For when thy labour doon al ys, For when your labour’s all doneAnd hast mad alle thy rekenynges, And you’ve made all the accountsIn stede of reste and newe thynges Instead of rest and other thingsThou goost hom to thy hous anoon, You go straight homeAnd, also domb as any stoon, And as dumb as any stoneThou sittest at another book Sit at another bookTyl fully daswed ys thy look. Till your eyes are fully dazed

Notandum,A rat had gnawn my spur-leathers; notwithstanding,I put on new, and did go forth: but firstI threw three beans over the threshold. Item,I went and bought two tooth-picks, whereof oneI burst immediately... and at St. Mark’s I urined.

The shaded afterlife of Leonardo’s notebooks – ‘without parallel in theintellectual history of word and image’, as Kemp describes them – stands insharp relief when we light it with the long, powerful burn of Pacioli’sposthumous – albeit near-anonymous – career. There’s no doubt thatLeonardo was the greater thinker, but his creative achievements madescarcely any impression compared to the impact of the universal adoptionof his friend’s Summa.

up Isabella d’Este’s portrait, complaining of Leonardo’s ‘haphazard andextremely unpredictable’ routine. This frustrating restlessness was, ofcourse, integral to the obsessive creativity. Pacioli had been able to draw aline under a piece of work and consider it done, but for Leonardo thisrepresented a mental hurdle that he frequently failed to clear. He leftpaintings unfinished for decades – Lisa del Giocondo sat for the Mona Lisawhen she was in her early twenties, and was thirty-nine when Leonardodied, still working on it – and he evidently felt similarly about hismanuscripts and notebooks

Melzi’s posthumousedition of the Treatise on Painting, for instance, would require collationfrom no fewer than eighteen notebooks.

Why did Leonardo not go to Venice to publish when Pacioli did? Had hetidied up the texts in his notebooks, he would have had no difficulty findinga patron and printer, and could have seen several books into print at thesame time as his friend.

Pacioli’s Summa proved to be one of the most consequential books of alltime.

In 1540 a Venetianprinter named Domenico Manzoni excerpted them, without attribution(Pacioli himself had acknowledged most, but not all, of his sources) butusefully adding hundreds of worked examples which illustrated Pacioli’spoints. Tellingly, Manzoni retitled the work Quaderno Doppio, ‘the doubleledger’. Selling even better than Maestro Luca’s original, it went throughsix or seven editions and prompted a wave of adaptations and translations.

of the six hundred pagesof the Summa, only twenty-seven covered bookkeeping.

that of a centenarian who had died of arteriosclerosis

Pacioli completed another equally playful book at about the same time:De Viribus Quantitatis (‘On the powers of numbers’), which compilesnumber games, card tricks, riddles and reasoning problems. It makesfrequent mention of Leonardo, and much of the content overlaps withpuzzles that can be found in the notebooks.

‘Alas, this will never get anything done’ is a theme that recurs in severalnotebooks.

In February 1498, Maestro Lucacompleted De Divina Proportione, which was illustrated by ‘the graciousleft hand’ of his new friend, as Leonardo showed off his mastery ofperspective and geometry with a set of precise, fenestrated illustrations ofthe six Platonic solids, from the four-faced tetrahedron to the twenty-sidedicosahedron.

This habit of drawing engaged one of his most important analyticaltools: analogy. Drawing from nature in detail forces the artist to understandboth underlying structure and surface detail, and this close examination ledLeonardo to make surprising connections, noting the resemblances betweenthe curls of hair and the movement of water, a sprouting seed and thevessels around the human heart, ropes and levers and tendons and bones.These connections would prove distracting – ‘lateral thinking at apathological level’, as Kemp puts it – but the result was that ‘he couldalways see further possibilities’.

He analysed the flow of blood around the heart, makingthe world’s first post-mortem diagnosis of arteriosclerosis, and worked outhow the aortic valve manages the turbulence of rushing blood.

Over six thousand leaves (which is tosay, thirteen thousand pages) survive, and experts estimate that thisrepresents about a quarter of the original total. This implies that Leonardofilled his notebooks at the rate of about a thousand pages a year, allobsessively covered with drawings, diagrams and idiosyncratic mirrorhandwriting. ‘I worked out at one point that he must have written aboutfifty academic-length books, if you put them all together,’ says Kemp. ‘Hewas never at rest.’

The successful artist towhom he was apprenticed in Florence, Andrea del Verrocchio, ran a book-making workshop out of his house on Via Ghibellina, just off the street ofbookshops, where the cartolai clustered

Pacioli’s reader, in whose company he would spend most of thefollowing decade, was Leonardo da Vinci.

Pacioli was granted copyright inthe work by the Venetian authorities, protecting his work from piracy.

Paganino de Paganini

In short: Book ix of the Summawas the nearest thing to an MBA textbook that the fifteenth century had tooffer. And one of the first lessons that its aspirational readers digested wasthat every business needed at least four blank books – the memoriale, orday book, the giornale, or journal, the quaderno, or general ledger, and abook for correspondence – and maybe even a fifth, the squartofoglia, or

He supplemented the commercial arithmetic with instruction in goodpractice in letter-writing, record-keeping, filing – and even that staple of theworkplace notebook, the things-to-do list

And buried deep inside,Book ix of the Summa presents a concise and surprisingly readable coursein double-entry bookkeeping, spelling out exactly how a business should berun – and why the Florentine-Venetian system of double entry was the bestway to do it. ‘Without double entry, businessmen would not sleep easily atnight’, he writes. ‘Their minds would keep them awake with worry.’

An ambitious synthesis of all the mathematical knowledge he could find,Pacioli’s Summa de arithmetica, geometria, proportioni et proportionalitais a baggy monster of a book. Six hundred and fifteen pages long, nearlyhalf a million words, full folio in size, closely printed on fine paper, itcomprehensively sums up the state of European mathematical knowledge,and was intended for a wide audience – Fra Luca wrote informally, inTuscan, not Latin, making it accessible to anyone with a basic education.The book combines a general treatise on theoretical and practical arithmetic– including the Liber Abaci of the then little-known Fibonacci, whichPacioli had discovered on a monastery bookshelf – with an introduction toalgebra, currency conversions, multiplication tables, weights and measuresof the Italian states, a summary of Euclidean geometry, and accounts ofArchimedes, Euclid and Piero della Francesca.

At one point he was forced to move on, when in 1491 he wasforbidden from teaching young men in Sansepolcro, presumably for somekind of sexual impropriety.

Leon Battista Alberti, who, as artist-architect-cryptographer-philosopher-poet-athlete, was perhaps the most Renaissanceof all Renaissance men.* Forty-three years older than Pacioli, he hadworked out the mathematics that underpinned perspective some thirty yearsbefore, completing his book De Pictura (‘On Painting’) in 1435.

Luca Pacioli

To conjure the devil, play a C and an F# together, or listen to the intro toJimi Hendrix’s ‘Purple Haze’.

But LHD 244 is unique in how it captures an art form evolving overa long period, and shows how it was transmitted from musician tomusician. This formal study of musical theory shows us how classicalmusic evolved out of liturgical chanting and towards the harmonicsophistication that Bach, Mozart and Beethoven would master

while avoidingaccidentally landing on the tritone, an interval so abrasive that it wasnamed diabolus in musica (‘the devil in music’).

It documents the English harmonic innovation known as the gymel,in which two or more voices singing a part in unison suddenly split intopolyphonic harmony, producing rich, textured chords before returning tothe melody in unison.

In this context, Trump’s Truth Social page is little more than a rapid-response account that illustrates a world that doesn’t actually exist: one in which POTUS looks like a comic-book hero, is universally beloved, and exerts his executive authority to jail or silence anyone who disagrees with him. This sort of revenge fantasy would be sad coming from anyone. That it is coming from the president of the United States, a man obsessed with retribution, who presides over a government that is enthusiastically arresting and jailing immigrants in makeshift camps, is terrifying.

During Trump’s tariff vacillations, which caused markets to plummet, he posted on Truth Social that Americans should “BE COOL” and not become “PANICANS,” an invented term for people who expressed genuine concern that Trump was destroying the economy. (MAGA influencers tried and failed to make that one stick.)

Moyers tells it in the first person: We were in Tennessee. During the motorcade, he spotted some ugly racial epithets scrawled on signs. Late that night in the hotel, when the local dignitaries had finished the last bottles of bourbon and branch water and departed, he started talking about those signs. "I'll tell you what's at the bottom of it," he said. "If you can convince the lowest white man he's better than the best colored man, he won't notice you're picking his pocket. Hell, give him somebody to look down on, and he'll empty his pockets for you."

The Adjunct UnderclassBy Herb Childress

Mont Pelerin Society

commodification of knowledge

Historically, he writes, colleges and universities aimed to imprint capital-C Culture—especially a familiarity with a nation’s great texts and intellectual traditions—on young people. Today, however, students more often are seen and see themselves as consumers who are buying diplomas in order to signal their employability. In this model, the values that animate higher education are job preparation, skill building, and networking, not intellectual engagement or humanistic fulfillment. The University in Ruins

“Ozzy Osbourne, born 1948. Died, whenever. He bit the head off a bat.”

Although Mr. Osbourne styled himself as a menacing banshee, offstage he was a genial homebody. Devoted fans had known this at least since 1988, when the Penelope Spheeris documentary “The Decline of Western Civilization Part II: The Metal Years” featured a gregarious Mr. Osbourne making scrambled eggs while wearing a leopard-print kimono.

the group embraced the logic that people paid to be scared at horror movies, and the young musicians renamed themselves Black Sabbath, inspired by a Boris Karloff film with that title.

there is a noticeable trail in the text (p. 6) of ‘could have’ and ‘might have’,rather disconcertingly followed by ‘were thus’.

Thanks, Chris! I gotta say some of your articles and the resources you compiled deserve a LOT of credit here.

Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it. . . . You get one paragraph partly right, and then you’ll go back and work on the other part. It’s a different thing.

Swintec thrived on this type of government business, but sales were declining by the late 1990s. Then the company stumbled on an idea: a clear typewriter for prisons. The company's owner, Dominic Vespia, says they were inspired by other transparent products designed to prevent smuggling of contraband, from televisions to toothpaste tubes.

Though Swintec is profitable, it has slimmed down to about 10 employees from about 85 employees, Mr. Michael says. He says the company sold "thousands and thousands" of typewriters at the peak but declined to be specific. Swintec still sells about 3,000 to 5,000 typewriters a year, to customers including universities, senior centers and state and federal prisons.

Brother International Corp., a Japan-based company with U.S. headquarters in Bridgewater, N.J., still sells typewriters, although unlike Swintec its business is diverse, including everything from printers to sewing machines.

Swintec is one of the last surviving typewriter companies in the U.S., although these days its machines are made in Japan and Indonesia.

Swintec started out in 1978 selling electronic calculators. By the mid-1980s, its typewriter sales were growing fast, even as the personal computer was cutting into sales at typewriter giants.

And Swintec executives found a way to save their business a decade ago with a new client: prisons.

The whole language approach assumes that reading is a naturally learned skill, much like speaking, and that exposing children to reading material will allow it to emerge.

Phonics stresses fundamental instruction in the letters and letter combinations that make up sounds, thus allowing children to “sound out” words and later whole sentences and passages.

Mister Rogers arrives with a card showing the word "typewriter" on one side and a picture of a typewriter on the other. In the kitchen, he has a real typewriter set up which he demonstrates for viewers. Mister Rogers talks about mothers and fathers who use typewriters before he sings I'd like to Be Just Like Mom and Dad. As he sings, a short film is shown about mothers and fathers.

you can adjust the strike of individual typebars by either filing or peening the ring-stop tab, file to hit harder & peen to lighten it. for your situation, you will want to file the ring-stop down a bit; make sure to tilt the machine up(or on its side) so the debris created doesn’t fall down into the pivot segment, then blow the area out with compressed air. if you go to Hobby Lobby or an RC model shop, you should be able to get a cheap set of needle files which will do the job; follow up with 600-800 grit sandpaper to remove burrs

roller pliers are for adjusting the height of individual letters(increasing the arc to lower & decreasing arc to raise, which in extreme case can then require adjustment of the slug to put it ‘square’ again relative to the platen) adjusting the strike for most models is done by either filing or peening the ring-stop tab near the base of the typebar(as is the case for OP’s smith corona)

“Multiple exclamation marks,' he went on, shaking his head, 'are a sure sign of a diseased mind.” ― Terry Pratchett, Eric

It’s telling that the first recorded useof the word ‘commonplacer’ in the Oxford English Dictionary isDonne’s.

in olden timey days, they taught more or less like this: hyphenate between syllables, in general, more than half the word should be on the first line. If the bell has gone off, then generally don’t start a long word. After the bell, there is room for 7, or 6 plus a hyphen. If your word is longer than that, save it for the next line. Use the margin release sparingly. For example, you might need a comma after the last word. ,

How can you tell when someone has real potential in pure mathematics?

Modern bandits known as “penmen,” “scratchers,” or “check raisers” had figured out that America’s rapid move away from old-fashioned cash transactions had created a whole new method of weapons-free criminality. By fudging the numbers on a check with some skillful penmanship, a scratcher could rob a business of thousands of dollars in broad daylight, literally smiling all the way to the bank. Better still, if he got caught, the docile nature of the robbery often led to appealingly light sentences.

poem Children Learn What They Live by Dorothy Nolte. There are variations of it, but the first line is essentially: If children live with criticism, they learn to condemn.

San Diego, California.

Fulgentin

So I’m sitting here drinking my tea about to get dressed and go pick up my latest typewriter; already got the heads up she’s arrived. Savouring the moment a little. I paid five dollars for her, no one else bid. And she does loOk kind of rough; rust spots everywhere, perhaps a dent in the top cover, dirty and grimy and probably smells like an old basement. But you know; I felt a little sorry for her. Although not top of the line she is a reputable model, as far as british typewriters go anyway. And I was sort of impressed by her slightly more extravagant sister. Wondering how bad can it really be? Some elbow grease, isopropyl, and Fulgentin will sort her out, surely? Worrying about did she survive the journey, did they pack her properly, or will she turn out to be a mangled pile of rusty parts when I open the box? So many questions. And I am wondering is this maybe the best part? But no - the best part is opening the case for the first time and seeing her in the flesh; or steel, I suppose, for the first time. That is the a moment I cherish. Better get going. See you in a bit, little darling! <3

jbird8550 0 points1 point2 points an hour ago (0 children)also, Idk where you are, I am quoting Southern California prices

“Life is only a bedtime story before a long, long sleep.”

“Friendship is like peeing on yourself: everyone can see it, but only you get the warm feeling that it brings.”

“Funny how we take it for granted that we know all there is to know about another person, just because we see them frequently or because of some strong emotional tie.” (Psycho)

“The man who smiles when things go wrong has thought of someone to blame it on.”

“I always carry a pistol when I go [to the New York Public Library]. Never did trust those stone lions.”

“I urge you with all sincerity to get to work, write a book, write two—three—four books, just as a matter of course. Don’t worry about ‘wasting’ an idea or ‘spoiling’ a plot by going too fast. If you are capable of turning out a masterpiece, you’ll get other and even better ideas in the future. Right now your job is to write, and to write books so that by so doing you’ll gain the experience to write still better books later on.” (Bloch in an August 27, 1947 letter to Ray Bradbury)

“So I had this problem—work or starve. So I thought I’d combine the two and decided to become a writer.”

“Comedy and horror are opposite sides of the same coin.”

“Evil exists everywhere. Sometimes I think our limited senses are designed to protect us from awareness of its presence. We trust them to provide us with knowledge but it may be that they block out realization of horrors we cannot bear.” (Night of the Ripper)

“Despite my ghoulish reputation, I really have the heart of a small boy. I keep it in a jar on my desk.”

If all the digital power that it takes to type up a book could be gathered into one blow, it would probably knock a hole through the Empire State Building