Wednesday, December 7, 2011
US Military bases in the Middle East
Tuesday, December 6, 2011
Plant Breeding Lab
I'm currently at my plant breeding job. I've spent the morning learning how to extract DNA and use the various lab tools involved, it's been fun. And easy. Working in a lab is mostly cerebral and minimally physical. It's a good way to spend a morning, almost like spending it organizing papers or whatnot. And, there's downtime. I've a half-hour break, essentially, and am 9 minutes away from working again. What an easy job! I hope I learn a lot about breeding. I'm going to have to start reading their plant breeding texts during downtime.
Friday, December 2, 2011
Hammer, By Fabio Morabito
I should have posted this long ago. It's eloquent and profound, and will change your thoughts on hammers as well as on life.
A hammer is at once the easiest of our tools and the most profound. No other tool fills the hand as much as a hammer does; none inspires the same degree of dedication to the job and such a total acceptance of the task. With hammer in hand, our body acquires its proper tension, a classic tension. Every statue ought to have a hammer, visible or invisible, like a second heart or a counterweight to offset the weight of the limbs. Wielding a hammer, we get rounded out, more integrated; it is exactly the one extra thing we need to feel ourselves permanent. Grabbed by the hand, obtuse, cyclopean, childlike with its weight and its feel, it gives us once again that sensation of freshness in a tool, a satisfying extension to our bodies, of an effort directed without waste or frustration. O first rate hammer! Willing brother! Few things are straightforward as you!
It acts like and epic poem; it’s bilious, goatish and eagle like. The force of a juicy anger has been attached to a wooden handle and has been left to ferment and toughen there. That’s the way we get hammers- from a slow drip-drip of rage, which finally forms a scab at the end of the handle, an amalgam of wrath. Just shape that and polish it, and your hammer is ready to go.
Passivity and power co-exist in a hammer. In fact, a hammer works by surprise, by nasty surprise, and its bruising strength is indebted not so much to its force as to its laconic delivery. It doesn’t affirm; it skewers. All of a hammer’s rage, slowly absorbed by the handle, slowly fermented, slowly assimilated, is expressed in one sharp bang! There’s no time for anything else. A man who hammers, it would seem, combines in the hammer head the best of himself and his forefathers. The man himself, as a particular individual, is symbolized by the handle, which determines the willingness and direction of the blow, but the impact itself is entirely indebted to his past, a past heavy with the weight of the dead. A horde of dead are packed into every hammer blow, your own dead, all that has been distilled in times before yours, everything tough that preceded you, and it’s that toughness you hammer with, along with all your dead kin, whose purpose is to serve the living as a final hardness, as their sharpened steel, their armor plating. Anyone who tries to live without the dead, without a family tree, is barely alive and won’t last long.
Thus a hammer never says anything that hasn’t been said before; no novel emotion ever changes its tone. The dead always produce the same response. Their productions get weaker with the passing of time, vast areas of memory crumble away, and their vocabulary gets smaller until at last it is reduced to a single syllable, hard and obdurate.
Upon reaching the kingdom of the dead, every dead person loses definition and his faltering voice is erased by the voices of others. Every hammer blow is like that, flowing lava of voices that has been reduced to one sole syllable. Every hammer blow raises to the surface our lowest depths, which are often close to a petrified inertia, their connections with here-and-now shrunk to a few dreams, a few pangs of conscience, a few blows from a hammer. That’s why the hammer blows of one man are vastly different from those of another; they glue together parts that are peculiar to the individual, matters that defy translation. Maybe at some point, in the farthest distance, they do touch each other and mingle, but even so they retain their separateness. Only the most sensitive of instruments could sort out those crude banging’s into all their strata of voices that have been lost in the passage of time. But it would be a hellish instrument. We’d hear the warm of our dead speaking one by one, in a terrifying whirlwind of sound.
We have to bring the dead together and confuse them, to stop them frightening us, so that they’ll let us live. We have to amalgamate them, squash them together, rub out their features and voices, until they linger on only as a choir, a far-distant clay pit, a half shadow. That’s the reason behind the invention of the hammer, its unified force. With a single blow it binds us to our dead and at the same time plunges them deep into the past. It buries them, gets them out from under our feet. When we talk to the dead through a hammer, we liberate ourselves from them. We can then go forward. The hammer flattens out, opens up a pathway, crushes down bumps in the road, levels off the track, heads toward tomorrow. A hammer is a prow, no more no less. But like every prow, it leaves behind a large wake, a choir of voices that are out dead kin, re-echoing in every blow. To move ahead is to move toward the dead. In every blow those who went before and those who are coming after, our yesterdays and our tomorrows, our liberty and our origins touch each other and fuse. In every blow we are nailed to the earth, redefined in a burst of bright flame, as if we were statues, not wholly alive, not wholly here, mildly classic and forever.
A hammer is at once the easiest of our tools and the most profound. No other tool fills the hand as much as a hammer does; none inspires the same degree of dedication to the job and such a total acceptance of the task. With hammer in hand, our body acquires its proper tension, a classic tension. Every statue ought to have a hammer, visible or invisible, like a second heart or a counterweight to offset the weight of the limbs. Wielding a hammer, we get rounded out, more integrated; it is exactly the one extra thing we need to feel ourselves permanent. Grabbed by the hand, obtuse, cyclopean, childlike with its weight and its feel, it gives us once again that sensation of freshness in a tool, a satisfying extension to our bodies, of an effort directed without waste or frustration. O first rate hammer! Willing brother! Few things are straightforward as you!
It acts like and epic poem; it’s bilious, goatish and eagle like. The force of a juicy anger has been attached to a wooden handle and has been left to ferment and toughen there. That’s the way we get hammers- from a slow drip-drip of rage, which finally forms a scab at the end of the handle, an amalgam of wrath. Just shape that and polish it, and your hammer is ready to go.
Passivity and power co-exist in a hammer. In fact, a hammer works by surprise, by nasty surprise, and its bruising strength is indebted not so much to its force as to its laconic delivery. It doesn’t affirm; it skewers. All of a hammer’s rage, slowly absorbed by the handle, slowly fermented, slowly assimilated, is expressed in one sharp bang! There’s no time for anything else. A man who hammers, it would seem, combines in the hammer head the best of himself and his forefathers. The man himself, as a particular individual, is symbolized by the handle, which determines the willingness and direction of the blow, but the impact itself is entirely indebted to his past, a past heavy with the weight of the dead. A horde of dead are packed into every hammer blow, your own dead, all that has been distilled in times before yours, everything tough that preceded you, and it’s that toughness you hammer with, along with all your dead kin, whose purpose is to serve the living as a final hardness, as their sharpened steel, their armor plating. Anyone who tries to live without the dead, without a family tree, is barely alive and won’t last long.
Thus a hammer never says anything that hasn’t been said before; no novel emotion ever changes its tone. The dead always produce the same response. Their productions get weaker with the passing of time, vast areas of memory crumble away, and their vocabulary gets smaller until at last it is reduced to a single syllable, hard and obdurate.
Upon reaching the kingdom of the dead, every dead person loses definition and his faltering voice is erased by the voices of others. Every hammer blow is like that, flowing lava of voices that has been reduced to one sole syllable. Every hammer blow raises to the surface our lowest depths, which are often close to a petrified inertia, their connections with here-and-now shrunk to a few dreams, a few pangs of conscience, a few blows from a hammer. That’s why the hammer blows of one man are vastly different from those of another; they glue together parts that are peculiar to the individual, matters that defy translation. Maybe at some point, in the farthest distance, they do touch each other and mingle, but even so they retain their separateness. Only the most sensitive of instruments could sort out those crude banging’s into all their strata of voices that have been lost in the passage of time. But it would be a hellish instrument. We’d hear the warm of our dead speaking one by one, in a terrifying whirlwind of sound.
We have to bring the dead together and confuse them, to stop them frightening us, so that they’ll let us live. We have to amalgamate them, squash them together, rub out their features and voices, until they linger on only as a choir, a far-distant clay pit, a half shadow. That’s the reason behind the invention of the hammer, its unified force. With a single blow it binds us to our dead and at the same time plunges them deep into the past. It buries them, gets them out from under our feet. When we talk to the dead through a hammer, we liberate ourselves from them. We can then go forward. The hammer flattens out, opens up a pathway, crushes down bumps in the road, levels off the track, heads toward tomorrow. A hammer is a prow, no more no less. But like every prow, it leaves behind a large wake, a choir of voices that are out dead kin, re-echoing in every blow. To move ahead is to move toward the dead. In every blow those who went before and those who are coming after, our yesterdays and our tomorrows, our liberty and our origins touch each other and fuse. In every blow we are nailed to the earth, redefined in a burst of bright flame, as if we were statues, not wholly alive, not wholly here, mildly classic and forever.
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