave way to the realisation that the design of messages succeeded when it drew attention and conveyed much meaning with the least possible means. The digital revolution has merely made it easier to do what these people did by hand. As with photography, reducing the craft skill for mastering the medium has shifted the focus to content and context. McLuhan claimed that the medium is the message. Contemplating how technology has made messaging easier, I’d say that the medium determines the message.
     I’ve looked through this book several times in the 40-odd years I’ve owned it, and each time I’ve seen things I did not notice before. But mostly, it’s reminded me, once again, that the world we inhabit is designed. The environment shapes us. The designers both make and are made by the environment they design. ***

Nancy Mitford Amuses

 Nancy Mitford Don’t Tell Alfred (1960) Mitford’s last novel, in which she revisits some of the characters of Love in a Cold Climate. Whitehall appoints Fanny Wincham’s husband Alfred Ambassador to France, first making him a Sir. Their children, her niece, assorted other relatives and friends, as well as a handful of French politicians, cause a variety of tangles, which Alfred and fate must unknot. Mostly fate. The result is a nicely done airport book, the kind that amuses and entertains, but requires no close attention to plot.
     The dialogue carries most of the story, which is really a long shaggy dog anecdote.  Mitford slings in some less-than-sly digs at the English and French, modern child-rearing, pop-culture, tabloids and their owners, and gormless idealism. The spice of satire enlivens what would otherwise be a rather bland dish. I enjoyed the book, not a page turner, more of a bowl of noshes to dip into. It did trigger a desire to reread Love in a Cold Climate and Cold Comfort Farm, which I’ve so far been able to resist. **½

Model Railroad Nostalgia: Classic Articles from Model Railroader

[Kalmbach Publishing] Classic Articles from Model Railroader. (1980) Begins with A. C. Kalmbach’s 1936 story about his own layout, and ends with a 1964 review of “OOO scale”, which soon after became N scale. In between we get Frank Ellison’s story about operating on his Delta Lines, John Allen on weathering, Linn Westcott on eliminating derailments, Jack work on building an HOn3 caboose, etc. The selections amount to a history of model railroading, including its increasing contrast with railroad modelling. A salutary reminder of the difficulties of working with paints that might dissolve each other, the lack of detail parts, the need to kluge scenery from plaster, dry colour, weeds, varnish etc. And a nostalgia kick for anyone who was around in those days, for whom Ellison and Armstrong’s emphasis on layouts designed for operation was a revelation. Worth picking up if you find a copy. ****

Mitchell's Layouts: mentored by Ellson and Armstrong

     Don Mitchell. Walkaround Model Railroad Track Plans (1991) Don Mitchell’s track plans showed up not only in Model Railroader but also in the NMRA Bulletin and other magazines. He emulated both John Armstrong and Frank Ellison, and occasionally mentions them as mentors. He begins with ergonomic constraints, such as typical reach, and discusses principles of layout design entailed by giving his clients what they wanted. Thus a few of these layouts are for the train watcher, but most are for operators, or those who just want to watch trains occasionally when operation doesn’t appeal.
     All the layouts were designed for specific spaces, so they also show what can be done when nooks and crannies and stairs and furnaces and other obstacles force compromises. The smallest, the Oakville Central, is 37" x 70", to fit under a bed. It’s an oval with a short runaround track, a small yard, and a bunch of industrial spurs. It does nicely as inspiration for an N scale layout-on-a-door (a once popular style), which would allow a couple of passing sidings, and additional yard track or two, more spurs, and (most desirable) a more expansive scenic effect
     The largest design is for the San Diego Model Railroad Museum. It’s more of a guideline,  

showing a carefully arranged mainline depicting Tehachapi Pass, with both operator and public viewing spaces on three levels. The yards, industrial switching areas, etc, are left up to future development. The design supposes phased construction, so that something worth displaying can be created quickly, and the extensions into the rest of the display space can wait for revived enthusiasm and renewed funding. The Wiki article about the Museum doesn’t mention Mitchell, and the existence of several other layouts suggests that only phase one of his design (the pass itself) was built.
     Most of Mitchell’s designs are for fairly large spaces, half a basement or garage. He prefers lobes accessible from both sides, but accepts the occasional need for pop-up or rear access. He likes eye-level or higher backdrops to help focus attention, and mentions the need for adequate ventilation. In discussing operating scenarios, he had to consider the limitations of DC control systems; many of his designs would be a joy to run with DCC. His style is less personal than Armstrong’s and Ellison’s, but he does allow himself an occasional pun. A book worth studying. ***

A Matter of WHO: hunt for disease carrier (Movie)

A Matter of Who (1961) [D: Don Chaffey. Terry-Thomas, Sonja Ziemann, Alex Nicol] A case of small-pox arriving in London on an international flight triggers an international hunt for the source. Terry-Thomas plays the Health Department investigator working on behalf of the WHO, which makes the title an overly cute pun.

     The hunt forms the spine of the plot. Crooked oil-deal shenanigans, politics, love, etc complicate the story and add the thrills the audience expects. There’s even a helicopter. Fun and games, and a satisfying ending. Terry Thomas for once tones down his mad-cap eccentric character, the rest of the cast play their stereotypes well, the photography and music are unintrusive so we can focus on the story, such as it is.
     Later treatments of the dangerous disease theme focus on the work of containing it, etc. Here, the most interesting bits for me were the ones that showed how the disease-containment work was being done. 1961 was still culturally the 1950s, and the movie-makers of the time didn’t trust the audience to accept a quasi-documentary film, so they added the spice of intrigue and crime. An OK hour and a half of entertainment, with subtexts relevant for our covid-19 times. **

Photography's history in pictures

Julia van Haaffen. From Talbot to Stieglitz (1982) A survey of the photography collection held by the New York Public Library. I skimmed and sampled the text, which appears to be a thorough if brief history of photography’s first century or so. The well-printed plates will give the casual reader a good overview of how photographers learned to exploit the medium. As the technology improved, so did the range. Photography has I think become the dominant medium. No matter what the medium used, the maker now must take into account what photographers have done with similar contents, compositions, or intentions.
     Photography reduced the price of pictures, which in turn changed the way we use them. The first major use was recording and documenting, which enabled the spread of at least visual knowledge of the world beyond the viewer’s immediate surroundings. This continues in, for example, our reliance on video and still imagery to bring us the daily and hourly news, which in turn affects our political and economic decisions in ways we are hardly aware of.
     Recording the family was once the preserve of those rich enough to pay a painter to paint their portraits. By the nineteenth century’s third quarter, most people could afford to have their pictures taken at least once in their lifetimes. This aspect, too, continues, multiplied a billionfold by posting our “status updates” on the social media.
     It took a little while longer for photographers to understand the artistic possibilities of the medium. From the beginning, photographers cannibalised the other mediums and genres, and in return showed how content and composition of the images could be manipulated in new ways, which other artists adapted to other media.
     Photography’s improving technology eventually reduced the skilled craft component of image making, and so shifted attention to the content and composition of the images. We now expect all art to be first and foremost an image, and only secondarily an example of craft skill. Or rather, we now expect the image maker’s skill to show in the composition and content of the image, not in the manipulation of the materials that go into its making. We also expect the image to somehow express its maker’s personal point of view, which may even be more significant than any depicted content. Or perhaps better, which may give significance to content that would otherwise be ignored, overlooked, or misunderstood.
     All this and more will I think occur to anyone who looks at the pictures in this book. ***

The Martians are Coming, the Martians are Coming!

Frederik Pohl. The Day the Martians Came (1988) So the first fully staffed expedition to Mars accidentally discovers Martians, who live underground in tunnels that their ancestors must have built. That’s the first chapter in a series of tales that show how humans, well, Americans mostly, react to the news. Everyone is out for a buck or some other advantage. The Martians look somewhat like seals with more leg-like flippers. They like to huddle together and enjoy each other’s company. Apart from eating, that's all they do, really.
     Excerpts from magazines, scientific papers, Congressional records, media interviews, etc punctuate the narrative and display the official reactions. All the narrative threads come together in the final chapter, in which Pohl dispenses some poetic justice, just so’s we won’t totally depressed by his satiric insights into our weaknesses and vices.
     A nicely done satire. Pohl has a good eye and ear for the self-delusions that underpin most of the damage we inflict on ourselves and each other. ***