10,000 Matching Annotations
  1. May 2025
    1. Forrester: No thinking - that comes later. You must write your first draft with your heart. You rewrite with your head. The first key to writing is... to write, not to think!

      https://www.imdb.com/title/tt0181536/quotes

      In this quote from Finding Forrester (Columbia Pictures, 2000) Forrester (portrayed by Sean Connery) turns the idea that writing is thinking on its head.

    1. And is it true that you enjoy taking typewriters apart and putting them back together? Doherty : Of course. It’s just that I’m so attracted to these objects that I want to look inside them, to understand how they work. It’s a form of learning, for me it would be a dream to have a shop specializing in repairing typewriters. Maybe one day… Among the many, I love the Valentine model by Olivetti, sooner or later I absolutely want to visit Ivrea.

      The Olivetti Valentine is one of Pete Doherty's favorites.

  2. Apr 2025
    1. A Companion to Geoffrey of Monmouth introduces Geoffrey’s oeuvre to first-time readers and provides a synthesis of current scholarship, all while offer-ing new readings of his work. This volume also seeks to bring Celtic studiesand Galfridian studies into closer dialogue, especially given the importanceof Wales to Geoffrey and his work. To that end, many of the essays are writtenby specialists in Welsh history and literature, whose voices have at times beenhard to discern in the general din of Galfridian scholarship. We have also askedcontributors to focus on all of Geoffrey’s work, and not merely the Arthuriansections. Geoffrey has been well-served by Arthurian scholarship, and we haveno desire to replicate many of the excellent recent studies in that field.7 Instead,we hope a holistic approach to his work will reveal subtleties often overlookedin scholarship that concentrates primarily on the Arthurian portions.

      A fairly concise statement of the aims of this book

    2. though he claimed to be nothing more than a translator – therebyconforming to medieval literature’s aversion to originality, at least outwardly –he remains one of the most strikingly original writers of the Middle Ages.

      And isn't this just what we would broadly expect of a culture moving from primary orality into literacy? The old wisdom passed down through memory would be prized over the invention of the new.

      Until the written tradition can be fully relied upon, originality wouldn't be prized the way it is in current Western culture.

      We should expect writers to say (even if lying) that their material is based on prior sources and not created by them.

      Of course perhaps the primary oral bards may have exhibited this pattern themselves and used their own creativity to embellish prior "close truths". Just how far did originality go in the bardic tradition?

      Compare this with using written statements to actively tell lies in the opening centuries of literacy.

    3. Geoffrey included the PM in his next work, the De gestis Britonum(“On the Deeds of the Britons”, hereafter abbreviated DGB). He had finishedthis work by January 1139 at the latest, when Henry of Huntingdon reports hisastonishment at finding a copy at the abbey of Le Bec.3 The count of survivingmedieval manuscripts of the DGB is now 225, making Geoffrey one of the mostwidely-read secular authors from medieval Britain.4
    4. third and final extant work is the Vita Merlini (“The Life of Merlin”, hereafterabbreviated VM), completed around 1150 and extant in only four independentmanuscripts.6 Written in dactylic hexameter, this poem recounts how MerlinSilvester goes mad after battle and retires to the woods to live; this enigmaticand difficult work seems to be deeply in touch with Welsh literature, thoughits ultimate sources are unknown.
    5. Until recently, Geoffrey’s history was called the Historia regum Britanniae(“The History of the Kings of Britain”), but Michael D. Reeve’s textual studyhas confirmed that the title used in the earliest manuscripts, and by Geoffreyhimself, was the De gestis Britonum.5 After much debate among contributors,this volume begins the lugubrious process of using the original title in place ofthe received one.
    1. Such a fine edition and translation deserves (perhaps in a secondedition) a better packaging.

      The majority of Scheil's critiques of desired material seems to have been filled in broadly by:

      Henley, Georgia, and Joshua Byron Smith, eds. A Companion to Geoffrey of Monmouth. Brill’s Companions to European History 22. Brill, 2020. http://archive.org/details/oapen-20.500.12657-42537.

      Obviously this isn't an inconsequential amount of scholarship (575+ pp) to have included in Reeve's volume.

      While it's nice to identify what is not in the reviewed volume, it's probably better to frame it that way rather than to seemingly blame the authors/editors for not having included such a massive amount of work. This sort of poor framing is too often seen in the academic literature. Reporting on results and work and putting it out is much more valuable in the short and long term than worrying so much about what is not there. Authors should certainly self-identify open questions for their readers and create avenues to follow them up, but they don't need to be all things to all people.

    2. Scheil, Andrew. Review of Michael D. Reeve, ed., Neil Wright, trans. Geoffrey of Monmouth. The History of the Kings of Britain: An Edition and Translation of De gestis Britonum (Historia Regum Britanniae), by Michael D. Reeve. The Journal of Medieval Latin 19 (January 2009): 318–21. https://doi.org/10.1484/J.JML.3.39.

    1. He recommends provid-ing machines that are sturdy enough towithstand heavy use, supervising chil-dren and others who might be too roughon delicate machines, and staying at-tentive to all of the machines.

      The majority of working typewriters are really no more delicate than any other machine out there. The growing myth that they're delicate kills me (and their future).

    1. I actually have pretty good feedback to share on this... I bought the remaining inventory from the guy that does these about 3 years back. We initially had a verbal agreement about me taking over the turboplaten business and we discussed the process in detail while loading a truck full of typewriters, but as the day wore on he seemed a little reluctant and when we started getting into inner/outer diameter measurements and specific PVC tubing he kinda clammed up. *For the record, I wasn't put out by it really as I had virtually zero intention of starting a platen business and told him as such- that any I made would likely only be for machines I sold. But it definitely felt weird as he literally gave me his custom built lathe and much of his tubing stock. 🤷🏻‍♂️ That said, I know how to make these from start to finish. The quality is decent enough, and the ones I got from him and the ones I made myself perform pretty well for the most part. However, I found some machines react poorly to the different material - causing escapement skip. The PVC material is bouncier than natural rubber, and doesn't play well with ALL typewriters without being specifically messed with during construction. His method of heat treatment of the tubing is what's supposed to combat this, but it's almost impossible to gauge the amount of heat needed for various machines specific escapements. All that to say; They're an interesting concept in theory, and given the right equipment could be a compelling alternative for natural rubber. But given what I saw and experienced in the process, I'd have a difficult time justifying paying essentially twice what JJ Short charges for one. Not saying you shouldn't, just sharing my experience.

      Nashville Typewriter tells the story of almost taking over the concept of Turboplaten.

      https://old.reddit.com/r/typewriters/comments/1k0p2ha/turboplaten/ on 2025-04-16.

    1. reply to u/No-Entertainer-7217 at https://old.reddit.com/r/typewriters/comments/1k45o89/typewriters_needing_new_ribbons/

      "Working but needs new ribbon" is almost always seller's code for I have no idea if it really works, but I'm going to try to sell you this machine for the price of a fully functioning machine that was just serviced by a professional shop despite the fact that I just took it out of grandpa's barn and I'm not sure if the mouse inside is dead or not. Also, I can't afford $10 to replace an old ribbon to truly participate in the charade of the price I'm going to try to fleece you with.

      Educate yourself a bit: <br /> - https://boffosocko.com/2025/03/29/first-time-typewriter-purchases-with-specific-recommendations-for-writers/ - buying typewriter ribbon: https://site.xavier.edu/polt/typewriters/tw-faq.html#q1 and https://boffosocko.com/research/typewriter-collection/#Typewriter%20Ribbon - typewriter 101: https://www.youtube.com/playlist?list=PLJtHauPh529XYHI5QNj5w9PUdi89pOXsS

      If you want to tell people Tom Hanks taught you to change a typewriter ribbon: https://www.youtube.com/watch?v=GBbsNKaVAB0. There are lots of other YouTube videos out there for specific machines as well as reviews of them.

      You can definitely test out a machine without ribbon, but if they're trying to charge you over $100 for a machine, it really should have fresh ribbon.

    1. “The China Syndrome,” a 2011 paper on the impact of trade withChina by a powerful troika of economists—David Autor, David Dorn,and Gordon Hanson—underscored what is going on. The empiricalstudy is particularly significant because it marks a shift in consensusthinking in the academy. In the debate about the causes of growingincome inequality, American economists have tended to opt fortechnology as the driving force. But, drawing on detailed data fromlocal labor markets in the United States, the authors of “The ChinaSyndrome” argue that globalization, and in particular trade with themighty Middle Kingdom, are today also having a huge impact onAmerican blue-collar workers: “Conservatively, it explains one-quarterof the contemporaneous aggregate decline in U.S. manufacturingemployment.”

      Autor, David H., David Dorn, and Gordon H. Hanson. “The China Syndrome: Local Labor Market Effects of Import Competition in the United States.” American Economic Review 103, no. 6 (October 2013): 2121–68. https://doi.org/10.1257/aer.103.6.2121.

    1. In the US, you can get one hundred 4" mascara brushes for around $5. Eye Tees (cottton swabs with a firm point on one end and a flat tip on the other) cost roughly the same. You'll find them at most beauty supply stores or online. These get into tight spaces. Dipped in mineral spirits (or whichever solvent you've come to like), the brush gets the stuff loose and the Tee wipes it away. Blasting air helps as well. Works for me. Others will have other ideas.

      via u/scmowner

      https://www.reddit.com/r/typewriters/comments/1jyr2hc/the_best_way_to_get_rid_of_all_this_gunk/

      Colloquial advice to use 4" mascara brushes as a replacement for a segment pick for cleaning out typewriters.

    1. [–]lawyernurse 17 points18 points19 points 3 days ago (1 child)He would also use “WW” for when he missed a play - wasn’t watching. He was a treasure. permalinkembedsavereportreply[–]Practical_Bad8980 7 points8 points9 points 3 days ago (0 children)He got that from Phil Rizzuto

      WW - Wasn't Watching

      anecdotal via https://www.reddit.com/r/BaseballScorecards/comments/1jq7jol/score_like_uecker_wc_who_cares/

    1. “It was like this almost 11x17 spiral bound book,” Provus said. “It probably had 185, 190 pages, and I had to carry that. I had to fill that out every day. I would write the names, the numbers, the defense, the starters. … He taught me his way of scoring and to this day, that’s how I score. “In a blowout, when a runner will take second base on indifference, as Bob Uecker would say and write in his scorecard, ‘Who cares?’ He would put a ‘WC.’ ”

      WC - "Who Cares"

    1. Mathematics with Typewriters

      What you're suggesting is certainly doable, and was frequently done in it's day, but it isn't the sort of thing you want to subject yourself to while you're doing your Ph.D. (and probably not even if you're doing it as your stress-releiving hobby on the side.)

      I several decades of heavy math and engineering experience and really love typewriters. I even have a couple with Greek letters and other basic math glyphs available, but I wouldn't ever bother with typing out any sort of mathematical paper using a typewriter these days.

      Unless you're in a VERY specific area that doesn't require more than about 10 symbols, you're highly unlikely to be pleased with the result and it's going to require a huge amount of hand drawn symbols and be a pain to add in the graphs and illustrations. Even if you had a 60's+ Smith-Corona with a full set of math fonts using their Chageable Type functionality, you'd spend far more time trying to typeset your finished product than it would be worth.

      You can still find some typewritten textbooks from the 30s and 40s in math and even some typed lecture notes collections into the 1980s and they are all a miserable experience to read. As an example, there's a downloadable copy of Claude Shannon's master's thesis at MIT from 1940, arguably one of the most influential and consequential masters theses ever written, that only uses basic Boolean Algebra and it's just dreadful to read this way: https://dspace.mit.edu/handle/1721.1/11173 (Incidentally, a reasonable high schooler should be able to read and appreciate this thesis today, which shows you just how far things have come since the 1940s.)

      If you're heavily enough into math to be doing a Ph.D. you not only should be using TeX/LaTeX, but you'll be much, much, much happier with the output in the long run. It's also a professional skill any mathematician should have.

      As a professional aside, while typewriten mathematical texts may seem like a fun and quirky thing to do, there probably isn't an awful lot of audience that would appreciate them. Worse, most professional mathematicians would automatically take a typescript verison as the product of a quack and dismiss it out of hand.

      tl;dr in terms of The Godfather: Buy the typewriter, leave the thesis in LaTeX.


      a reply to u/Quaternion253 RE: Typing a maths PhD thesis using a typewriter at https://reddit.com/r/typewriters/comments/1js3cs5/typing_a_maths_phd_thesis_using_a_typewriter/

    1. The majority of American machines (Royal, Remington, Smith-Corona) are 6 lines per inch and either 10 characters per inch (pica) or 12 CPI (elite). My guess would be that you'll see about 90% of people's machines covered across these specs with a roughly 60/40 split for pica vs. elite when it comes to planning print runs.

      Most European machines are like the Olympias and are labeled as 2.3 m/m which when multiplied out (25.4mm/inch x 1 character/2.3mm) gives 11.043 CPI. Generally they're also 6 lines per inch. In the US, most of the common (and still popular) imported typewriters are going to be the Olympia SM2, SM3, SM4, SM7, and SM9s and the three incarnations of the Hermes 3000.

      I've got a small collection of 50 mostly American machines across six decades with a few less common typefaces including Vogue, Gothic, and Congress Elite if you need some machines for nearby testing (I'm in Altadena, though temporarily still displaced). Most of my available machines are listed at https://typewriterdatabase.com/typewriters.php?hunter_search=7248

      There are definitely some smaller 16, 18, 20, and even 24 CPI machines, but they tend to have come on the larger Olympia standards which weigh in at 30-40 pounds and are unlikely to be lugged to ballparks the way that smaller portables and ultraportables might be. There are some larger format 6 CPI machines, but they tend to be much rarer and are more often found on 1970s Smith-Coronas. If you want to go crazy, I'd guess you're aware of Ted Munk's collection of typefaces and catalogs that can be found at: https://typecast.munk.org/category/typewriter-typestylesfonts/

      Incidentally, for fun, Bill Madden's book Yankees, Typewriters, Scandals, and Cooperstown: A Baseball Memoir is set for release tomorrow.

      Since you sound like a local Dodgers fan, I'd love to invite you to the upcoming SoCal Type-in I'm planning for Saturday, May 10th at Vroman's Bookstore in Pasadena: https://boffosocko.com/2025/03/25/youre-invited-to-a-southern-california-type-in/ I hope you'll have some final versions available by then. 😍

      reply posted 2025-04-01 at https://old.reddit.com/r/BaseballScorecards/comments/1jn2475/yes_tom_hanks_does_schlep_a_typewriter_to_ball/

    1. If you're curious about some of the technical details and how the are affected by the distribution of typefaces and sizes, I laid out some of them the other day: https://www.reddit.com/r/BaseballScorecards/comments/1jn2475/comment/mks9rbc/

      Lou also has some great examples of scorekeeping across display sizes and level of data in his offerings at https://thirty81press.com/.

      The broader issue for most scorers is the limitation to 8.5 x 11" paper which is the most common page size for the ubiquitous portable and ultraportable typewriters from the mid-century. While there are some portables with carriages and platens that might accomodate up to 12" wide paper, they're not super common.

      To get machines with wider platens to get 11x14 or 11x17, you're going to need the significantly larger standard machines and unless you're rich enough to have a suite that you can securely store one in or a journalist with your own booth, not many baseball fans are going to cart a 35-45+ pound typewriter with them to all their games. Though this wouldn't prevent the fan viewing at home from scoring this way easily. My example above was done on a standard width carriage on a standard machine, but I did have several options to do it on a 12", 14", and even two 16" standard typewriters. Interestingly, most of my larger carriage machines are elite 12/6 (12CPI with 6 lines/inch) formats, and I don't think Lou has designed yet for that standard which would allow for an additional 15 characters to be distributed amidst the columns (while still keeping a minimum of 1/2" margins for some balanced white space). I'll be tinkering around with some of this myself in the coming week or so on 11x14" paper using a 15" wide platen on an elite machine to see how things might look.

      Perhaps a modified format at 8.5 x 11 that alternates the teams and splits a 12 inning game format across three sheets so that the typist can type down a single page without swapping sheets every half inning and realigning their page every time? But this would cause a lot of formating change versus traditional layouts to do so.

      I've also been tinkering with using small space characters like the - and the _ to indicate data (with or without the use of the variable line spacing mechanism) for things like tracking RBIs. The underline is particularly useful for this in Lou's three space layout.

    1. Comprehensive Abbreviation List In Alphabetical Order Abbreviations Definitions * or ! Great Defensive Play 1B Single 2B Double 3B Triple A Assist BB Base on Balls BK Balk BS Blown Save BT Bunt CG Complete Game CS Caught Stealing DP Double Play DH Designated Hitter E Error Et Error on Throw F Foul FC Fielder's Choice FO Force-Out FP Fielding Percentage G Game GA Games Ahead GB Games Behind GIDP Grounded into Double Play GS Games Started HB Hit by Ball HBP Hit By Pitch HR Home Run I Interference IBB Intentional Base on Balls IF Infield Fly IP Innings Pitched IW Intentional Walk K Strikeout Kc Strikeout - Called Ks Strikeout - Swinging L Left or Losses LD Line Drive LOB Left on Base LP Losing Pitcher NP Number of Pitches Thrown Obs Obstruction OF Outfield OS Out Stealing PB Passed Ball PH Pinch Hit PO Putout PR Pinch Runner R Right RBI Runs Batted In RS Runner(s) Stranded S or SH Sacrifice Hit SAC Sacrifice SB Stolen Base SF Sacrifice Fly SHO Shutout SO Strikeouts SV Save T Triple TB Total Bases TP Triple Play U Unassisted Putout W Walk WP Wild Pitch
  3. Mar 2025
    1. Old school repair guys used a lot of different stuff that's no longer available due to being... Not good. Ha. But naphta was one that's still widely available as white gas aka "coleman/camping fuel" Essentially naphtha with stabilizers to keep it from going bad. Mineral spirits works as well, but naphtha leaves less residue in my experience. Lacquer thinner is good for especially stubborn crap and cleaning slugs, but evaporates really fast and the fumes are no bueno. Alternatively; non toxic degreasing cleaners like simple green are usually my preferred method of cleaning up especially gross machines. Typically very safe on paint finishes and internals, just make sure to keep it off the decals. (It can and WILL erase them if it sits for more than 10 secs) Really though, nothing beats air and a long handled "paint" brush. My air compressor and blow out tube are some of my most cherished tools.

      https://www.reddit.com/r/typewriters/comments/1jm7c02/is_it_better_to_use_mineral_spirits_or_lighter/?sort=old

      quote from Nashville Typewriter

    1. I see no point in bishops or preachers or Christian evangelists just recycling the kind of stuff that you can get from any soft-left liberal because everyone is giving that. If I want that, I’ll get it from a Liberal Democrat councilor. If you’re a Christian, you think that the entire fabric of the cosmos was ruptured when by this strange singularity where someone who is a God and a man sets everything on its head. To say it’s supernatural is to downplay it. I mean this is a massive singularity at the heart of things. And if you don’t believe that, it seems to me you’re not really a confessional Christian. You may be a cultural Christian, but you’re not a confessional Christian. So if you believe that, it should be possible to dwell on all the other weird stuff that traditionally comes as part of the Christian package. I seems to me that there’s a deep anxiety about that, almost a sense of embarrassment…If it’s to be preached as something true, the strangeness of it, the way that it can’t be framed by what seems to be mere reality, has to be fundamental to it. I don’t want to hear what bishops think about Brexit; I know what they think about Brexit, and it’s not particularly interesting.– Tom Holland, “How Christianity Gained Dominion” (interview)

      juxtaposition of "soft-left liberal" and "Liberal Democrat" with "Christian" here....

      not Christian and non-Christian

      something telling in this dichotomy

    2. Longer term, divorce is rarely turns out to be as a great deal for women as they think. Books like Eat, Pray, Love – at least for a while a staple of women leaving their husbands – fill their heads with the possibilities of the future.  The media loves to extol this, creating myths such as the “cougar” (an older woman who dates much younger men) that sell them on the idea that life will be better after they divorce their husbands.

      Women and "possibilities of the future"

    3. Recognize that you have been a victim of injustice. I’m assuming here that your wife didn’t catch you in an affair, that you didn’t beat her, etc. but rather this is the more ordinary case of divorce without due cause.

      Surely there was a cause for divorce, but he seems to be ignoring the man's role in causing his spouse to want to divorce. It's as if it just "happens" for no reason at all...

    4. Nothing better demonstrates that we don’t live in a patriarchy than the statistics on divorce.

      Or maybe it's that women instead have just enough autonomy that they can file and they're trying to flee the patriarchy that exists around them and this is one way they can do that.

      His statement sounds right on hearing, but there's a lot more depth than he seems willing to admit here. There's a difference between broad patriarchy and absolute patriarchy and he seems to be assuming absolute patriarchy.

    5. It’s well established that women initiate the vast majority of divorces – about 70% of them (though the specific number varies by source).  If women filed for divorce at the same rate as men, it would cut the number of divorces in half.

      sources?

    1. you can write your draft in one long, stream-of-thought rant. I call these “splat drafts” — you get everything in your head out on the page at once, without regard for form (hence the “splat”). Then you treat it as the raw material for a second, proper draft. Think of it as the act of dumping the puzzle pieces out on the table so you can sift through them and see what fits together.

      He uses the phrase "splat draft" in the sense that others might call a "vomit draft", but not in the sense of Mozart's peeing cow.

    1. Typewriter 17.2 Blickensderfer Typewriter; the Scientific keyboard 25.6 Burroughs Moon-Hopkins Typewriter/Calculator 01.9 Experiential Typewriter 05.3 Experiential Typewriter 21.0 Henry Mills' Typewriter 17.0 IBM Selectric Typewriter 11.2 Pneumatic Typewriters 45.6 Typewriters, reactionary use of antiquated 21.1 Typewriters: the Comptometer, the Numerograph, the book typewriter 45.2 mechanical typewriter

      https://web.archive.org/web/20190305042816/http://www.deadmedia.org/notes/index-cat.html#tw

    1. The “unit records” here, unlike those in the Memex example, are generally scraps of typed or handwritten text on IBM-card sized edge-notchable cards. These represent little “kernels” of data, thought, fact, consideration concepts, ideas, worries, etc., that are relevant to a given problem… Each such specific problem area has its notecards kept in a separate deck, and for each such deck there is a master card with descriptors associated with individual holes about the periphery of the card. There is a field of holes reserved for notch coding the serial number of a reference from which the note on a card may have been taken, or the serial number corresponding to an individual from whom the information came directly (including a code for myself, for self-generated thoughts).

      Even Doug Englebart was thinking about how to distinguish between the thoughts of others and thoughts he had generated himself.