Wednesday, February 14, 2024

Fifteen more, half pointless

 kw: story reviews, anthologies, literature, fiction, poetry

In the past two-plus days I have read fifteen more pieces in 2024 Pushcart Prize XLVIII: Best of the Small Presses, edited by Bill Henderson and others. Of the fifteen, nine are "poems". One of these, "Chemo Becomes Me" by Lily Jarman-Reisch resonated with me. I have been on chemo, and though I didn't lose hair (as the poet did), there were other effects. Also, this poem has rhyme and rhythm, being in couplets with a coda.

If the other eight free verse items are a kind of intelligence test, I utterly failed. To me, they are a waste of words. I suppose they really, really meant something to their authors.

I particularly liked "The Locksmith" by Grey Wolfe LaJoie. Though the words "autism" or "spectrum" never appear, the locksmith's condition is evident. Nonetheless, he copes. I was sympathetic to someone who must ride a bicycle because he can't get a driver's license. For about a year I didn't drive; because of an accident, the "best" insurance premium I could obtain was the cost of my car, per year. So I rode bicycle until the points dropped off my record.

The pieces that were stories affected me variously. Two worth mention are "The Ba'al Shem's Daughter" by Glenn Gitomer and "Everychild" by Alix Christie. From very different perspectives, they tell of parents who have lost control of a child, and cope about as badly as possible. I'll leave it to you to read and find out.

And I do hope you will read this volume and these stories. Maybe you'll even like the poems.

Coda: I prompted Dall-E3 with "A pushcart in the style of a bookplate sticker". Here are a couple of its offerings:




Monday, February 12, 2024

An experiment with a versatile AI artist

 kw: artificial intelligence, automatic art, evaluations, instructions, photo essays

I have been using Dall-E2 for a couple of years. Recently Dall-E3 became available at no cost in Bing. However, the free version doesn't have outpainting. I went looking to see which automatic art products do outpainting, and I found Playground. There are two versions of the same product, apparently aimed at quite different audiences. The one I use is at playground.com. It is also available by typing www.playgroundai.com, which can be confusing because the alternate version is at playground.ai!

As with any free version of a paid product, there are limitations. In this case, they are:

  • 500 images (or "generate" actions) per day.
  • 3 Canvases
  • You're running on a slower server

Actually, I think the last issue is that paying users get bumped ahead of free users in the server queue, so at busy times, you can wait quite a long time.

For more than simple image generation, there are a lot of controls! After getting basic experience, I decided to experiment with them. Here I will focus on one: Filters. These two images were generated without any filters, using the same Prompt and Seed, but different Models (more on all these soon).

Getting Started

You log in by connecting to a Google account (you must have one). Then you see this control screen:


I already produced a couple of images, to be discussed at the very end. To take the screen components in order:

  • At top left is the Playground Logo. Clicking the "v" next to it opens a submenu, including Logout.
  • So far, I ignore the three things at top right.
  • Below the Logo we see that we are in Board view. Images generated here are ephemeral and vanish when you log out. Images in Canvas are kept, and more things can be done to them. For our purposes here, I used Canvas in a limited way, which I'll describe soon. Since I downloaded all the images upon creation, I don't care if they vanish.
  • In that same row, there is a control to let you import an image. This is more pertinent to Canvas.
  • To the right of that, I have the Columns control set to two columns.
  • Down the left side, we first see Presets. This became available February 10 and I haven't used it yet.
  • Next we see Filters, which we'll be discussing in the bulk of this post.
  • Below that is the Prompt area. The prompt shown is "Gormenghast Castle"; the software doesn't like how the castle name is spelled, thus the red wiggleworm.
  • Next is Expand Prompt, which uses an AI engine (probably ChatGPT) to add a lot of words to the prompt you typed in. I haven't used it.
  • There are more controls available by scrolling, but they are not pertinent at the moment.
  • Down the right side, we first see Model. Three diffusion models are available, Stable Diffusion 1.5, Stable Diffusion XL (recently renamed this; it was formerly Stable Diffusion 2.0), and Playground v2. SD 1.5 is going to be dropped in a few weeks, so I don't use it. I used the other two for this experiment.
  • Next one may choose Image Dimensions. I usually use 1024x1024; I'll discuss why a different one is highlighted at the end.
  • Prompt Guidance is next. I usually leave it at 7 when using Stable Diffusion XL, and at 3 (the default) with Playground v2. Lower numbers give the Model more freedom, and higher numbers instruct it to hew more closely to the Prompt. This makes more difference when the Prompt is long.
  • Quality & Details settings will make an image look more or less detailed and "finished". Paying users can use more steps than 30.

The next image shows more controls found in the right side:
  • Refinement adds fine detail. Although I can set it higher than 15, Playground doesn't seem to like that; Generation times out. It probably works better for paying users.
  • The Seed is all-important. When producing multiple images (4 is the max in the free version), the "Randomize" box must be checked. When a single image is selected and the box is unchecked, a seed that's about to be used is exposed. You can type or paste in a seed up to 9 digits in length. I suppose that means that any particular prompt can produce 10 billion variations.
  • The Sampler has a number of options, which I hope to experiment with on another occasion. "Euler a" is the default, and I haven't yet tried others.
  • Below, off-screen, is a Public/Private option which isn't available in the free version.

Getting the Seed

To get started, I had to determine a Seed. When you generate images in Board view, you don't have access to the Seed used. Images generated in a Canvas have the Seed shown when you click on them. Thus, I generated four at a time using the Stable Diffusion XL model in Canvas, tinkering with a simple prompt, until I saw an image I liked:

  • The Prompt I settled on is "Small town near a winding stream".
  • The Seed for my favorite is, as shown in the image above, 802745251. I used this seed for all the images shown below.

Back in Board view, I tested the Seed to be sure I had what I wanted. I saved the resulting image with the file name "901 Stws SDXL None", according to a numbering scheme I worked out beforehand. SDXL is my abbreviation for Stable Diffusion XL. I changed the Model to Playground v2 (PGv2 is my abbreviation), generated again, and saved the file with a similar name; this image pair (the same as that shown near the beginning of this post) is the result, clipped from an Explorer window.

The two images have similar composition, but differ quite a lot in detail. The two Models have different things they "pay attention" to.

Producing the Images

Now that I had a Prompt and a Seed ready to go, I proceeded to use filter after filter. First, there are 15 Filters that work only with SDXL. I used screen clips from an Explorer window with the View set to "Extra large icons", showing the icons in three columns. I gathered them by sixes. Comments follow each group of six.


The image file for the first Filter is numbered "02" because I used "01" for "None", and later renumbered it "901" to get the Explorer window to sort the way I wanted. These are all from a higher viewpoint than the "None" version. The icons in the Filter selector make it clear that they are designed to affect portraits the most.


Three of these resemble the first six. "Mysterious" has a look I like for some purposes, and it is back to the streamside viewpoint. "Niji SE" is also closer to "None" in its viewpoint, while "Pixel Art" shares the elevated viewpoint of most of them, but is blocky, as we would expect.


These last three are more similar to the first eight. Of all those with an elevated viewpoint, I like "Counterfeit" the best. 

Now for the SDXL - PGv2 pairs for the other 23 shared Filters (prefixed A through W). They are presented in groups of four images, or two Filters per group, shown larger than those above. The last set has a bonus.


It is interesting that "Vibrant Glass" with SDXL has removed the village. With PGv2 it put the glass in the stream. The "Bellas Dreamy Stickers" Filter frequently puts a border around the image with SDXL, but seldom does so with PGv2. Its images would make good bookplates or logos.


"Ultra Lighting" produces a very pleasing look. "Watercolor", when looked at in detail, has a very definite painted appearance. Either of these images could be cropped, perhaps to a 4x3 ratio, doubled or tripled in resolution using a product like Upscayl (the one I use), printed and framed, and hung on your wall. Or it could be moved to Canvas for outpainting, etc.


With many prompts, "Macro Realism" produces extreme closeups that may or may not resemble the output of other filters. Here it only bows to the Macro world by having a narrow depth of field, especially with PGv2. "Delicate Detail" sometimes makes a big difference, sometimes not. Here it is similar to some of the others, but otherwise unremarkable.


"Radiant Symmetry" will sometimes produce very symmetrical mirror-image views; these are only approximately symmetrical. "Lush Illumination" is another of my favorites. Note that some areas of the images differ a lot between the two Models, but the cloud is very similar.


"Saturated Space" usually has a SciFi look. I note that SDXL put a boat in the water, while PGv2 put spaceships in the sky. I am not sure what the goal of "Neon Mecha" is, but at least in PGv2 it seems to evoke technopunk.


"Ethereal Low Poly", where "Poly" means "polygons", evokes older renderings on computers with limited memory. "Warm Box" is most similar to "Lush Illumination", with perhaps more geographic exaggeration. We're halfway through these…


"Cinematic" and "Cinematic Warm" evoke the look of movie sets.


"Wasteland" is, of course, saying, "Industry overdid it." "Flat Palette" uses a restricted range of hues, for a rather painterly look. I see that, while many of the Filters straighten out the "winding stream", at least a bit of curve is found here.


"Ominous Escape" seems similar to a couple of others. I don't know what it is for. "Spielberg" attempts to evoke film sets used by that great director.


I am not sure what is the point of "Wall Art". For many of the prompts I've tried, the image is dominated by an exaggeratedly ethnic face, most frequently Black. Both of these images really could become a picture in your dining room. "Haze" is just that: a foggy morning look.


The last Filter is "Black and White 3D". What it does is obvious. Less obviously, with SDXL it produced a European look. 

The bonus is the result when I tried the same Seed but no Filter with the Prompt "Gormenghast Castle", a stray memory from reading the oblique novel Titus Groan decades ago (read it at your peril; it ranges from obtuse to profane). The castle is supposed to be so huge nobody can explore it all in one lifetime. I see that in my haste I put STWS rather than SDXL in the file name on the left. This image looks like it could be a book cover. In the PGv2 image it looks more like I imagine Gormenghast Castle could have looked.

Way, way back near the beginning of this essay, in the screenshot of Playground, the SDXL image of the castle sits next to a taller image with a different look. The only thing I changed was the aspect ratio of the output image. I was hoping for a "book cover" look that is closer to the shape of a book, but it was not to be. That's the breaks when you commission an AI Artist that has a few billion (or trillion) little decisions hidden inside its operation.

The folder of image files I created for this post is a good reference I'll use when I have a particular "look" in mind for an image.

At least in terms of physical space taken, this may be my longest blog post!

Sunday, February 11, 2024

Some items worth reading, some not so much

 kw: book reviews, story reviews, anthologies, literature, fiction, poetry

Since the prior post I've had time to read seven more pieces from 2024 Pushcart Prize XLVIII: Best of the Small Presses, edited by Bill Henderson and others.

Some of them had me wondering, as this fellow is, "What could possibly have led the author to write this?" I'll comment on the others, though there was only one that I actually liked. It comes first, then the others.

  • "Dreamers Awaken" by Scott Spencer – A memory of someone about my age of Jim Crow America in the 1950's. The real core of the story is his longing for acceptance, which transcends culture, race, and time.
  • "Two People" by James Langenbach – Free verse vignettes of a couple's lives. Saved from total obscurity by sort of going somewhere.
  • "What if Putin Laughed" by Steve Stern – A long discursion on the meaning of "schlemiel" (a Yiddish term for a semi-lovable loser), which is found to be a long lead-up to a two-line joke about V. Zelenskyy confronting V. Putin. A clever joke, really.


Just as a side note: I used Dall-E3 to produce the image above. It took a few tries. I was tempted to use this image instead, but none of the pieces really made my head explode.

Saturday, February 10, 2024

Some of this year's Pushcart items

 kw: book reviews, story reviews, anthologies, literature, fiction, poetry

The cover illustration for 2024 Pushcart Prize XLVIII: Best of the Small Presses is red on orange, as seen here (the colors change almost yearly). It was edited by Bill Henderson and an editorial board. For my purposes, the appeal of these stories varies from year to year. This year seems average, with eleven of the 63 items under my belt so far. I'll comment briefly on a few that I liked.

As is my habit, if I really don't like a story, I don't mention it. In this case, though, I've picked four to comment on, of these first eleven. I sorta-liked most of the other seven. As I read more, I'll post successive portions.

  • "Sunny Talks" by Lydia Conklin – A cross-generational coming-of-age story about the trans experience. An older woman who wanted to transition to male gender, who now calls herself non-binary, is aunt to a trans boy who had the opportunity to transition (at least chemically so far), who is an Internet influencer in the trans community. The feelings are raw; this will make many uncomfortable. For that alone, it is worth reading, and even the more because it is brilliantly written.
  • "Tender" by Sophie Klahr – A rare bit of free verse that I actually enjoyed. That is very rare! The theme is loneliness and death. The writing is sufficiently tight that I cannot see how setting it to rhymed, metric verse could avoid ruining it. There are but 14 lines, though I would not call it a sonnet (perhaps free verse aficionados would do so).
  • "Backsiders" by Kathryn Scanlon – Horse people, as told by a horse person, apparently over several interviews. This one isn't stated to be fiction, so I take it as genuine. From what I know of people in the horse racing circuit, this is straight-up journalism, from a more personal viewpoint than usual.
  • "The Future is a Click Away" by Allegra Hyde – A fantasy on "The Algorithm", as it becomes so aware of our inner rhythms that it anticipates what we want and delivers it just before we might have requested it…until it overdoes it. I have lost count of how many times I have checked reviews for something—and forgotten to use DuckDuckGo—and purchased something, then seen ad after ad for that thing for a period of several weeks. I've wanted to write to Google, "I already bought it. Leave me alone! Don't you have a record of my purchases, also?" But I always think, I don't want to give them ideas…

As is usual for this annual volume, the writing is excellent, even if the subjects are not always to my liking. So far there is only one story I got a page into and then skipped the rest.

Thursday, February 08, 2024

An icon of the Old West

 kw: book reviews, nonfiction, biographies, outlaws, stage robbers

He was a Civil War hero, wounded twice. He didn't smoke, drink or visit bordellos. He was polite and spoke as an educated man. He married and had children, then abandoned them. He seldom swore, and though he carried a shotgun to ply his trade, only discharged it once, and that was an accident. He claimed he never stole from persons, only from Wells Fargo—but he actually reaped more from cash and gold sent by registered mail, so it's hard to credit such a statement.

He was Charley Boles, known to post-Civil-War San Francisco society as Charles E. Bolton, and to stage drivers and lawmen in northern California as Black Bart. On a few occasions, he left doggerel poems behind at a robbery scene, signed "Black Bart, the Po8".

As the picture shows, he disguised not just his face but his whole costume; he usually wrapped his boots in cloth to make himself hard to track. He walked, and never rode a horse when "working", making tracking him even more difficult. He could walk 50 miles a day.

He robbed 26 stagecoaches over a period of 17 years, and after a four-year stint in San Quentin prison, three more. During the short post-prison period he corresponded with his family, but didn't return to see them. Then he vanished from history. Nothing is know of his fate after November 20, 1888, when he committed his last (known) robbery. The 29 stage robberies of his that are known make him the most prolific stage robber in history.

This is a brief sketch of the history detailed in Gentleman Bandit: The True Story of Black Bart, the Old West's Most Infamous Stagecoach Robber, by John Boessenecker. The illustration above is from p159. The author tells in his Acknowledgements that he gathered material about Black Bart for fifty-plus years. The depth and breadth of his research is evident, making for a fascinating account.

Singapore spiders, and others

 kw: blogs, blogging, spider scanning

The past few days I've noticed a big increase in views of this blog. It has been a while since the last flurry of spider scanning. Here is what the past month looks like:


The usual daily activity is 30-40 views; about 1,000 per month. Let's look at the past week (Blogger doesn't have a custom date setting):


Matters get a little more clear when we look at the sources:


In the past the primary spider source was Russia, sometimes Ukraine. This time it is Singapore, with supporting roles from Hong Kong and China. If you add these numbers, leaving out those three countries, then add back in 45 for China and 90 for Hong Kong, you get a usual month of views for this blog. In a typical month, China may have 1-2 views daily and Hong Kong 2-4. Singapore is a rare "customer".

I wonder what they were looking for? The total blog has roughly 2,500 posts…

Monday, February 05, 2024

For love of the deep sea

 kw: book reviews, nonfiction, science, oceanography, adventurers, submersibles, memoirs

Spoiler: Susan Casey did indeed get to dive with Victor Vescovo in his ultra-deep-diving submersible Limiting Factor. Here they are about to dive to the base of Loihi, as we Haoles call it. The Hawaiians call the soon-to-be-a-Hawaiian-Island Kamaʻehuakanaloa. More on that anon.

Ms Casey's book is The Underworld: Journeys to the Depths of the Ocean. She has been enthralled by the ocean as far back as she can remember. She recounts her own life briefly, and chronicles the growing knowledge of the deep sea as humans have prepared more and better ways of seeing into it and of going there.

Many may still think of "the abyss" as a near-lifeless volume of water, and of the ocean floor as a vast stretch of "unoccupied" real estate with resources we can harvest with impunity. Their understanding is a few generations out of date. Two striking facts emerge from putting eyes in the deep sea, whether robotic (in remotely-operated vehicles, or ROVs) or in person: Firstly, life is everywhere, right down to the bottom of the deepest trenches; and Secondly, our trash is everywhere, from plastic bags and other litter even in the deepest holes, to fibers and bits of "stuff" in the flesh of fish and other animals captured all up and down the water column.

The book lacks an index, which precludes my going back to find the name of the new species of amphipod (they look vaguely like shrimp without the long carapace) which incorporates plastic fibers into its tissues, because, well, it has to. That's easier than trying to exclude them!

Along the way we learn of fish like bristlemouths (they have lots of sharp, very thin teeth), smaller than a finger, that exist in such numbers that they outweigh the entire mass of all mammals put together. Wouldn't you know it, as soon as they were discovered, fishing businesses began to speculate about how to make a net that trawls deep enough (a few miles), with fine enough mesh, to catch a few trillion of these for, well, whatever use can be found for them. That's ignoring the equivalent trillions of squids and jellyfish and hydrozoans (like chains of jellyfish—some are 150 feet long). This "bycatch", if deemed less valuable than the fishes, will be discarded, dying and dead, by the thousands of tons. I wonder what that will do to the chemical balance of the ocean? Ms Casey writes, "The idea of commercially fishing the twilight zone is off-the-charts stupid. That doesn't mean we won't do it." Lust for money makes people stupid.

We also learn of snailfish, the deepest-dwelling fish so far known. They live as deep as 23,000 feet, or 7,000 m. These snailfish came to bait dropped on the ocean floor.

Pressures of several tons per square inch affect the ways proteins work, and so far, snailfish and a few other fish species have been able to evolve ways to counteract certain pressure effects, but they haven't made it all the way to the bottom of the deepest trenches, which measure about 37,000 ft, or nearly 11,000 m. Other animals have done so, and are seen crawling around in the deepest of deeps.

The author devotes a chapter to the things she learned at a conference about seabed mining, and about efforts to prevent it or delay it. Large areas of the "abyssal plain", the flat-lying areas at depths between three and six kilometers (10,000 to 20,000 feet, or 2-4 miles), are paved with polymetallic nodules. Once called "manganese nodules", they consist of oxides and hydroxides of many metals. The transition metals (Cr, Mn, Fe, Co, Ni, Cu, Zn) are the most abundant, but many other metals are present, including "rare earth" metals, which aren't really rare, but they are rather hard to separate from their ores. At one time they were thought to grow rather quickly. It has been learned that their diameter increases by one or two millimeters per million years.

Polymetallic nodules grow slowly enough that many animals live on and in them. The beautiful sponge in this picture distracts from the numerous "little white things" seen on the nodules. Consider this: every time scientists get the opportunity to sample the seabed, they find that about half of the organisms they bring up have never been seen before. This is also true of samples taken at deep hydrothermal vents, the "black smokers" and scarcer "white smokers". We don't know enough to know what we'd lose if millions of acres of the ocean floor were to be scraped clean, or if thousands of metallic "chimneys" at hydrothermal vents were "mined". We do know that the mid-to-deep creatures are intimately involved in the carbon cycle, which would be dramatically altered, and not for the better, by all the large-scale extraction businesses just mentioned. 

Hey, climate change activists? How come the Cancel Culture hasn't begun to target deep ocean mining firms? Here's where you can have a much greater impact than all prior efforts so far, combined! Get on it, my favorite fanatics!

So far we have just investigated a percent of a percent of a percent of what the ocean contains. Nearly all land life is found within 20 meters of the surface; in tropical rain forests, a decent proportion extends to four times that high, but those account for just a few percent of the total area. The volume of the terrestrial biosphere is thus about 3,000 trillion, or 3 quadrillion, cubic meters. The volume of the ocean is 1.33 million trillion, or 1.33 quintillion, cubic meters: 444 times as much! While it's unlikely that there is 400x as much biomass in the ocean as on land, it is quite reasonable to expect between 10x and 50x. And we don't know what 99.99% of it is!

In her quest to get to know the ocean deeps, naturally Ms Casey was eventually brought into contact with Victor Vescovo, who spent around $40,000,000 to have a full-ocean-depth submersible built, and to obtain ships and other equipment and crew, so he could dive to the deepest point in all five sections of the ocean. I reviewed his book about those experiences a couple of years ago. He has since made more dives in those locations and many more, sometimes solo, and more often with scientists accompanying. His sub Limiting Factor has been purchased by an organization named Inkfish Ocean Exploration (they don't have a website that I can find; it's owned by Gabe Newell). She accompanied a couple of the cruises, and was then asked if she wanted to take a dive herself (Did she ever!).

In 2021 she went on a dive with Vescovo to the base of the KamaÊ»ehuakanaloa seamount, to retrieve a costly piece of equipment that had descended and failed to ascent...and they had time for some exploration. While this dive wasn't in a trench, it did reach a depth greater than 17,000 feet, or 5 km. At the time, the number of people who had been on dives that deep numbered a couple of dozen. That number is growing, partly from the efforts of Inkfish and even more from manufacturers such as Triton (who manufactured Limiting Factor) that make 5- and 6 km-rated submersibles. Some of these can hold six or more persons. In addition to the immense scientific value of having eyes in situ, the huge impact just being in the deep ocean has on everyone who experiences it is slowly changing the public perception of the deep ocean.

I had an idea. Take every executive from a seabed mining company to see the nodule fields for themselves. I think of it as a kind of intelligence test. If someone takes such a drive and still has only dollar signs in his eyes, take him back down and leave him there (I suspect very few females could be that rapacious).

Failing that, get this book and read it. Read other books about the deep ocean. It's a problem that it costs 1,000 to 100,000 times as much to go one mile down as it does to go one mile up…in many places you can hike a mile up a mountainside in $30 sneakers and wearing jeans and a warm shirt. A tourist ride in a submersible costs in the $50,000 to $500,000 range. A bit more than the typical ocean cruise, and it lasts only a day (plus getting to and from the dive site). And bookmark this NOAA site, which access to livestreams from ships employing deep-diving ROVs to see what's going on, typically about a kilometer deep, but highly variable. During dive season (typically April to November, at least in the northern hemisphere), I like to have one of these cameras going on my screen. In the off-season they have highlights videos available.

Monday, January 29, 2024

Small airplane caught on satellite camera

 kw: interesting things, satellite imagery

I do many geographical investigations for my work at the Delaware Museum of Nature and Science. Today, looking on Google Maps for a certain geographic feature that was reported "North of the Miami-Dade County line", I saw this:


What I actually saw at first was a row of three white dots. Upon zooming in, I could see it was three views of a small airplane. The dashed line is the county line I was following. It is evident that the satellite was taking strip images from north to south, and three in a row caught the airplane as it passed to the southwest. You can see this for yourself; type in to Google Maps (or in Google Earth) these coordinates: 25.95717 -80.65822. Be sure to put a space before the hyphen so the numbers are correctly interpreted as coordinates. This image was produced 1/4/2021, so later this year we can expect a newer image to replace it. Never fear: the "historical imagery" button will let you backtrack to the date of your choice.

Zooming in further, we can glean a little information about the photographic method used:


The rainbow effect shows that the satellite doesn't operate like a digital camera, but takes successive images through color filters. In this case, we can see at least blue, cyan, green, yellow and red, although the cyan and yellow colors may result from overlap of blue, green and red. Google Maps allows taking a measurements of the airplane: wing span 40.5 feet, length 35.5 feet. Airplane buffs can look up what kind of plane this is likely to be.







Saturday, January 27, 2024

It ain't the King's English any more

 kw: book reviews, nonfiction, linguistics, united states, dialects

When I was about twelve my family attended a Congregational church in Salt Lake City, Utah. We frequently arrived early, so I would help the ushers fold programs. One day one of the ushers, an elderly man who must have originally come from New York, said to me, "Youse is a good kid." "Youse" is pronounced "use", the noun not the verb, as in "Put that elbow grease to good use." It's the only time in my life that I've heard that, even though I've been to NYC a few times in the ensuing 65 years.

Some 48 years ago we spent part of a year in Houston, Texas, and visited people we knew in Louisiana a couple of times. We got acquainted with a couple of variations on "you". You may have heard the parting greeting, "Y'all come back now, hear?" They do say that in Louisiana, where "y'all is the typical plural form of "you". But in Texas "y'all" is singular, and the plural is "all-a-y'all" or even "all of you-all". I once kidded some of our friends in Texas, "There's a popular convenience store out West, that would have to change it's name if they open any here: Y'all Totem!" (the store was U-Totem, out of business since 1984).

Based on our experiences, living and vacationing all over the continental US, I've compiled this generalized map of various ways people supply the missing plural "you" in "standard" English:

This is strictly from my own impressions and memories. I'd expect a professional linguist to have a more accurate take on this pattern, and perhaps a few expressions I've missed. One such is Rosemarie Ostler, in her book The United States of English: The American Language from Colonial Times to the Twenty-First Century. As a matter of fact, the descriptions of "you" usage in the book are practically identical to these, although with more detail about where certain variations are common.

Much of the discussion in the book concerns vowel shifts that have occurred over the centuries since English immigrants began coming to North America in large numbers. The sounds of a language change over time as the way that the commonest words are pronounced is made easier by shifting the vowels to be easier to say. To a linguist, changing the sound of a vowel is accomplished by changing the position of the tongue and the shape of the mouth and upper throat. For example, the "ee" sound most of us use in "feet" has the tongue high and forward, while the "ih" sound in "will" has the tongue halfway up and still forward. In some regions, however, "will" is pronounced more like "weel", which means the "ee" sound had to "go" somewhere else. Either the mouth now opens more, turning "feet" into "fate", or the tongue moves further back, which yields "feht", where "eh" represents the schwa (shown as "É™" in the phonetic alphabet IPA). That may cause a speaker to move the schwa in words like "about" to a more open "a" sound (think of "about" sounding like "abbot"). And so it goes.

It's amazing that such shifts occur unconsciously. People don't get up one day and say, 'I'm going to harden the "i" in "will" from today forwards.' And however it was that the singular pronouns for second person (formerly "thou" and "thee") were dropped, it didn't take long for people to devise substitutes. Although the area seemingly dominated by "you/you" in the map above is vast, few people live in the middle of the continent; it's "flyover country" for a reason. The number of folks using a regional pluralism is a pretty high percentage.

Again and again I read that words from other languages and cultures were assimilated into English, as English-speaking people spread across the globe during the Colonial Era in North America and the period of the British Empire, and people from all over the Earth immigrated to the United States. Thus "tycoon" and "tsunami" are of Japanese origin, "kowtow" is from Chinese ("t'au kau" is Mandarin for "pray" or "worship"); the verb "smelt" is very old, having entered Anglo-Saxon via Danish, while the noun "smelt", a type of fish, is either Dutch or Danish, and refers to the fishes' odor. A host of food words have both Germanic (Anglo Saxon) and French (Norman) synonyms: meat vs beef, chicken vs pullet, deer vs venison, dove vs pigeon. And many Spanish or Mexican Native words have been mainstreamed ("taco", "amigo", etc.)

Where other languages may take in a word or name and bend it into a more "native" form, English speakers tend to take words in wholesale. Sometimes, a nickname becomes "the name"; for example the painter Dominikos Theotokopoulos, who signed his paintings with his full name in Greek, had the nickname "the Greek" throughout Europe, but the Spanish version of his nickname is the one used here: El Greco.

Such promiscuous borrowing has led to English being the largest language. The initial Oxford English Dictionary had about 291,000 entries, but about 10% have been removed in more recent editions. A comprehensive dictionary of that sort for American English would likely have between half a million and a million words! However, those in common use number about 100,000. A typical U.S. fifth grader knows about 50,000 words. But, as this book shows, going around the country, which 50,000 words a youngster knows will differ. This is why thesauruses exist for English but hardly at all for other languages. English has lots and lots of synonyms. If one were to boil down the "meanings" in a well-constructed, comprehensive thesaurus, the number would likely be in the 20,000-40,000 range.

It took me longer than I like to read the book. It is well written, but the subject does not lend itself to page-turning prose. It can get tedious. The author does well to gather facts in as interesting a way as possible, but there are limits… There are just too many facts, and it is clear she was being very selective, because if the book consisted simply of word-pair lists and other groupings, without any "glue" or other text, it would be quite a bit larger than 230+ pages. The appendix has a useful summary of where phonetic sounds are made in the vocal cavity, and explanations of how the various vowel shifts produced the most common "American English".

Friday, January 19, 2024

He brought the lions back

 kw: book reviews, nonfiction, science, natural science, cougars, mountain lions, memoirs

It takes a real optimist to wait fifty years to write a memoir. The kind of optimism that motivates a young naturalist to stake the success of his PhD research on his determination to work in the tough Idaho wilderness surrounding the River of No Return, to track, capture, and study the most elusive apex predator that North America has to offer: the cougar. Furthermore, when he began the study he had a family. That's exactly what Maurice Hornocker did, and thus his recently-released memoir relates events that occurred in the period 1964 to 1973. He was 91 when he began to write…

Cougars on the Cliff: One Man's Pioneering Quest to Understand the Mythical Mountain Lion—a Memoir kept me up late several nights. It is the kind of page-turning book one would not expect from a scientist. Dr. Hornocker has a co-author, "roving reporter" David Johnson, who must have had something to do with the compelling prose. But artful prose needs something to work with, and boy, was there a lot to work with!

Possibly more dangerous than the big cats were the hunters, the ranchers, and others with a vested interest in destroying as many cougars as possible, and in keeping them classified as "vermin", so that there would be no "hunting season" or other restrictions on the slaughter. In the face of disparagement and occasional threats, and even attempted sabotage of the research project, Maurice (not Dr. Hornocker yet), with immense help from Wilber Wiles, caught the cats he needed to catch, re-caught them repeatedly, tracked them through several winter seasons (there was no radiotelemetry before the 1970's, so tracking in snow was a must), and gathered priceless data on their habits. Slowly, the data itself, and his passionate advocacy, made itself felt. At first, a temporary moratorium on hunting the cats (after a few collared cats were killed) was put in place, allowing the study to be completed, and eventually, a new law was passed giving the Idaho Fish and Game Commission the power to declare the Cougar a game animal, and thus to regulate it, including barring hunting the cats in specific areas. Eventually the largest contiguous wilderness area was created in central Idaho, where no persisting human presence is allowed: visit but leave only footprints, and gather only photos.

Cougars manage their territories well, and they practice "mutual avoidance", a term Maurice stressed and possibly coined. They manage their own reproduction. Rather than being rapacious monsters that kill for the fun of it, cougars kill to live, and their natural tendency to take down the weak and the old, primarily elk and mule deer, actually manages the prey herd to encourage strength and to ensure a thriving population. The "demon cats" of superstitious lore would soon wipe out the entire herd, and descend into starvation. Big cats can do cost/benefit analyses. Once this was understood, the wind went out of the sails of the "cougars as vermin" viewpoint.

How would one describe a typical day during the winter cougar-study season? It seems impossible, mainly because what Maurice and Wilber did are impossible to most of us. They began by preparing (sometimes building) and stocking ten camps throughout the study area. In each season, they both, and the 3-4 dogs they had with them, traveled on foot more than 1,000 miles. Not flat miles, but up hill and down dale, often in knee-deep or hip-deep snow. The average mileage required to track, tree, tranquilize and tag & measure one cat was about 100. In the initial three (exhausting!) seasons, somewhat more than 30 cougars were tagged, and multiple observations of previously-caught cats, plus re-catches to replace missing tags or collars: all added up to a ton of data about them. In addition, the men took samples from prey animals, to assess age and condition, so as to compile a picture of the ecology of cougar country.

The picture above shows a lioness with two half-grown "kittens". The book doesn't use the word "cubs". An interesting fact learned from the population studies, and from the author's family raising two orphaned kittens that weighed ten pounds at the start, is that the ears stay about the same distance from the chin as a lion's head grows, so that the mother cat, on the left, had her ears set lower compared to her young. Females have smaller heads than males, so mature males have ears set even lower. Once this relationship was understood, it was possible to determine the sex of a cat from a distance, and also estimate its age during its first few years. The heaviest females seldom exceeded 100 pounds, but most grown males were heavier; the heaviest was 182 pounds, though the average was more in the 120-140 pound range.

I worked at DuPont in Wilmington, Delaware for many years. For a few of those years a cougar resided in northern Delaware and southeastern Pennsylvania. One snowy day, a laboratory building at a DuPont facility was ringed with cougar tracks. The animal could smell the lab rats inside the building, and circled it a few times trying to find a way in. Later it bedded down at an outdoor YMCA facility a few miles away. For about a week, the Y Camp was its home base. Then it seemed to vanish, until reports in Maryland indicated it had moved on. Many white-tail deer live in this area, and it probably reduced the herd to the point that leaving was necessary. By the deer being "reduced" I mean partly eaten, and partly scared into moving on themselves. The big cat followed its food supply. Curiously, I don't know a single person who every actually saw the cat as more than the end of a tail as it vanished into the woods. They are secretive and very hard to spot!

When I say in my title above that Dr. Hornocker "brought the lions back", I refer to bringing back the concept of the cougar as an integral and necessary part of the natural world, throughout North America. Before his work, they'd become almost extinct outside a few wilderness areas such as the Bitterroot Mts of Idaho, because of their "vermin" image. That has changed. A change for the better. Just as the local family of foxes keeps the squirrels in our neighborhood on the alert, and limits the population of mice and voles, so a resident cougar or two keeps the deer from becoming vermin themselves. P.S. This juvenile fox had just awakened from a nap in our back yard. I took the picture from the family room window.

I don't mind that this memoir looks back half a century. The adventures are as fresh as yesterday's snowfall. Dr. Hornocker is one of the great benefactors of wide-scale ecology studies.

Saturday, January 13, 2024

Spreading your wings beyond butterfly collecting

 kw: book reviews, nonfiction, science, natural history, insect collecting, moth collecting

I got my start as a collector collecting butterflies, using a net made from discarded a lace curtain. Later I collected all kinds of things, such as stamps, shells, minerals, and fossils. These days I collect primarily photos; they take up less space and they aren't heavy (like the two tons of low-to-medium quality agate I discarded many years ago). If I wanted to take on another collecting hobby, Tim Blackburn's new book would motivate me in the direction of collecting moths.

His book is The Jewel Box: How Moths Illuminate Nature's Hidden Rules. Dr. Blackburn is a professor of Invasion Biology in London. He bought a lighted moth trap online at the beginning of the Covid lockdown, and found that moth-ing fit in well with his profession and proclivity. He discusses the interconnectedness of ecology and the many interactions that drive the evolution of moths, and by extension, all animals and the plants they eat.

As a student of Invasion Biology, he begins his book with that poster child of invasiveness, the Gypsy Moth, Lymantria dispar. This male moth has the characteristic enormous antennae, with which the male detects very tiny amounts of the pheromone emitted by the female. This image is similar to one in the book, but more clear and in color (only black-and-white photos adorn the book's pages).

Gypsy moths are pan-Mediterranean and Asian originally, and their presence in various part of the British Isles has ebbed and flowed with the vagaries of time. Their introduction into the United States by Leopold Trouvelot in 1868 at first didn't make much impression. His intention was silk production, but that didn't work out well. Some moths escaped (As Malcolm says in Jurassic Park, "Life finds a way."). For a decade they didn't spread far, but then their population exploded. Their caterpillars erupted on trees in such numbers that a tree could be stripped of leaves in a few days, and major portions of some orchards were destroyed. The species name dispar means "destroyer".

Another moth called The Uncertain, Hoplodrina octogenaria, is discussed as one of a group of species that are hard to tell apart. The photo in the book shows three small moths that look alike in markings, though they have slightly different base tones. The Uncertain can only be identified "for certain" by dissecting its sex organs. Only particular differences in this bit of anatomy keep the look-alike moths from interbreeding!

At rest, like this specimen, their size is about 20mm (3/4 inch). In flight their wingspan is about 38mm (<1.5 inch), so they are medium-sized…for a moth. Size is a peculiar matter with moths. A number of taxonomic families consisting primarily of species measuring less than 20mm wingspan are called "micromoths" or "microlepidoptera", yet each family includes some members that are larger, perhaps quite a bit larger. Furthermore, some families consisting primarily of "macromoths" include micro-sized species, including the Noctuidae, to which The Uncertain belongs. So it is a macromoth, but some of its sister species are only 1/3 its size.

This unnamed moth is a typical micromoth. The wings are about 8mm long, so its wingspan is probably 16-17mm.

The smallest moths include those having caterpillars that are "leaf miners": the larva lives between the surfaces of a leaf, eating the flesh between. A caterpillar that can fit inside an oak leaf will develop into a very small moth. Following the rule that small things outnumber big things, there may be several thousand of the big, day-flying moths we call "butterflies", and tens of thousands of similarly-sized night-flying moths, but there are hundreds of thousands of smaller moths known, and it is likely that the total number of moth species is several million. We just don't now yet. Dr. Blackburn surmises that moth species may outnumber beetle species.

Each chapter focuses on a few related matters, such as predator-prey dynamics, migration and other issues of movement, or strategies of food sources. Again and again he reminds us that ecology is a whole, but a very dynamic whole. The year-to-year changes in environmental conditions, including more or less rainfall or higher or lower average temperature (which affect food sources and species vitality), or in-migration of a new species or local extinction of a formerly common species (which may be either a predator on or the prey of certain moths): all affect the continuing vitality of every species. Some become more abundant and some less, and there are often cycles of abundance.

Gradually one realizes that a matter introduced at the beginning of the book is the key to the title. This picture shows a lighted moth trap. This is the jewel box. Every morning it contains many new jewels.

The author reports frequently collecting 200-300 specimens from the trap when used in his London home (a terrace apartment), and about 50% more when used at his parents' place in the Devon countryside.

This emphasizes that moth trapping is a time-consuming hobby. If you are trapping to collect and identify and store the insects you trap, it takes a significant chunk of your day, every day! If the few hundred moths caught belong to 50, or 60 or more species (80 is a common number in a London trap), just the sorting and identifying takes much time, at least when one is learning to recognize the species. I reckon the process gets quicker with experience. Collection trays then multiply…

A similar device for collecting moths, and other night-flying insects, is a sheet with a light shining on it. It is used for an hour or two rather than overnight. A sheet trap is particularly useful if one doesn't plan to collect (and kill) the moths, but just to census them from photographs. The dozen largest moths in this picture can probably be identified right off. A series of closeup photos should allow identification of most of them, at least to genus level.

I have used this method. In my experience, if a sheet trap is used in a backyard, one will gather mostly moths. If it is done in a forested area, a lot of beetles will join the moths, and frequently, a number of flies and small wasps also.

The book is full of ecological information, on which I have barely touched. The author's enthusiasm for his new pastime shines through every page. This is a very enjoyable book, and it may introduce some folks to a rewarding hobby. Natural History Societies in many U.S. states and in many countries have ongoing data collection efforts to which citizen scientists can contribute. The Moths Matter site is one place to start.

I have one issue I must mention. The term "moth-ers" is used in the Acknowledgements, referring to moth collectors and enthusiasts. Throughout the book the hyphen is not used, and confusion with the word for "female parent" is evident. The hyphen is needed! It must never be dropped. Although we have the term "birder" for bird watchers and bird enthusiasts, there is no competing meaning for this word, so no hyphen is needed for it. But please, moth people, embrace that you are moth-ers. Thank you.

Friday, January 05, 2024

Back into tumbling (rocks)

 kw: hobbies, rockhounding, lapidary, rock tumbling, jasper

In March 2008 my brother and I went into the upper Mojave desert, to Lavic, to collect jasper. I wrote about the experience at the time; this post includes several pictures of the jasper. This is a view from the collecting area on Lavic Lake, north toward mountains above the Sidewinder Dunes, a hiking area. The colorful mountains are part of the same series of ranges that includes Calico, which is to the northwest, closer to Barstow.


Looking down near my feet from the same spot, small chunks of the unique jasper known as Lavic Jasper are scattered everywhere. Rock collectors call this "float". More than a dozen pieces of red and brown jasper are seen in this picture.

My wife and I had collected here a few years earlier, but brought back only about ten pounds of rocks. This time my brother and I gathered closer to 30 pounds. 

After I got home I bought a small rock tumbler—on this trip I had visited the Diamond Pacific store in Barstow and obtained grinding grits and polishing compound—and began to tumble in earnest. 

I wore out the cheap tumbler I had bought, so I did more research to get a better quality one. I bought a Thumler's Tumbler, and it has the staying power I need. I finished the last batch of really "clean" stones, those with no serious cracks or pits, in 2012, and reported on the that batch then (with more pictures of the lovely material). I replaced the drive belt once during those four years of on-and-off tumbling.

A couple of months ago I decided to go through the remaining rough material and pick out some that might be worth tumbling. I eventually settled on about six pounds of chunks and pieces, weighing between 10 and 120 grams each. It's best to tumble a range of sizes together. The small rocks get into indentations in the larger ones and help them get abraded more uniformly.

I put just over two pounds (967 grams) into the tumbler along with an appropriate amount of rough grit and water, and set it going. After six days the drive belt broke. I ordered a replacement along with some extra parts I thought I should have as spares, such as the lid, which can wear through. Here is a picture of the larger stones after six days of tumbling. At the start they all had sharp corners.


The third one from the left in the top row features in what comes next. I like it because of its mix of red and green sections. Green is the rarest color for jasper. This picture is one of a series taken November 30, 2023.

I had weighed the stones before I started (967 grams), and I weighed them at this point (925g). The 42 gram difference is 4.3%.

I reloaded the tumbler, including a charge of fresh grit. These clearly need a lot more material removed. I let it go two weeks and then took the stone out, to inspect and weigh (842g, down another 8.6%). I took another series of photos. The yellowish stone at upper left had such a hole in the end that I decided to break part of it off. I added the 2g piece so removed when I reloaded the tumbler and ran everything another two weeks. More photos and more weighing (742g, down a further 10.3%, for a total removal of 23.3%).

I'll quickly show three examples of tumbling progress. Firstly, the green-plus-red one I pointed out above.


I did my best to take all photos at the same scale. Here we see some interesting things happening. Firstly, of course, the stone is getting smaller. The white mineralized crack is still there, and at the right, white mineralization has begun to appear at the tip of the stone. The deep crack at the opposite end shows that this stone may not be suitable for further rough tumbling. I may need to use epoxy filler. Finally, the green material is seen to be rather thin, and much of it has been abraded away. This is a further indication that I should fill the cracks and proceed to finer grinding and polishing with this stone.

Secondly, one of the red stones.


This stone began substantially smaller than the prior one, weighing less than half as much. In the left and middle views, there is a deep gouge, which is almost totally gone in the third view. I'll probably remand this to another round of rough grinding to see if some of the whitish areas can be removed.

Thirdly, a greenish yellow stone with red striping, quite a small one. It started out as about ten grams.


The smallest stones lose the most proportional mass. This one has lost nearly all of the big gouge, so it is almost ready for finer grinding.

This batch of stones is presently set aside while I rough grind another batch. I noticed that the two sessions of two weeks' duration resulted in a slurry containing no trace of the coarse grit I started with. The six-day run still had plenty remaining (which I added back in). For the batch that is running now, I'll start with a ten-day run, and adjust run times to just barely use all the grit.

It will be several weeks before I have more to report. My plan is to do rough grinding on all six pounds of stones, then select which ones to continue with for finer grinding and polishing, or mix-and-match them into two batches for finishing.

Monday, January 01, 2024

Women embracing monsterism

 kw: book reviews, speculative fiction, fantasy, anthologies, women, stereotypes

What would you call a woman who stands up for herself? We'd like to think, "hero" (or heroine), "victor", "winner". Isn't is much more likely that she'd be called "harpy", "bitch", "virago", "termagant"…depending on one's vocabulary? Rarely a word with a positive sense.

Virago Press began fifty years ago, but I only just learned of their existence. The volume in hand just now is Furies: Stories of the Wicked, Wild, and Untamed, introduced (edited?) by Sandi Toksvig. I find it curious that the subtitle of the book includes the word "wicked". Really? "Wild" and "untamed", great. I'd have preferred those latter two words to be paired with "dynamic" or "intense", or both. Particularly because, while a number of the characters can indeed be wicked, that's not the point.

A virago is an assertive woman. The word initially had a neutral connotation, but it's used negatively (if at all) these days. Depending upon the dictionary one uses, definitions of "virago" can be quite positive: "A strong, courageous woman"; "A female warrior". But it goes downhill rapidly. The opening sentence of the Wikipedia article on the subject is quite condescending: "A virago is a woman who demonstrates abundant masculine virtues."

The opening chapter, "Siren" by Margaret Atwood, consists of an address by that most musical of mavericks to various creatures assembled as the Liminal Beings Knitting Circle. It is at once hilarious and searching. The fourteen chapters that follow are primarily riffs on fourteen culturally negative words for a strong, or untameable, woman: Virago, Churail (from Pakistan), Termagant, Wench, Hussy, Vituperator, Harridan, Warrior, She-Devil, Muckraker, Spitfire, Fury, Tygress, and Dragon.

I'll make only the briefest of comments on a few of them, to avoid spoilers.

First, as a student of the Bible I am very familiar with the story of Deborah, the judge of Israel and prophet, from Judges 4 and 5. "Warrior" by Chubundu Onuzo elaborates on the Biblical account to show how Deborah arose to save Israel when all the male rulers had failed. In the Song of Deborah, the major part of Judges 5, she mocks them thus:

The rulers ceased in Israel, they ceased,
Until that I Deborah arose,
That I arose a mother in Israel.

By the way, the term "the Mother of Israel" is used a few times in the chapter. The quote from Deborah's song is the accurate rendition. She is saying she acted as any mother would to protect her children, and as Jael did in her turn, when she lured the Canaanite leader into her tent and assassinated him with a tent peg and a hammer.

Secondly, "Tygress" by Claire Konda expands a little on the theme "tiger mother". I'm familiar with the concept, from frequent contact with our many Chinese, Japanese and Korean friends. Twin girls that were our son's friends once told him and me that their mother was not satisfied with them receiving all "A" grades. They had to be at the absolute top of the class. My wife remembers her Japanese childhood, taking extra courses after school at a private tutoring organization. Not because her mother had pretensions of her daughter attaining to a higher class, but just because that was expected even at second-class schools.

And finally, the one story I didn't care for was "She-Devil" by Eleanor Crewes. It's in graphic novel style, much too enigmatic. It tries for Gothic horror and instead achieves banal dread. No question is answered, no conclusion reached.

Each story, with that one exception, brings a fresh take on an old word. An excellent collection.