My account of the Total Eclipse of August 21, 2017

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It was very hot. We found a country cemetery (Ingram Hill Cemetery, outside Harrisburg IL) on a hill at the last minute. It had shade trees as well as open spaces, and a beautiful view. The great hills of Shawnee National Forest rose in the distance. A huge storm cloud hovered in the east. We’d been anxious that morning about clouds; the radar showed scattered rainstorms. There were other clouds around the horizon, but over our cemetery was all clear.

The eclipse was in progress by the time we got there. We wouldn’t have guessed; it was bright and hot. My weather app said “feels like 104F.” Just sitting in ____’s non-air-conditioned car was exhausting enough for me to break open my emergency electrolyte drink. We sat under a tree and walked out from time to time to gaze at the eclipse-in-progress with our Schnuck’s mylar-and-cardboard glasses. I pressed mine over my sunglasses and saw a fat crescent gradually get slimmer.

After a while everything looked the same, except I could take off my sunglasses. There was a puzzling, “is it getting dimmer? I can’t tell” period. Then we could tell: it was getting dimmer. Soon the quality of light was similar to late in the day, except it was coming from directly overhead. The shadows weren’t long, as you’d expect. The crescent was very slim now. We marveled at how bright the sun still was in spite of being mostly covered.

My eyes felt confused, like my irises were twitching open and closed trying to find the right level. The light was from overhead, but got dimmer and dimmer. ____ said it was like moonlight, only warmer and brighter.

Then, suddenly, it got dark. Not “very” dark, not night-time dark; just-after-sunset dark. The clouds on the horizon glowed pink and orange. Overhead was dark blue. We couldn’t see any stars or planets, whether because our eyes hadn’t adjusted, or because a mid-day eclipse with the sun at its zenith doesn’t darken the sky enough, we still don’t know. The corona was exactly like the pictures, except brighter. It was white-hot bright. The moon was a black disc. It looked like an eye in the sky.

Per other accounts, I kept saying “oh my god” as I looked around the
darkened landscape with a sunset directly overhead. Listening to myself I sounded like I was having sex for the first time.

Every day I unconsciously (and occasionally consciously) orient myself to the rays of the sun. It’s like sensing gravity: gravity is always “down,” whether you’re consciously paying attention or not. Sunlight is always coming from the sun, its qualities – strength, color, direction – always indicating where the sun is. The eclipse gave every indication the sun was setting, but it was directly overhead. It was wonderfully disorienting, as if gravity itself shifted and we were floating.

Then the shadow passed and it was suddenly brighter again, though very dim for mid-day. We put our eclipse glasses on again and saw the thinnest crescent, but that was enough to change everything back to day. The shadows returned, and soon the regular mid-day chorus of birds and insects did too. We marveled, stunned and delighted and moved, at what we had just seen.

Gradually we felt the temperature rise. We’d barely noticed the oppressive heat subside, until it came back. We chatted with some of the local people who had taken in the eclipse at the cemetery near us. Fortunately no one blared music, and although we weren’t completely alone, we had a lot of space to ourselves.

Then we drove home.

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Free Motion quilting at NY Maker Faire

I’ll be demonstrating Free Motion quilting and embroidery at the NY Maker Faire September 17 & 18 (next weekend):

Maker Faire
New York Hall of Science
47-01 111th Street
Queens, NY  11368-2950

Come on down and say hello!

My little Janome, which I'll be bringing to Maker Faire

 

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Inspiration (a.k.a. Artist’s Prayer)

Our Idea
Which art in the Ether
That cannot be named;

Thy Vision come
Thy Will be done
On Earth, as it is in Abstraction.

Give us this day our daily Spark
And forgive us our criticisms
As we forgive those who critique against us;

And lead us not into stagnation
But deliver us from Ego;

For Thine is the Vision
And the Power
And the Glory forever.

Amen.

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Mimi & Eunice

Many years ago, I thought “Mimi & Eunice” would be a great name for a comic strip. Recently I’ve been needing to do some drawing just to keep my head from exploding, so this week I figured, why not Mimi & Eunice?

As far as I can tell, Mimi & Eunice are two middle-aged children/baby psychos/heterosexual lesbians. That’s all I can surmise so far. Mimi&Eunice_01I didn’t put my name on these comics, but I did tag them with the URL mimiandeunice.com. (Unfortunately that site is a mess right now. Webmaster Ian installed the comicpress theme in wordpress, but it’s squishing the strips horizontally unless I make them really tiny. Also, even though it lets me bulk upload media, it doesn’t let me bulk post.

Mimi&Eunice_02So I’m just posting a bunch of them here, for now. If anyone out there makes great comics web sites and wants to make one Mimi & Eunice, please get in touch!)

Mimi&Eunice_03Other than getting mimiandeunice.com functional and pretty, I need to decide which license to release them under, or whether to use a license at all. So far copyleft, as embodied in the Creative Commons Share Alike license,  has served my work very well. But maybe I should go for Public Domain instead?Mimi&Eunice_04

If I use a license, it’ll be one of the 3 Free licenses Creative Commons offers:

CC-BY-SA (copyleft)

CC-BY (attribution)

CC-0 (Public Domain)

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The advantage of copyleft is it ensures the work stays Free. Any derivatives must be released under the same terms, so no one can lock it up. It prevents abusive exploitation; no one can monopolize it. The drawback is that keeps it from being used in some projects that use more restrictive licenses. As nasty as restrictive licenses are, they’re still very common, and many worthy projects use them. You can still use a copyleft work within a larger copyrighted work as “Fair Use,” but few are willing to take that risk.

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CC-BY (attribution) is compatible with both copyleft and copyright projects, which could conceivably allow the works to spread further. But it still relies on the threat of legal force to ensure attribution. As I wrote recently, attribution has limits that the law might not recognize. Also, I’m intrigued by avoiding legal enforcement as much as possible, and relying on social mores and  community ethics to ensure attribution. In fact I already do this with Sita Sings the Blues, but if I want to sue someone for plagiarism or improper attribution, I can. Is that threat really necessary?

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Sometimes I think CC-0 (Public Domain) is the most spiritually advanced license. No legal claim to attribution. No legal claim to anything. To put a work in the Public Domain is to totally let it go. That is a turn-on.

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Unfortunately many useful Public Domain works are snatched right out of the Public Domain via copyrighted “derivative works”. Take the comic above. If you changed the background color on panel 3 from reddish-gray to lime green, you could say you’ve made a new work and copyright the result. I don’t mind modifications like changing colors, in fact I encourage them; but I abhor monopolies, and the thought of someone then locking up the work in this way is troubling. Certainly the source would remain in the Public Domain. But if someone else modified the source in a similar way, being likewise inspired to change the color of panel 3 to lime green, they could be sued by the jackass that copyrighted his lime-green-panel-3’ed version.

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Lewis Carroll’s Alice in Wonderland is in the Public Domain, and technically you can still build on it. But if your “derivative work” too closely resembles Disney’s, they will sue your ass. The laws don’t recognize parallel evolution, nor do the tiny shriveled minds of the corporate executives who wrote them. Thus, although the exact text of Carroll’s original Alice in Wonderland is PD, it’s no longer “free” to build on thanks to corporate monopolies on derivative works.

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Much as I want to let go entirely, I fear that could be socially irresponsible. Which also why using no license at all is not really an option. In our world, everything is copyrighted, whether it displays the © symbol or not, whether it’s registered or not, whether it’s attributed or not.  Everything is “owned” by someone. Therefore unless something is very clearly marked as Free, it is assumed to be Owned. No license at all would make it impossible for would-be re-users to determine whether the work is legally safe to use.

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A friend pointed out that the State gets into everything. Just because I don’t invoke repressive copy restrictions directly, doesn’t mean they don’t affect my work indirectly. Copyright affects everything, whether it’s copyrighted or not. Art is born free, but is everywhere in chains.

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Another friend pointed out that my desire to “let go” is still desire. Choosing  CC-o/Public Domain to experience the thrill of “selflessness” may actually be more selfish than choosing strong copyleft.

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I want my art to stay free. How to achieve that under our current copyright regime, is quite a dilemma.

Continue reading “Mimi & Eunice”

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