Plans for D-Day

To celebrate D-Day (Normandy/Overlord) this year, I'm going to a wedding! Yes, I doubt very many people celebrate D-Day in this fashion.

Last night I made airport parking, flight, rental car, and hotel reservations. For the first time I can recall, I will be flying into and out of different airports (one way from Seatac to Burbank, then back from Santa Ana to Seatac). Burbank is the Bob Hope Airport, and Santa Ana is the John Wayne Airport. I wonder what people growing up 20 years from now will think of those names...

Guess who's above the law?

PBHO's administration is defying a congressional subpoena:

http://www.washingtonpost.com/wp-dyn/content/article/2010/04/27/AR2010042703170.html

I'm sorry, the executive branch is supposed to be responsible for enforcing the law, not deciding it doesn't have to follow it.

The excuse is also rather flimsy - how, exactly, can turing information over to congress jeopordize a court martial?

Birthdays

So, today's my birthday (so people tell me - although I was obviously there, I do not remember the event...).

Since I missed the blog anniversary this year, I'm going to ask the Five Questions today:

Who are you? I'm the Bardic Champion of the Barony of Aquaterra. Did I mention that? I think I might have mentioned that. :-) I'm a soldier not in uniform, an engineer not a PE, a paramedic not certified in the state I live in. Yeah, I'm no closer to answering this question than ever.

What do you want? I'd like to kick this cold/infection/whatever that I've had for several months now. I want to be able to think about the world and still be at peace.

Why are you here? More and more, I'm coming to "they pay me." No, that isn't a good answer.

Where are you going? To California for a wedding on D-Day. Home at the end of today. To an SCA event next week.

Who do you serve, and who do you trust? I serve the Constitution of the United States of America. I have little positive trust - I trust politicians to be corrupt, executives to be short-sighted, and people to be unable to see things they don't want to see.

OK, that was a fairly depressing summary. On a more positive note, last night I got to play a five-player game of Advanced Civilization (the board game), and Saturday I watched most of Band of Brothers (the TV miniseries about the US 506th PIR). Tonight I hope to feast upon cheesey potatoes and blueberry pie.

Updated resume

With my program in the process of getting reshuffled, it seemed like a good time to update my resume, for intra-company use if nothing else.

Comments appreciated - I haven't done one of these for years.

Objective: A full-time position as a mechanical design or analysis engineer.

Achievements: US Patent 7,189,031 “Toolholder with insert clamp and method for the same.” One of four equal inventors.

Education: BS Mechanical Engineering, December 2003, Carnegie Mellon University, Pittsburgh, PA.

Experience:
June 2009-Present: Payloads Design Engineer/Scientist 2, Interior Responsibility Center, Boeing (747-8 Program). Assisted in the development of the 747-8 linings package latch certification plan. Designed various specialty ceiling panels, conducting installation and removal studies and testing prototypes.

October 2007-June 2009: Payloads Design Engineer/Scientist 2, Interior Responsibility Center, Boeing (787 Program). Wrote and supported approval of the certification plan for the 787 15” Video Control Station (VCS), an aircraft interior monument. Designed and documented structural test plan, including the design of a whiffle tree load apparatus. Designed and released numerous detail parts and assemblies in ENOVIA/CATIA V5. Conducted technical studies and change activity to support continuing design development and improvement. Acted as temporary group lead for VCS group when permanent lead on vacation.

July 2005-October 2007: Payloads Design Engineer/Scientist 1, Interior Responsibility Center, Boeing (787 Program). Developed preliminary design of the 787 15” VCS. Coordinated with suppliers, customers, and other groups to optimize design and meet requirements. Designed and worked as focal for a flight test VCS unit. Created and delivered presentations for airline customers (2006 Airline Interior Specialist Meeting) and internal Boeing audiences (PDR, CDR, and others). Acted as temporary group lead for VCS group when permanent lead on vacation.

June 1999-December 2003: Research Assistant, Carnegie Mellon Robotics Institute. Designed and developed mechanical systems for several robotics projects. Conducted studies, designed and built prototypes, conducted testing, created CAD models in multiple software systems, interacted with customers, and created technical presentations. Projects included: Mars Sample Return Technical Approach Study, Solar Blade Nanosatellite, Future Combat Systems, Guideway Inspection System, Walker Project

Software:
Dassault Systems ENOVIA & CATIA V5
Microsoft Office Tool Suite (Word, Excel, PowerPoint, Project)
Boeing internal tools and resources including DCCS, ETAC, REDARS, PDM

Other Qualifications and Certifications:
Flight Test Analyst (Non Military); Boeing Medical (Current)
Emergency Medical Technician – Paramedic; Pennsylvania Department of Health
Rescue Technician – Basic; Pennsylvania Department of Health

How to Train Your Dragon

Spoilers! Spoilers! Spoilers!

OK, first off: see this movie. How to Train Your Dragon (hereafter HTTYD) is smart, funny, has great special effects, a great score, is engaging... it is just plain good and I think it will set the standard that other CGI movies will be judged by for quite some time.

Do I really mean it? In my life I have seen three movies more then once while they were still in theaters: Apollo 13, Serenity, and HTTYD. I saw it first on a normal screen and decided to roll the dice on the new 3D technology. It is a great movie on a normal screen - it is even better in 3D IMAX format.

Aside: whatever they've done with the new 3D method actually works with my messed up eyes, unlike the old red and blue carboard glasses method. I actually could feel depth (the IMAX probably helped), and several times was convinced something on the screen was actually much, much, closer to my seat. I caught myself reaching out to touch the ash falling near the end of the film.

OK, for those who missed the previews HTTYD is centered around Hiccup Horrendous Haddock III, a viking teenager who is not very viking-like. This particular group of vikings live on an island with an unusual type of pest: dragons.

And not just one kind of dragon. Zippplebacks, gronkels, terrible terrors, monstrous nightmares... dragons that are different not just in what they look like (two heads can be better than one!), but how they act. There's a personality to each species. This is something that I didn't really think of during the movie, but is actually quite impressive given how little screen time is available to each.

Then there are the vikings. Most are just background characters, but we get five of Hiccup's fellow dragon-fighting trainees as named characters. Most are rather mythos-typical vikings (horned helmets and all), but each has their own little twist. There isn't a whole lot of character development for them, but there is some.

Speaking of character development, both Hiccup and Astrid (the love interest) go through a fair bit, and for quite believable reasons.

Perhaps my favorite part of the movie is the montage of Hiccup figuring out how to fly on Toothless (the dragon he shoots down, somewhat accidentally befriends, and winds up bonding very closely with). I was reminded of the early aviation pioneers, who would let no amount of crashes and failures dissuade them. They just slowly refined their techniques, staying airborne and in control for longer and longer periods.

The soundtrack, also, is brilliant. I have bought two movie soundtracks in my life (not counting individual songs): Henry V and... HTTYD. :-) No, it isn't just because there are war pipes, though that certainly helps. It is a generally upbeat, energizing score, which is exactly what the movie is.

I could continue raving about this movie in a disorganized fashion, but I'm going to end this here: go see it for yourself!

From the Frontlines: Champions Part IV

Well, to make a long story short, as of Saturday I am the Bardic Champion of the Barony of Aquaterra. :-)

I have duties, regalia, and I also recieved a scroll and medallion.

I'm still on a bit of a high about it almost a week later. :-)

From the Frontlines: Champions Part III

Champions was fairly well attended this year, with over 100 people through gate and about 30 competitors total. Sadly only two of us were up for Bardic, however milord Kenneniah gave me quite a good run; after our performances I figured it was 50/50 between us. He performed two period songs, one on recorder and one vocal and mandolin.

For my pieces, I added a bit of theater. I had brought a period-ish box in which were three bags of Hershey's Nuggets - one in gold wrappers, one in silver, and one in red. I used these as 'visual aids', presenting one of each type to each judge, and passing them around for the audience. :-)

Sadly, due to my cold I hadn't been able to rehearse much at all, and I wasn't confident enough to go off book (I only needed to look down a few times, but it was just as well that I didn't try to go off book). Luckily Melody/Samira/Amethyst was able to loan me a cloth-covered binder to stick my notes in. The cold also limited my projection and volume, while the book denied me some of my gestures. Still, I was satisfied with my performance and I was able to do a good job with the judges Q&A.

From the Frontlines: Champions Part II

Here is the text of the song I wrote for Champions:

We are from An Tir!
Words and music by Roger Gridley

Draw your swords and raise your glasses
Draw your bows and give a cheer
Sing out loud ye lads and lasses
Let them know we’re from An Tir!
Let them know we’re from An Tir!

In the quiet misty morning
See the lion rampant rise
Tents are pitched and fires are kindled
Soon they'll know that we’ve arrived!
Soon they’ll know that we’ve arrived!

Tir Righ's banner sails above us
Avacal is near at hand
Summits marches to the drumbeat
We’ve come to defend our land!
We’ve come to defend our land!

Armies mass upon the Warfield
Heralds cry and heroes fall
Hear the screams of men and horses
An Tir’s arms will conquer all!
An Tir’s arms will conquer all!

Archers brace and bend their bowstaves
Armies charge across the glade
Archers loose a fearful whirlwind
Arrows let us fight in shade!
Arrows let us fight in shade!

Fencers dance within an eric
Steel blades play a deadly game
Fight with grace and fall with greatness
Death with honor is no shame!
Death with honor is no shame!

Bards engage with song and story
Dancers bransle* upon a stage
Every art and every science
Just another war we wage!
Just another war we wage!

Sheath your swords and drain your glasses
Case your bows and shed a tear
Go ye home ye lads and lasses
Homeward bound to fair An Tir!
Homeward bound to fair An Tir!

*Pronounced “brawl”; a type of medieval dance

From the Frontlines: Champions Part I

This Saturday was Aquaterra's All Champions. Every year the Barony's subjects compete in Heavy Combat, Rapier, Archery, Thrown Weapons, Youth Combat, Games, Arts & Sciences, and Bardic.

Unlike most events, where the contest is simply between whoever happens to show up, Champions are required to submit a letter of intent in advance, and have duties for the year they hold their title. Here's my letter of intent for this year:

Unto Their Excellencies Wyll Hauk and Rosamund of the Misty Meadows,
by Right Baron and Baroness of Aquaterra,
AND
Unto Countess Octavia Laodice, by Fealty Seneshal of Aquaterra
AND
Unto Her Ladyship Soelig Swetegle, by Skill Bardic Champion of Aquaterra,
AND
Unto Lady Tara, by Grace the Inspiration of Roger Gridley,
AND
Unto all those to whom these words may come,

Know that Roger Gridley doth bid you:
Greetings and Good Cheer!

And does by this message Request the permission of Their Excellencies Hauk and Rosamund of Aquaterra to enter into Competition for the Position, Title, and Honor of Bardic Champion of Aquaterra.

That their Excellencies and such Judges as they may deem proper may determine whether Roger be worthy of this office, he is prepared to perform two pieces to demonstrate his skill in the Bardic Arts.

Therefore to be judged,
He shall Recite Bassanio's Speech before the Caskets from The Merchant of Venice.
AND
He shall Sing a new Warsong of An Tir, of his own composition.

Long live Their Excellencies Hauk and Rosamund!

By the hand of Roger Gridley, this 10th day of March, AS XLIV.

Bardic and A&S competitors also have to submit documentation for their work. Minus the pretty pictures and the pieces themselves, here's what I had:

The Speech Before the Caskets
from The Merchant of Venice
Act III, Scene 2
Introduction
The Merchant of Venice was first printed in 1600. Like many of Shakespeare’s plays, we can be fairly certain of this date but rather less certain of the date of its first performance- probably sometime between 1596 and 1598. The play is best known today for the conflict between Shylock the money lender and Antonio the merchant. Less remembered but equally central are Bassanio, a friend of Antonio’s, and the woman he is in love with: Portia.

Portia has inherited a somewhat cruel legacy from her father. He has left her a large fortune, but also three caskets: one made of gold, one of silver, and one of lead. Portia is to marry the man who chooses the correct casket, which will contain Portia’s portrait. Each suitor is permitted but a single chance, and has only the message written on each casket to guide him.

Upon the gold casket is written: “Who chooseth me shall gain what many men desire.”

Upon the silver: “Who chooseth me shall get as much as he deserves.”

Upon the lead: “Who chooseth me must give and hazard all he hath.” (Act II, Scene 7)

If the suitor chooses the wrong casket, he must swear “never to speak to lady afterward/ in way of marriage.” (Act II, Scene 1)

Prior to Bassanio’s arrival at Portia’s, we see two of her other suitors make their choice, and learn that the gold casket contains a skull and a scroll:
All that glitters is not gold/ often have you heard that told.
Many a man his life hath sold/ but my outside to behold.
Gilded tombs do worms infold. Had you been wise as well as bold,
Young in limbs, in judgement old/ your answer had not been enscrolld.
Fare you well, your suit is cold. (Act II, Scene 7)

Likewise, the silver casket has the image of a fool, and a different scroll:
The fire seven times tried this; seven times tried that judgement is
That did never choose amiss. Some there be that shadows kiss;
Such have but a shadow’s bliss. There be fools alive, iwis,
Silvered o’er – and so was this. Take what wife you will to bed,
I will ever be your head. So begone; you are sped. (Act II, Scene 9)

Thus by the time Bassanio stands before the caskets to make his choice, we have learned that Portia, who despised her other suitors, favors him, and which casket he must choose to win her. But will he choose rightly?

Performance Notes

Shakespearian plays are famously lacking in what modern theater calls “blocking” and “stage notes.” A great deal of action on stage is implied by text, but aside from entrances and exits, very little is explicit. Modern movie scripts even call for pauses in speeches with the term “beat”: wait a heartbeat before continuing. Not so the Bard of Avon.

Partially, this is because the printed versions of the plays that survive today are not the scripts the actors themselves would have used. Those would often have only the individual’s lines in full, with his cues and such to guide him when to speak. These are called “sides.” Giving the actors ‘sides’ neatly conserved paper and ink while making it harder for anyone to steal a complete script, and thus be able to perform the play without paying the author. The printed versions (First Folio, etc.) that came later were not put together as working scripts, which would have made any blocking that was in the originals unnecessary.

We must thus make some guesses as to how the plays would have been performed. One thing I have learned is that in Shakespeare’s time there was no such thing as “over the top” on the stage. Even a contemplative speech such as Bassanio’s would have to be spoken loud enough to be heard all through the theater. It might well be played as a speech to the audience – “breaking the fourth wall” in modern terminology – much as Prince Hal’s “herein will I imitate the sun” speech from Henry IV.

In Shakespeare’s time men were men and women were played by men. In The Merchant of Venice we are thus treated in Act IV to a male actor playing a female character (Portia) pretending to be a man (Balthazar, a lawyer) – a common device in plays of the time. It is in this guise that she gives one of the most famous speeches of the play, on the quality of mercy. It is (s)he who passes judgment upon Antonio… and then on Shylock. “Balthazar” thus earns the gratitude of Bassanio for saving his friend, and can’t resist testing her fiance’s loyalty by asking for her engagement ring as Balthazar’s fee. As this is one of Shakespeare’s comedies it all works out in the end.

War Songs and other Cheerful Subjects

We have documentation of music as part of warfare almost as far back as we have documentation of warfare. The Romans had their Cornicens, used for everything from scaring off attacking elephants to passing orders between units. Nicollo Machiavelli in his The Art of War (1521) comments that:
For this purpose, the ancients had their pipes, fifes, and other sorts of military music perfectly adapted to different occasions… depending upon whether they wanted to excite, abate, or reflect their soldier’s ardor. (Book II, Page 76)

Military music is used to inspire troops, to help them keep time on the march, and sometimes as psychological warfare (for example, bagpipes). War songs are also used to boost civilian morale or glorify war – the better to boost recruitment.

One example is the Agincourt Carol, written shortly after the subject battle (1415). It tells of the glory of the campaign and how God was on the side of King Henry V. One point worthy of note is that this is not a marching tune; there is no beat to keep troops marching in step.