Lake House,
Nakusp,
Canada
Bench Grass is a blog about the history of technology by the former student of a student of Lynn White. The main focus is a month-by-month retrospective series, covering the technology news, broadly construed, of seventy years ago, framed by fictional narrators. The author is Erik Lund, an "independent scholar" in Vancouver, British Columbia. Last post will be 24 July 2039.
So, and as will come as no surprise, I've had the experience of a short work week pulled out from under my feet at something like the last minute. It was perhaps not impossible for me to write Postblogging Technology, August 1954, I: I Know Eyewash When I See It, and I'm honestly not sure who besides me to blame for my taking a day off on the 11th and yesterday, but I'll settle for Larian Studios, for making Baldur's Gate III so seductive. That, of course, means that instead of something long, with a lot to chew over, you're getting a bit of a dive into semi-random thoughts I had this week.
In this case, and as a development of "smokeless powder is just another textiles industry development, therefore the modern rifle, and modern war, comes out of industrial cotton," I am wondering about how normal early telegraphy was. (Is the rifle, or telegraphy, more important to the transformation of war before 1914?) So
let's forget about all that "information industry" stuff, and look at the telegraph as it came in, and try to understand why people might take the first steps to improve on semaphore and heliographs and pony expresses, and see where we are.
This morning I am thinking about Raven the trickster, creator and king. but I also travelled on the weekend and visited my world-travelling doctor brother and his wife, who in conversation chanced to mention how much better the Pacific Northwest art held at the British Museum is than that shown here in its homeland.
"Raven and the First Men" is a Haida creation myth, here truncated. The second image is a rattle, used in shaman and healing dances. The specific meaning belongs to the owner who commissioned it, but the general theme is the transfer of power, which is another way to understand the creation myth. Deprived of its context by the decision to sell it to an outsider, it remains an eerie symbol of the relationship between Raven and one man, no doubt privileged. I would be stretching nonexistent wings in a ludicrous play at exegesis to go any further (Raven would approve!), but we can reasonably ask how it was made around here.
Dear Father:
Well, I left my current numbers of Aviation Week and The Engineer on the train when I dashed to catch a connection to Weybridge. So if this letter isn't to your liking, blame the clowns at Handley Page for not putting the tail of the Victor on firmly enough to balance flying without the "weapon system"-y radar that's supposed to go in the nose. (James thinks, anyway. He was right about the Comet, though!) This led to an all-hands-on-deck sales meeting over the Viscount replacement, from which I had to turn around for my flight to Montreal, upon which I am writing these words, far away from replacement copies, and there you go.
As for the meeting, the super-Viscount, or whatever they're going to call it, might be completely different from the Victor, but that isn't stopping the American industry, as you can see from the Newsweek coverage. to be fair, it is good news for them that the Victor won't be out setting high publicity speed records while there is a Vickers team still touring the States. I know I would have loved some British Pathe footage of the Victor prototype landing in Montreal, not that it was even vaguely close to ready for a trans-Atlantic flight, but a girl can dream.
Your Loving Daughter,
Ronnie