# data[].attributes.headline
Reseapp för nördar med intresse för historiskt textilhantver koncept 2

# data[].attributes.subject
Reseapp för nördar med intresse för historiskt textilhantver koncept 2

# data[].attributes.headline
Reseapp för nördar med intresse för historiskt textilhantverk koncept 1

# data[].attributes.subject
Reseapp för nördar med intresse för historiskt textilhantverk koncept 1

# data[].attributes.attachment_link.description
This is "IMG_8703" by Annika Madejska on Vimeo, the home for high quality videos and the people who love them.

# data[].attributes.headline
Modifierad: Reseapp för nördar med intresse för historiskt textilhantverk 1

# data[].attributes.subject
Modifierad: Reseapp för nördar med intresse för historiskt textilhantverk 1

# data[].attributes.body
Ändrad efter förslag i sista rutan.

# data[].attributes.body
• People: Människor i olika åldrar med ett intresse för historiskt återskapande fram till år 1600. Specifika intresseområden kan variera, det kan handla om vikingatid, medeltid, renässans, romarriket etc. Det kan finnas personer med rörelsehinder vilket borde beaktas. Då de reser och utbyter information oberoende av nationalitet är det gemensamma språket engelska. De är vana vid att hantera sociala medier och appar för navigation på mobiltelefonen.

• Activities: Att hitta till olika sevärdheter eller butiker av intresse när man befinner sig i en okänd stad. De vill också kunna tipsa varandra om ställen om är värda ett besök och varför de är värda ett besök. De behöver också kunna komma i kontakt med likasinnade som möjligen bor i staden eller i närheten och stämma träff med vänner som rest andra vägar till orten.

• Contexts: Artefakten ska gå att använda för att planera en resa, men också på plats när man rör sig både utomhus och inomhus. Resmålet kan vara både helt okänt sedan tidigare, men de kan också ha besökt orten tidigare och ha en viss lokalkännedom.

• Technologies: Det måste vara en mobil artefakt som är enkelt att hantera när man rör sig utanför sitt boende på orten. Den kräver uppkoppling mot internet och det måste finnas en GPS-funktion. Användaren måste kunna både hämta ut information och skriva in information till andra användare.

# data[].attributes.body
• Vad hämtar de aktiva ur apparna och webbsidorna?
De ger tips om vilka museer som kan besökas, var man hittar fornminnen, vilka länder/museer som hyser vilka fynd etc.
• Hur används informationen?
Används för reseplanering, för att kontakta museer i förväg för att möjligen få tillgång till fynden via en kurator eller som referenser när de gör efterforskningar.
• Varför används många olika appar och sajter?
Det finns ingen uppsamlande sajt eller app. All information är spridd över olika sajter och appar.
• Vem kommer närmast att erbjuda en lösning?
Ingen i dag. Därför används Google maps och Trip Advisor i hög utsträckning. En tjänst för re-enactors finns inte.
• Vad skulle en tjänst minst behöva innehålla för att bli intressant?
– Kartfunktion för vägvisning.
– Lista på museer med samlingar av intresse baserat på stad.
– Möjlighet att lista specifika kända föremål för olika museer.
– Information om specialutställningar.
– Lista på bra butiker att shoppa i för re-eactors baserat på stad.
• Var borde lösningen finnas?
I mobilen eller i smartklockan.
Det måste vara bärbart. I Europa har det blivit billigare att surfa när man reser och därmed har ett stort problem eliminerats, alltså måste tjänsten inte vara tillgänglig offline.
(Många som reser långt köper prepaid om de inte kan surfa via sitt vanliga abonnemang).

# data[].attributes.headline
Vad kan jag hämta med mig från Bloggare?

# data[].attributes.subject
Vad kan jag hämta med mig från Bloggare?

# data[].attributes.body
• Många visar sin kunskap och sprider den via bloggar.

•. Det gemensamma språket är engelska då re-enactment är internationellt.

• På bloggar visar re-enactors upp det liv de lever i historiska miljöer när museet/slottet stängt för dagen och de fortsätter kvällen utan publik.

• Det finns ett stort intresse i konstruktion av kläder och tekniker för att producera kläderna.

• Historiska maträtter är en del av helhetsupplevelsen.

• Re-enactors samarbetar med museer och historiska platser för att berika institutionernas verksamhet och berika besökarupplevelserna med sin närvaro.

# data[].attributes.headline
Vad kan jag hämta med mig från appar som i dag används av re-enactors?

# data[].attributes.subject
Vad kan jag hämta med mig från appar som i dag används av re-enactors?

# data[].attributes.body
• De använder samma appar som andra som reser.

• Mest handlar det om att använda appar för att navigera och hitta till museer eller butiker.

# data[].attributes.headline
Vad kan jag hämta med mig från artiklarna?

# data[].attributes.subject
Vad kan jag hämta med mig från artiklarna?

# data[].attributes.body
• Det finns re-enactors som återskapar slag och livet på ett slott etc och som gärna visar upp sig för publik samtidigt som de får leva i en historisk miljö under en tid.

• Andra grupper är sluta för utomstående publik och är inte lika hårda på autenticitet. De återskapar inte nödvändigtvis slag som de såg ut rent historiskt utan använder sig av historisk utrustning för att skapa en egen historisk värld.

• Det rör sig om stora mängder människor från olika länder – upp till 10 000 i ett enda läger på de största evenemangen i USA.

• Vissa evenemang måste man få specifik inbjudan till för att kunna delta (ofta re-enactment med hårda krav på autenticitet).

# data[].attributes.headline
Vad kan jag hämta med mig från vetenskapliga undersökningar?

# data[].attributes.subject
Vad kan jag hämta med mig från vetenskapliga undersökningar?

# data[].attributes.body
• Det är tydligt att upplevelse-turismen ökar. För re-enactors verkar en av de främsta drivkrafterna vara att lära sig mer och att uppleva ”immersion”, dvs. de får en känsla av att på riktigt leva i en annan tid. För besökare på historiska platser tillför det en rikare upplevelse när de får se re-enactors visa hur man levde under en viss era.

• Forskning visar också att vi är benägna att vända oss till familj och vänner med våra frågor.

• Den nya tekniken gör att vi förväntar oss ständig uppkoppling och att snabbt får svar på våra frågor.

# data[].attributes.headline
Analys av materialet i kolumnerna ”Communities” och ”Facebookgruppen”

# data[].attributes.subject
Analys av materialet i kolumnerna ”Communities” och ”Facebookgruppen”

# data[].attributes.body
Vad engagerar de aktiva?
Det finns olika grupper på Facebook som fungerar som communities för olika föreningar. Ju större förening – desto fler olika grupper på olika nivåer (dvs. världsomspännande, Europa, Sverige, lokalgrupper i Sverige etc.)
Vissa forum och Facebookgruppen spänner över föreningsgränser – som exempel "Vi som syr medeltidskläder” eller ”Historiskt korrekt”. Det är tydligt att mycket handlar om att få råd, tips eller rekommendationer från andra som kanske vet mer eller har bra råd.

Vem ska kunna använda tjänsten?
Det är ett brett spektrum på medlemmar. De har olika förutsättningar rent ekonomiskt och kunskapsnivåerna skiftar, ofta beroende på hur länge de varit aktiva. Vissa är väldigt inriktade på ett visst århundrade eller en viss kultur – andra har inte riktigt hittat sin grej än eller är aktiva inom flera föreningar som ägnar sig åt olika århundraden. Genom att låta användarna aktivt skapa och dela innehåll kan man tillgodose allas individuella behov.

Varför behövs möjligheten till kommunikation mellan aktiva?
Det finns ett stort behov av kunskapsutbyte och möjligheter att ställa frågor. Det finns exempelvis inom föreningen SCA en grupp där medlemmar i USA kan ställa frågor och be om hjälp om de vill besöka evenemang inom föreningen i Europa. En liten ”föreningsresebyrå”. Då man ska köpa material till hobbyn vill många kunna få råd om bästa ställen för inköp. Eller om ett föremål de hittat på loppis eller via en onlinebutik är en replika av ett autentiskt föremål och kan användas inom föreningen eller inte.

Hur kan jag använda det jag vet om communities och forum till min lösning?
Det är tydligt att personliga rekommendationer och möjligheten att ställa frågor och få svar är viktigt. Likaså en möjlighet att kunna ge pålitlighetsbetyg på webbshoppar som säljer material till re-enactors (se FB-gruppen ”Re-enactors Sick of Unprofessional Merchants and Artisans”).

Var finns lösningarna i dag?
I dag sker kommunikationen mellan de aktiva i väldigt hög utsträckning via sociala medier och bloggar.
Facebook är definitivt övervägande. Det kan dock vara svårt för nya inom hobbyn att hitta grupperna och forumen orm man inte vet var man ska börja söka.

När behöver medlemmarna tillgång till att kunna kommunicera?
Många förbereder sina resor och koordinerar via Facebookgrupperna. Där skapas också grupper som är specifika för olika evenemang där aktiva kan koordinera. Men även när resor påbörjats kommer frågor och förfrågningar om att mötas upp eller få assistans.

# data[].attributes.body
• Vad? Levande historia eller reenactment – dvs. att uppleva en del av hur livet kunde se ut i en annan tidsepok. Vissa grupper är strikt intresserade av exempelvis 1400-talet – andra rör sig i ett brett fält över hela medeltiden och renässansen. En del grupper har väldigt strikta krav på så autentisk utrustning som möjligt – andra är mer tillåtande och kreativa. Gemensamt för alla är att man vill uppleva historia – inte bara läsa om den.
• Vem? – Reenactors, dvs. människor i olika åldrar som är intresserade av att återskapa historia och uppleva den genom att klä sig i medeltida kläder, utföra medeltida hantverk, äta medeltida mat etc.
• Varför? – De flesta reenactors nöjer sig inte med att bara läsa om historia. De vill uppleva den och få en djupare förståelse. Som exempel på saker man förs tår bättre genom att uppleva själv kan nämnas hur redskap användes, hur maten smakade, varför kläderna såg ut som de gjorde och hur de tillverkades.
• Hur? De flesta tillverkar saker själv. Mycket anskaffning av material sker genom byteshandel (någon kan göra keramik men inte sy kläder – då byter de varor med någon som syr). För att nå större insikt nätverkar de med museer för att få studera arkeologiska fynd personligen och därefter lära varandra om sina insikter.
• Var? Över hela världen. Europa har en stor mängd olika föreningar som ägnar sig åt att arrangera evenemang och i princip alla stora evenemang drar folk från många olika länder. En grupp (SCA) är störst i USA men har en gren även i Sverige. I USA finns evenemang som varje år lockar 10 000 personer.
• När? Evenemang finns året runt men tyngdpunkten ligger på vår, sommar och tidig höst. Då kan man tälta i stora läger med paviljonger. Det finns dock evenemang även på vinterhalvåret. Vissa använder historiska platser (slott och herrgårdar) och dessa brukar locka extra mycket folk på grund av möjligheten att få vara i en äkta historisk miljö.

–––––––––––––––––––––

– Reenactors reser för att få uppleva historia eller för att få studera föremål eller konst som kan hjälpa dem att bli bättre på sitt återskapande.
– De vill gärna träffa likasinnade och få tips och råd av likasinnade från orten/landet de reser i.
– De besöker gärna bokhandlar.
– De vill hitta historiska museer eller utställningar med konst eller föremål från specifika tidsperioder
– De kan resa till vissa städer enbart för att besöka specialbutiker som säljer material eller utrustning de behöver eller vill ha.
– De besöker gärna historiska platser där berömda slag har utkämpats eller historiska personer har levt.
– De nätverkar internationellt via forum och Facebookgrupper

# data[].attributes.attachment_link.readable_text
För tredje året anordnas Battle of Wisby under Medeltidsveckan. Så autentiskt som möjligt återskapas slaget vid Mästerby och slaget vid ringmuren år 1361 då Danmark med hjälp av tyska trupper erövrade Gotland.
(Missa inte det gedigna bildspelet från slaget intill.)
I torsdags stod slaget i Mästerby där gotländska bönder försökte slå tillbaka dansken som landstigit på den gotländska västkusten. Men kampen var ojämn, mellan 500 och 1 000 gutar försökte hejda 2 500 danska och tyska soldater.
LÄS ÄVEN: Historiskt slag lockade 2 000 åskådare
De danska trupperna hade bössor laddade med svartkrut och de flesta av gutarna fick sätta livet till.

På lördagen hade danskarna tagit sig ända till Visby för den slutliga uppgörelsen. Det fåtal gutar som överlevt slaget på Mästerby myr har tagit sig till Visby för att varna för att dansken är på väg och för att sälla sig till det gotländska försvaret.
LÄS ÄVEN: Säkerheten först när slagen återskapas
Visserligen har slaget vid ringmuren fått flytta lite längre norrut än där det egentligen begav sig för 655 år sedan, men scenen är fantastisk med ringmuren och den nästan klarblå himlen i bakgrunden. Vallarna i Östergravar blir till naturliga läktare för den stora publiken som kommit för att titta på skådespelet där flera hundra personer från närmare 20 länder deltar.

Klingande svärd, vinande pilar, klapprande hovar och klagorop från de sårade och döende. När drabbningen slutligen är över har en stor del av Gotlands cirka 4 500-5 000 vuxna män mist livet i stiderna.

# data[].attributes.attachment_link.description
För tredje året anordnas Battle of Wisby under Medeltidsveckan. Så autentiskt som möjligt återskapas slaget vid Mästerby och slaget vid ringmuren år 1361 då Danmark med hjälp av tyska trupper erövrade Gotland. (Missa inte det gedigna bildspelet från slaget intill.) I torsdags stod slaget i Mästerby där gotländska bönder försökte slå tillbaka dansken som landstigit på den gotländska västkusten.

# data[].attributes.attachment_link.readable_text
You may have seen the mysterious white tents north of Pittsburgh along I-79 from late July through early August. They've been there every summer, same time, same place, for the last 37 years.

What you can't see from the highway is a tightly guarded fortress that surrounds a medieval city of over 10,000 people from around the world.

The tents, along with elaborately constructed temples, castles, and pavilions are sprawled across the 450-acre Cooper's Lake Campground at the edge of Moraine State Park and Lake Arthur. This is no Renaissance Faire.

This is the Pennsic War.

A combination of Punic War and Pennsylvania, the Pennsic War is a 17-day reunion of the Society for Creative Anachronism (SCA) (yep, that's the name) an international organization dedicated to researching and re-creating an authentic-and they mean authentic-pre-17th century experience.

In other words, it's a time portal to the Middle Ages.

Enter the gated city and the magic of the Pennsic experience unfolds. There are Spanish conquistadors, Japanese Samurai, Vikings, Romans and other Europeans, all in period costume.

Nearly everything you see is from the medieval ages, from the linen, silk and cotton flowing robes to leather and glass accessories. Even the coffee cups and beer mugs are made from metal or clay, materials available in medieval times.

Within the Pennsic fortress you'll find Artisans' Row where merchants sell everything you would find from the 6th to 16th century-from essential oils, jewelry and soap to armor and weaponry.

You can enroll in Pennsic University and choose from over 1000 classes such as glassblowing, bookbinding, leather and metalworking, cooking, cheese making and-always a big draw-medieval beer.

There are medieval activities for children as well as music in the monastery and live performances nightly.

The Pennsic War takes a stab at recreating a medieval town with a mayor, town square, hospital, theatre, security force and town criers who wander the grounds. If you Google Map Pennsic War you can see the layout of the campground and the names of the Pennsic streets that remain all year round.

They strive to be as authentic as possible. "While the SCA doesn't force a standard of authenticity on everyone, we do ask that people be respectful of the culture," says Lynn Averill, a realtor from Buffalo, NY and Pennsic spokeswoman.

That almost goes without saying.

In the beginning
It all started in 1966 at a backyard party of a Berkley graduate student in Medieval Studies. Likely after one too many drinks the group started fighting with fake swords and motorcycle helmets. And that was the start of it.

Today, the SCA has grown to include 19 kingdoms around the world with over 30,000 members from all 50 states and Canada, England, Australia, New Zealand, Germany, Sweden, France, Denmark and other nations.

"Within the kingdoms there are local groups that hold events throughout the year," Averill notes. "Pennsic is an opportunity to share ideas on whatever aspect of the Middle Ages interests you with people who have been doing the same research thousands of miles away."

Each of the 19 kingdoms has a coat of arms, flag, colors, and other heraldry. Kings and queens, chosen within each kingdom through combat at a Crown Tournament, roam the city during Pennsic wearing crowns of silver and gold, and costumes with exquisite designs and beadwork. Throughout the year their subjects engage in one of the three main disciplines of the SCA - combat, arts and sciences and community service-in their particular kingdom or group.

During the final week, Midnight Madness occurs - a one-night celebration that includes an eccentric variety of performers, dancers, fire blowers and musicians in streets of the campground for a late-night party before the final battles of the war.

While the medieval pageantry is intriguing, in the end it's all about the Pennsic War, which culminates in multi-day combat between the East Kingdom (eastern PA, eastern NY, New England, DE and eastern Canada) and Middle Kingdom (western PA, western NY, WVA, OH, MI, IL, IN and parts of KY, IA and Ontario).

The other kingdoms around the world align with one of these two kingdoms for battles on the open fields near Cooper's Lake.

The Pennsic community gathers to watch a masked, full-armor field battle with 4000 warriors per side. There are battles where armies must capture a castle (now a permanent structure at the campground), and a forest battle in the woods adjacent to Coopers Lake. Points are allotted to the participants and warriors eliminated through hand-to-hand combat and a strict Code of Honor. The swords are made of wood and the injured and dead leave the field by walking away on their own.

Pennsic also includes other types of martial combat that existed in the Middle Ages such as archery, throwing axes and knives and rapier combat.

Back in the early 1970s when Pennsic was just forming, the Pittsburgh region wasn't sure if it was part of the Middle or East kingdom. It became a Pennsic joke that the "loser gets Pittsburgh" and the city became known as the Debatable Lands.

Today Pittsburgh is part of the Kingdom of Aethelmearc along with central and western Pennsylvania, West Virginia and western New York. But within that kingdom, Pittsburgh and most of southwestern PA is still known as the Barony-Marche of the Debatable Lands.

For Cooper's Lake Campground and Butler County, the Pennsic War has brought many benefits.

"They are a fantastic bunch of people and there is a level of trust and cooperation between my family and Pennsic to make it a solid event," said James Brezel, president of Cooper's Lake Campground. "The land has been in our family for nine generations. There are people that consider this a second home and we welcome that feeling."

The Pennsic War is open to members of the Society for Creative Anachronism. It is not open to the general public and does not offer any public performances or entertainment. It is highly recommended that all guests join and then preregister with their local SCA group which is welcomed through the website at www.sca.org where you can enter your zip code or country and find your group.

To enter the Pennsic fortress you must go through the "troll" at the gate where money is collected and membership and registration checked. There are a number of people who patrol the two entrances and prevent bandits from sneaking in (don't even think about it). It's not a big problem, but the SCA has also had people show up at the gate thinking it's a public Renaissance festival.

"Back in high school my curiosity got the better of me and some friends and I tried to sneak in wearing costumes made from whatever we had lying about the house," said Ron Lutz, who grew up near Cooper's Lake. "Needless to say, when a giant man in full, jet black plate and mail told us to leave we did so. Quickly!"

There is a certain level of anonymity about the Pennsic War. Just who are these Lords and Ladies that make up the massive Pennsic city? CEOs, political representatives, teachers, business owners? You may never know since everyone goes by a medieval name - such as Llyr, Bevin, Adelaide or Dragoslav. It's all part of the Pennsic mystique.

While there are various levels of participation within the SCA throughout the year, there is a strong feeling of kinship and camaraderie at the Pennsic War. There is no doubt this is something truly special.

"I've been fortunate to make friends with just about every vein of Pennsic denizen," Lutz added. "Spending time with folks from all walks of life and having a lot of people I can honestly call friends has really enriched my life. I can't tell you how many times people I know from Pennsic have come through for me during dark days."

In 2016 the Society for Creative Anachronism will turn 50 years old and a large celebration is planned to mark the milestone.

"We really want people to learn about the arts and sciences of the Middle Ages, get in contact with their local group and get acclimated to what we do," Averill said. What we do at Pennsic is a bigger version of everything we do in our hobby throughout the year."

Pulling out your cell phone is taboo, so please, no selfies.

Pennsic War Society for Creative Anachronism

About The Author

Related Posts

# data[].attributes.attachment_link.title
Pennsic War draws 10,000 for medieval reunion and battle. Every year.

# data[].attributes.attachment_link.description
You may have seen the mysterious white tents north of Pittsburgh along I-79 from late July through early August. They've been there every summer, same time, same place, for the last 37 years. What you can't see from the highway is a tightly guarded fortress that surrounds a medieval city of over 10,000 people from around the world.

# data[].attributes.attachment_link.readable_text
The chapel of Notre Dame du Haut in Ronchamp is one of the finest examples of the architecture of Franco-Swiss architect Le Corbusier and one of the most important examples of 20th century religious architecture. It was built between 1953 and 1955. The chapel is a working religious building and attracts 80,000 visitors each year.

Notre Dame du Haut is commonly thought of as a more extreme design of Le Corbusier's late style. The chapel is a simple design with two entrances, a main altar, and three chapels beneath towers. Although the building is small, it is powerful and complex. The chapel is the latest of chapels at the site. The previous chapel was completely destroyed there during World War II. The previous building was a 4th-century Christian chapel. At the time the new building was being constructed, Corbusier was not exactly interested in "Machine Age" architecture but he felt his style was more primitive and sculptural. Also, he realized when he visited the site that he could not use mechanized means of construction, because access was too difficult.

# data[].attributes.attachment_link.title
SpottingHistory.com - Explore Historic Sites & Historical Attractions on Map

# data[].attributes.attachment_link.description
The chapel of Notre Dame du Haut in Ronchamp is one of the finest examples of the architecture of Franco-Swiss architect Le Corbusier and one of the most important examples of 20th century religious architecture. It was built between 1953 and 1955. The chapel is a working religious building and attracts 80,000 visitors each year.

# data[].attributes.attachment_link.readable_text
Lokale nyheter - 5 kr for 5 uker
Børdy: - Folkens, vi ha fått oss jobb på Petter Dass-museet, og frå tidlig sommer kan du og aille ainner få ein guida tur med oss ..."
Bædi: - ... di to profesjonelle, OG barnslige, Bædi & Bærdi - Barnas reiseguider i Norge!"
Slik presenterte Bædi og Børdi selv nyheter om at de skal være guider på Petter Dass-museet. Reiseappen som så langt har vært i bruk på Norsk Luftfartsmuseum, Lofotr Vikingmuseum i Lofoten, Kjerringøy Handelssted og Sjøgata i Mosjøen utvider altså reiseruta si.

- Vi skal ha to oppdateringer av appen i år, en til sommeren og en til høsten, og vi jobber med å få inn så mange som mulig nye plasser. Vi satser på i hvert fall 10 nye totalt, og det ser ut til at vi får en veldig tetthet på Helgeland, sier daglig leder i Baahdy & Birdy AS, Linda Skipnes Strand.

Les også: Linda flyr høyt med ny app: - En skrekkblandet fryd
Les også: Bædi og Børdi guider i Sjøgata
Les også: Bædi & Børdi skal vise veien

- Petter Dass-museet er en perfekt kunde

Sammen med Aleksander Leines Nordaas og Helen Amundsen Halten står hun bak barnas reiseguider. Bædi er en geit som er veldig glad i fiskeboller, til tross for at de gir ham så mye luft i magen at han blir en luftballong. Men kompisen Børdi er en fugl som ikke kan fly, så det passer i grunn godt. Så når den reiseglade duoen har ruta klar fiseflyr de landet rundt.

- Petter Dass-museet er en perfekt kunde for Bædi og Børdi. Det er et museum med mye spennende historie, men jeg tror ikke så mange unger er interessert i Petter Dass i utgangspunktet. Når man formidler det på en mer barnevennlig måte er det kjempemasse spennende å få ut, sier Skipnes Strand.

De tre mosjøværingene som står bak Bædi og Børdi har altså som mål å utvide nedslagsfeltet til reiseguidene kraftig i 2018, men Skipnes Strand kan ikke røpe hvilke andre steder som er aktuelle før kontraktene er underskrevet. I tillegg til at det er flere steder på Helgeland som er aktuelle, sier hun at fokusområdet ellers er Nordland, Troms og Trøndelag.

Store Oslo-museum

- Vi satser på at appen kan oppdateres med nye steder fra mai/juni. En positiv overraskelse er at vi nå får henvendelser fra folk som vil være med. Den første henvendelsen kom fra Oslo, så selv om vi tenkte at reiseruta skulle gå geografisk ut fra Helgeland er vi i dialog med store museum i Oslo også, forteller Skipnes Strand.

Bædi og Børdi hører i utgangspunktet hjemme i en reise-app som barn og voksne kan laste ned på mobil eller nettbrett, men har også spilt hovedrollene i en kortfilmen "Bædi & Børdi - Flaskepost fra verdensrommet". Appen har så langt blitt lastet ned nesten 4.000 ganger.

- Vi ble nesten litt overrasket selv over responsen. Appen brukes til guiding, men har også et spill som er veldig populært. De vi har snakket med er veldig fornøyde og vi oppnår mye av det vi håpet på. Unger synes det er morsomt å bli guidet av Bædi og Børdi, og foreldrene er fornøyde med at ungene lærer ting. Så det er alle tingene vi håpet på å oppnå, slår Linda Skipnes Strand fast.

# data[].attributes.attachment_link.title
Bædi og Børdi fiser videre til Petter Dass-museet - og snart kan store museum i Oslo stå for tur

# data[].attributes.attachment_link.description
Lokale nyheter - 5 kr for 5 uker Børdy: - Folkens, vi ha fått oss jobb på Petter Dass-museet, og frå tidlig sommer kan du og aille ainner få ein guida tur med oss ..."Bædi: - ... di to profesjonelle, OG barnslige, Bædi & Bærdi - Barnas reiseguider i Norge!"

# data[].attributes.headline
Motivational push factors for visiting reenactment sites

# data[].attributes.subject
Motivational push factors for visiting reenactment sites

# data[].attributes.attachment_link.title
Motivational push factors for visiting reenactment sites - ProQuest

# data[].attributes.attachment_link.description
This is a short preview of the document. Your library or institution may give you access to the complete full text for this document in ProQuest.

# data[].attributes.body
People often turn to their friends, families, and colleagues when they have questions. The recent, rapid rise of online social networking tools has made doing this on a large scale easy and efficient. In this paper we explore the phenomenon of using social network status messages to ask questions. We conducted a survey of 624 people, asking them to share the questions they have asked and answered of their online social networks. We present detailed data on the frequency of this type of question asking, the types of questions asked, and respondents' motivations for asking their social networks rather than using more traditional search tools like Web search engines. We report on the perceived speed and quality of the answers received, as well as what motivates people to respond to questions seen in their friends' status messages. We then discuss the implications of our findings for the design of next-generation search tools.

# data[].attributes.body
2009
The intersection of the three fields of social networking, impacts of information and communication technologies (ICT), and travel behavior generates exciting and important research questions. Challenges include the rapidity with which technology is changing and our own preconceived ideas about its impacts. nevertheless it is clear that current travel behavior models are deficient in taking into account the cocial context in which travel takes place, and the role that ICT plays in constraining as well as fascilitating options. New conceptualizations, methodologies, and datasets need to address a plethora of research issues.

# data[].attributes.attachment_link.title
Expanding Sphere of Travel Behaviour Research

# data[].attributes.attachment_link.description
The IATBR conference proceedings series has a history of over 30 years and is widely read by researchers, practitioners and graduate students in the field of transportation and urban planning in general, and in travel behaviour analysis in particular.

# data[].attributes.body
”I use it to see what is nearby and to find to places I want to visit”

# data[].attributes.attachment_link.title
Google Maps - GPS Navigation on the App Store

# data[].attributes.attachment_link.description
Read reviews, compare customer ratings, see screenshots, and learn more about Google Maps - GPS Navigation. Download Google Maps - GPS Navigation and enjoy it on your iPhone, iPad, and iPod touch.

# data[].attributes.attachment_link.description
Read reviews, compare customer ratings, see screenshots, and learn more about Google Arts & Culture. Download Google Arts & Culture and enjoy it on your iPhone, iPad, and iPod touch.

# data[].attributes.attachment_link.readable_text
London Apps: Time Travel Explorer On iPad

Time Travel Explorer, one of our digital highlights of the year, is now available on iPad. And it looks more crisp and inviting than an 18th Century frost fair.

Time Travel Explorer is probably the closest you can get to time travel without a flux capacitor. The app lets you pinpoint your location on a modern map of London, then merge in maps from yesteryear to see how the area has changed. In nearly all cases, the alignment is near-precise. Corporate headquarters give way to alleys and stable blocks, which in turn revert to fields and orchards as you head back to the earliest map in 1746. Better yet, the maps come with hundreds of points of interest, which carry text, old photos and audio commentary from a Blue Badge Guide.

The new high-definition iPad version ratchets the experience up several notches. The larger screen and sharp resolution are mouthwatering for anyone who loves exploring old maps and poking around in the corners of London's history.

An ongoing blog (written by Londonist M@ and London journalist Peter Watts) highlights the many interesting stories revealed by the maps in Time Travel Explorer - from pinpointing the locations of London's lost City gates to uncovering the geographic history of sites connected with Jack the Ripper.

Time Travel Explorer is available here for iPad, iPhone and iPod Touch.
Full disclosure: Time Travel Explorer was designed and built by our friends at LDN Creative, publishers of Londonist.

# data[].attributes.attachment_link.title
London Apps: Time Travel Explorer On iPad

# data[].attributes.attachment_link.description
London Apps: Time Travel Explorer On iPad Time Travel Explorer, one of our digital highlights of the year, is now available on iPad. And it looks more crisp and inviting than an 18th Century frost fair. Time Travel Explorer is probably the closest you can get to time travel without a flux capacitor.

# data[].attributes.body
Runt om i världen finns tusentals människor som ägnar sig åt att återskapa vikingatid, medeltid och renässans.
Deras intresse inom återskapandet kan variera kraftigt – från textila hantverk, skomakeri och matlagning till medeltida kämpalek, bågskytte, bryggning av öl eller smycketillverkning med historiska metoder.
När de reser till olika evenemang vill de ofta passa på att besöka olika platser som är relevanta för deras specialintresse.
Det kan vara museer, restauranger, bryggerier, affärer som säljer pigment och bladguld till att måla medeltida dokument med, tygaffärer, garnbutiker, bokhandlare med stort utbud av historisk litteratur, bibliotek etc.
Ofta vill de också komma i kontakt med likasinnade som kan ge tips och råd på plats.

# data[].attributes.body
Kalender som visar att det finns evenemang inom en av föreningarna över stora delar av Europa.

# data[].attributes.attachment_link.title
Kingdom Event Calendar | Kingdom of Drachenwald

# data[].attributes.attachment_link.description
Estrella War is an annual event hosted by the Kingdom of Atenveldt, in the Society for Creative Anachronism (SCA).

# data[].attributes.body
Världsmästerskap i medeltida kamp

# data[].attributes.attachment_link.title
Battle of the Nations | World Championship in Historical Medieval Battle 2017

# data[].attributes.attachment_link.description
World Championship of Historical Medieval Battle "Battle of the Nations" is a unique cultural and sport event, gathering each year people all over the world.

# data[].attributes.attachment_link.description
En vecka, 500 evenemang och 40 000 besökare. Medeltidsveckan är ett eldorado för alla som gillar tornerspel, marknader, medeltida krogliv, eldshower,

# data[].attributes.attachment_link.description
This 'virtual' tour is based on our model interactive of medieval Birmingham, now on display in the exhibition 'Birmingham: its people, its history' at Birmingham Museum and Art Gallery. Discover Birmingham's medieval past by taking a tour through the heart of the 14th century town.

# data[].attributes.attachment_link.title
TripAdvisor: Läs omdömen, jämför priser och boka

# data[].attributes.attachment_link.description
Världens största resesida. 600 miljoner opartiska omdömen från resenärer. Sök igenom över 200 webbplatser för att hitta de bästa hotellpriserna.

# data[].attributes.body
Används för att hitta till museer, butiker etc.

# data[].attributes.attachment_link.title
Citymapper Transit Navigation on the App Store

# data[].attributes.attachment_link.description
Read reviews, compare customer ratings, see screenshots, and learn more about Citymapper Transit Navigation. Download Citymapper Transit Navigation and enjoy it on your iPhone, iPad, and iPod touch.

# data[].attributes.attachment_link.title
Virtual Tour - Inside The Stones | English Heritage

# data[].attributes.attachment_link.description
Take an interactive tour of Stonehenge with our incredible 360 degree view from inside the monument. Click on the hotspots to find out more.

# data[].attributes.headline
Re-enactors Sick of Unprofessional Merchants and Artisans

# data[].attributes.subject
Re-enactors Sick of Unprofessional Merchants and Artisans

# data[].attributes.attachment_link.description
Researching and re-creating the arts and skills of pre-17th-century Europe. Includes documents, newcomer info, contacts, event calendars, kingdoms, and resource links.

# data[].attributes.attachment_link.readable_text
Så här i jultider använder vi moderna människor i Norden stora mängder kanel och saffran, dock mest i efterrätter och kaffebröd och så kanel till risgrynsgröten förstås. Både kanel och saffran har använts som kryddor i matlagningen här i Norden sen åtminstone 1200-talet och då inte bara i bakverk och söta rätter utan i stort

Version 1, kommer att fastställas vid SKA Nordmarks styrelsemöte december 2017 Inom SKA Nordmark: ska ingen behöva känna sig kränkt, trakasserad eller diskriminerad ska ingen behöva känna obehag på grund av könstillhörighet, sexuell läggning, etnisk tillhörighet, politisk tillhörighet, religiös tillhörighet eller funktionshinder accepteras ingen form av trakasserier eller diskriminering Mobbning kan inkludera men begränsas

Efter en orolig natt då jag och de två andra styringarna Fenja och John legat sömnlösa, lyssnandes på stormen och väntande på besked om vårt skepp skulle kunna lämna hamn på morgonen kom vi i alla fall iväg på första etappen av vår resa mot kröningen och våra kusiner i Aarnimetsä. Väl ombord försåg jag

Medeltidsveckan rapporterar 2016-08-12 I år blev lägret lite annorlunda än tidigare år vid Öster gravar. Men det blev mycket lyckat har det visat sig. På grund av lite mer kuperad terräng är det inte lika tätt mellan tälten.

Rapport från Medeltidsveckan 2016-08-11 Ibland visar sig Visby från sin vackraste sida och Åsa har lyckats fångat några av de vyerna.

Nordmark har en ny tan och tanista i Bjaere af Lönnamo och Maria Karlbirgersdotter! De kommer att krönas furste och furstinna vid hovet i morgon onsdag 10/8-2016 Vivant!

# data[].attributes.attachment_link.description
Så här i jultider använder vi moderna människor i Norden stora mängder kanel och saffran, dock mest i efterrätter och kaffebröd och så kanel till risgrynsgröten förstås.

# data[].attributes.attachment_link.readable_text
Albrechts Bössor is a reenacment group displaying Swedish gunners during the reign of King Albrecht of Mecklenburg during the second half of the 14th century.
We travel throughout Europe to show the daily life and equipment of a 'bösserote' (gunnery squad). As is customary within Swedish reenactment, we perform both living history and battle reenacment, all year round.

We do not portray knights, but instead show the common yet professional soldiery of the time. We use small tents such as those that may have been used by soldiers, and wear light armour intended for gunners who are not supposed to take part in close combat.

Have a look at what we do!

# data[].attributes.attachment_link.description
Albrechts Bössor is a reenacment group displaying Swedish gunners during the reign of King Albrecht of Mecklenburg during the second half of the 14th century. We travel throughout Europe to show the daily life and equipment of a 'bösserote' (gunnery squad). As is customary within Swedish reenactment, we perform both living history and battle reenacment, all year round.

# data[].attributes.attachment_link.description
Iloinen Joutsen - Merry Swan. 559 likes · 27 talking about this. Keskiaikaisia käsityöläisiä. Medieval craftsmen and craftswomen.

# data[].attributes.attachment_link.description
Editor: JT Advertising Info: Check out our Advertising info Unless otherwise stated, all content on this site is the sole property of The Armour Archive. None of the content may be copied and used in any other publication, unless permission has been granted for that use. This site was born December 5, 1997.

# data[].attributes.attachment_link.description
Keskiaikaisia käsitöitä - Medieval crafts

# data[].attributes.attachment_link.readable_text
ENGLISH BELOW
Som många av er kanske redan känner till så har vi ända sedan starten av vår blogg älskat och återskapat några av de medeltida guldskinnsbroderierna. Vi har drivits av en önskan att förstå användandet av broderiernas funktion, en nyfikenhet på hur de tillverkats, en längtan efter att skapa tillsammans med vänner och en önskan att få se broderierna hur originalen kunde sett ut då de var i sin guldglänsande prakt.

Vi har analyserat alla broderier som finns i samlingen hos Statens Historiska museum, Ilsbotäcket hos Hälsinglands museum och Maskutäcket hos Nationalmuseum i Finland. Kvar på listan finns ett broderi som idag tillhör The Metropolitan museum i New York.

Svenska Fornminnesföreningen delar ut Mandelgrenpriset.
"Mandelgrenpriset ska minna om konstnären och folklivsforskaren Nils Månsson Mandelgrens (1813-1899) banbrytande dokumentation av historiska och arkeologiska bilder, föremål och miljöer, häpnadsväckande i kvalité och omfattning. Nils Månsson Mandelgren hade ett brinnande intresse för kulturhistoria men även för sin samtid och reste över hela Sverige för att dokumentera konst, miljöer, människor, och arkeologiska artefakter. Priset till hans minne tillkom på initiativ av docenten i konstvetenskap Lennart Karlsson (1933-2014) som under tjugo år arbetade på Statens historiska museum som specialist med särskilt intresse för medeltida konst. Priset delas ut årligen sedan 2016. Svenska Fornminnesföreningens styrelse beslutar vem som skall få priset."

Här kan ni läsa Svenska fornminnesföreningens motivering till varför de valt att ge 2021 års pris till oss.

Vi är, som ni kanske redan förstått, otroligt smickrade och glada över den oerhört fina utmärkelsen. Vi vill rikta ett stort tack till Svenska fornminnesföreningen. Det är en ära att få tillhöra den framstående skara av tidigare pristagare till Mandelgrenpriset.
Vi vill också tacka alla som varit med och broderat och hjälpt till med rekonstruktionerna av broderierna. Utan er hade det inte varit möjligt!

Vad skall vi göra med prispengarna? Då det återigen går att resa, skall vi självklart resa till New York och analysera det återstående broderiet.
Och så skall vi fira ihop med alla som deltagit i rekonstruktionsarbetena.
/ Amica och Maria

ENGLISH
As many of you may already know, we have loved and recreated some of the medieval gilt leather embroideries since the start of our blog. We have been driven by a desire to understand the use of the embroidery's function, a curiosity about how they are made, a desire to create with friends and a wish to see the embroideries look like the originals could have looked like when they were in their golden splendor.

We have analyzed all the embroideries in the collection at the Statens Historiska museum, Ilsbo coverlet at Hälsinglands museum and Masku coverlet at the National Museum in Finland. Remaining on the list is an embroidery that today belongs to The Metropolitan Museum in New York.

Svenska Fornminnesföreningen (The Swedish Antiquities Association) awards the Mandelgren Prize. "The Mandelgren Prize should be reminiscent of the artist and folklore researcher Nils Månsson Mandelgren's (1813-1899) pioneering documentation of historical and archaeological images, objects and environments, astonishing in quality and scope. Nils Månsson Mandelgren had a burning interest in cultural history but also in his time and travel all over Sweden to document art, environments, people, and archeological artifacts. The prize has been awarded annually since 2016. The Swedish Antiquities Association's board decides who will receive the prize. "

Here is a translation of the motivation.
"The Mandelgren Prize in 2021 is awarded to county handicraft consultant Maria Neijman and first antiquarian Amica Sundström for their work in deepening and broadening knowledge about medieval picture and pattern worlds and medieval gilded leather coverlets through documentation and reconstructions. The prize money is SEK 100,000.

Through extensive collection of examples and material and technical analyzes, an understanding is created which is then translated into craftsmanship according to medieval traditions and principles. By reconstructing the coverlets, new knowledge is generated about the material's functions and limitations, but also insights into what was possible to achieve in terms of craftsmanship during the coverlets time of creation.

Maria Neijman and Amica Sundström have, among other things, within their company Historical Textiles inventoried the gilded leather coverlets inside and outside Sweden and reached new and exciting scientific findings on how the coverlets were used and in many cases also reused.

In collaboration with craft associations and other interested parties, they have recreated both well-known and lesser-known textiles from the Middle Ages, disseminated knowledge about older craft techniques, and produced reconstructions for exhibitions.

With the Mandelgren Prize, the Swedish Antiquities Association wants to draw attention to Maria Neijman and Amica Sundström for their solid historical and material knowledge, for their competence and the high ambition in documentation work, and for their genuine desire to spread knowledge about visual worlds, objects and crafts."

We are, as you may have already understood, incredibly flattered and happy about the extremely fine award. We would like to thank the Swedish Antiquities Association. It is an honor to belong to the prominent crowd of previous winners of the Mandelgren Prize. We would also like to thank everyone who has been involved in embroidering and helping with the reconstructions of the embroideries. Without you it would not have been possible!

What are we going to do with the prize money? When it is possible to travel again, we will of course travel to New York and analyze the remaining embroidery. And we will celebrate together with everyone who has participated in the reconstruction work.
/ Amica and Maria

# data[].attributes.attachment_link.description
ENGLISH BELOW Som många av er kanske redan känner till så har vi ända sedan starten av vår blogg älskat och återskapat några av de medeltida guldskinnsbroderierna. Vi har drivits av en önskan att förstå användandet av broderiernas funktion, en nyfikenhet på hur de tillverkats, en längtan efter att skapa tillsammans med vänner och en önskan att få se broderierna hur originalen kunde sett ut då de var i sin guldglänsande prakt.

# data[].attributes.attachment_link.readable_text
I have been reading my books and making plans for the future cooking. I have so many ideas I end up making an exel sheet. That helps a lot to decide what I want to do next and what I have done so far. But I have also been thinking of a lot about my attitudes towards cooking and learning. Its good for stop now and then to do some self examination.

I have noticed (actually years ago) that more I read and more I learn - more I know how little I know. You know the usual feeling. That little perfectionist grows inside me every day and writing that used to be so casual - is not that anymore. When I find a nice and easy recipe to cook I end up looking similar recipes from all other my books to compare them. That usually takes a lot of time but it is a good learning experience at the same time. I know that in order to learn you need also make mistakes. Even the best cook makes mistakes. I am no way near best, and I dont have to be. I want to learn. But still that little perfectionist inside makes it hard to start from somewhere. And I tend to over think a bit too much.

Anyway.. new books :)

The book on the top I got from my dear friend who visited Italy. She found the book from an old antiquarian and thought I would like it. She was right, I was pretty exited to have it. I dont speak Italian but I like challenges so now I guess I have to learn some ;). The other two are Constance B. Hieatt's books that are nice addition to my English book collection.

# data[].attributes.attachment_link.description
I have been reading my books and making plans for the future cooking. I have so many ideas I end up making an exel sheet. That helps a lot to decide what I want to do next and what I have done so far.

# data[].attributes.attachment_link.readable_text
This is a scroll made for a Jewish persona, and for a Jewish person who has reasonable facility with Hebrew and an understanding of traditional sources. The text and textuality of the scroll has, as he put it, 'Easter eggs' for people with this understanding.

The text is a classic piyyut, a model that emerges in the Geonic period (6-11th Centuries CE) but which becomes a standard (if controversial) format for new prayers composed in the Eleventh Century and which continues through the Sixteenth Century. It is in its early forms a distinctly eastern (Mediterranean) form, which I considered appropriate for the recipient (whose name means Jacob the Easterner, that is not someone from the Maghreb or al-Andalus in the West of the Islamic world).

It is a rhymed form, but because Hebrew is an easy language to rhyme, the payyetan ( piyyut-poet) displays textual virtuosity by encoding text as an acrostic. In this case the lines all end with the phoneme qamatz-yod-vav which is pronounced 'ahv'. It is this sort of crude rhyme scheme (among other things) that caused Iberian Hebrew poets to despair at the vulgarity of early versions of this verse form.

The text encoded in the acrostic is the recipient's name as a double acrostic (each letter repeated, so that the lines begin י , י , ע , ע etc.), followed by the blessing חי (live, vivat), also in double acrostic.

The particular inspiration for the forms of this poem is the classic piyyut ' Akdamut Milin', written in Aramaic with four feet per line and a single rhyme for each of its 90 lines. Akdamut is a double alphabetical acrostic with a single signature acrostic with the name of the poet. Akdamut Milin stretches the definition of piyyut in that it is written in Aramaic rather than Hebrew, but is otherwise a clear model to follow. When my poem was first performed at Atlantian Court, Pennsic War, it was chanted to the traditional trope assigned to Akdamut Milin, a tune which can be dated to the same time and place as the text (Macy Nulman, Concepts of Jewish Music and Prayer (New York: Cantorial Council of America, 1985), 44 and 54; and Jonathan Friedmann, Synagogue Song: An Introduction to Concepts, Theories and Customs (Jefferson, NC: MacFarland, 2012), 121-123, adduced in L Lieber, 'The Piyyut (Poem) Akdamut Milin, The Enigma and Perseverance of Tradition, http://thetorah.com/akdamut-milin/ , accessed 14 August 2017.).

Appropriately for a piyyut, the text includes both straightforward text and elliptical references to textual and religious concepts. For instance, it cites three elements (king, queen and the Order of the Laurel), and refers to them as a threefold thread that does not quickly fray which is a reference to the Book of Ecclesiastes 4:12; and there is an oblique reference connecting earthly kingship to the notion of Divine providence without actually naming God.

The text closes with a brief coda in Aramaic which echoes the traditional phrases exclaimed when celebrating the completion of a tractate of Talmud. Afterwards, in smaller writing, is a patent of arms written in words which echo the language used in the Book of Esther to describe royal documents. (All texts in Hebrew and English are reproduced below.)

The text refers to the Order of the Laurel as a foundax ( pundaq in Hebrew, funduq in Arabic), referring to the merchant companies which were granted privileges by the Byzantine emperors including keeping their own accommodation (see, inter alia, OR Constable, Housing the Stranger in the Mediterranean World: Lodging, Trade, and Travel in Late Antiquity and the Middle Ages, Cambridge: Cambridge University Press, 2009; p. 204). I considered an imperial grant of foundax a persona-appropriate model for the recipient who is a 14th Century merchant from Fustat near Cairo.

The text refers to the recipient as ', Princeton: Princeton University Press, 1981, p. 310). The term is documented to Fustat in SD Goitein, muqaddam' based on the term used in the mediaeval Arabic-speaking world (including Egypt, of course) for a communal leader (see inter alia MR Cohen, The Origins of the Office of the Head of the Jews, ca. 1065-1126 A Mediterranean Society: The Jewish Communities of the Arab World as Portrayed in the Documents of the Cairo Genizah, vol II, ' The Community'; London: University of California Press, 1971, pp 68-75. Jewish Self-Government in Medieval Egypt:

The Society year, 52, is rendered as the ' which adds up to 52 and which means 'beauty' in Hebrew. Rendering dates (or other numbers) as words, and indeed mathematically manupulating the numerical values of words according to the principles of gematriya ' חמ״ד gematriya was a common mediaeval Jewish practice.

The hand for the piyyut and the grant-of-arms text, as well as the micrography, is based on that of the Leningrad Codex (National Library of Russia Firkovich B 19 A), an early 11th Century document which was almost certainly transcribed in Cairo.

The decoration on the scroll is composed of micrography: the practice of avoiding violating Jewish and Islamic prohibitions on figurative art by writing rather than drawing shapes. In this work the micrographs are between 3mm and 4mm high not including ascenders and descenders.

The forms of micrography on this scroll are based to some extent on some French/German examples in the British Library including BL Additional MS 21160, on Yemenite documents BL Oriental 2349 (a 15th Century pentateuch), National Library of Israel 5840, but largely on the 15th Century Sa'ana Pentateuch (BL Oriental 2348), notably ff. 38v-39r.

The micrography spells out various Biblical verses, as do the comparable texts in the exemplars. The outer frame of the piece consists of Psalm 145, 'I will extol thee, my God, O king; and I will bless thy name for ever and ever', which runs from the top centre, around the left side, bottom and around almost all the large laurel wreath; and Psalm 150, 'Praise ye the LORD. Praise God in his sanctuary: praise him in the firmament of his power.' The inner circles of the empty cartouches and the seahorse cartouche spell out Psalm 30, 'I will extol thee, O LORD; for thou hast lifted me up, and hast not made my foes to rejoice over me.'

Throughout, references to God are kept except for the Tetragrammaton which is replaced with the word השם, 'the Name'.

This text from Esther 6:6-11 is about the Persian emperor seeking to honour the hero of the book, one Moredecai.

And the king said unto him, What shall be done unto the man whom the king delighteth to honour? Now Haman thought in his heart, To whom would the king delight to do honour more than to myself? And Haman answered the king, For the man whom the king delighteth to honour, Let the royal apparel be brought which the king useth to wear, and the horse that the king rideth upon, and the crown royal which is set upon his head: And let this apparel and horse be delivered to the hand of one of the king's most noble princes, that they may array the man withal whom the king delighteth to honour, and bring him on horseback through the street of the city, and proclaim before him, Thus shall it be done to the man whom the king delighteth to honour. Then the king said to Haman, Make haste, and take the apparel and the horse, as thou hast said, and do even so to Mordecai the Jew, that sitteth at the king's gate: let nothing fail of all that thou hast spoken. (All biblical verses are quoted from the Authorised Version in English and the Leningrad Codex in Hebrew.)

The Unicornate Seahorse, fishes and scallops

Atlantia's symbols are based on sea-creatures which happen to be ritually impure under Jewish law. Hence, in this scroll, the seahorse and the scallop shells are rendered using the words from Leviticus 11 which set out which sea creatures are clean, and which are unclean.

The right-hand fish is made up of Jonah 1:17 in which God prepares a great fish to swallow Jonah. The left-hand fish is made up of Isaiah 27:1, 'In that day the LORD with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the dragon that is in the sea.'

The Asses and Vallary Crown

The distinctively Atlantian vallary crown in the top centre is Psalm 19:1-2, 'To the chief Musician, A Psalm of David. The heavens declare the glory of God; and the firmament sheweth his handywork. Day unto day uttereth speech, and night unto night sheweth knowledge.'

The vallary crown in the arms of Atlantia is the blessing in Deuteronomy 28:3 and 28:6. The laurel wreath and the edge of the shield are from Psalm 37:35-40,

I have seen the wicked in great power, and spreading himself like a green bay tree. Yet he passed away, and, lo, he was not: yea, I sought him, but he could not be found. Mark the perfect man, and behold the upright: for the end of that man is peace.

The document was written on paper (as were the Yemenite exemplars), in this case Strathmore 400 series Bristol Smooth Surface, a 100% cotton paper designed for fine ink work. The exemplars would have been written with reed pens; I have used a steel pen for speed. The exemplars will have been written with ink made of lampblack and gum arabic. I have used Rotring calligraphy ink for convenience. The lines were ruled by incision.

# data[].attributes.attachment_link.description
This is a scroll made for a Jewish persona, and for a Jewish person who has reasonable facility with Hebrew and an understanding of traditional sources. The text and textuality of the scroll has, as he put it, 'Easter eggs' for people with this understanding.

# data[].attributes.attachment_link.readable_text
This is how "I'm going to quit smoking!" goes.

(That's a link to Cracked.com.) #19 is probably the closest, helped right now by my attempts to cut down on the amount of anti-anxiety stuff I take. For me, smoking isn't about the nicotine rush, it's entirely about the break I get to take where no-one will come near me and I can perform a soothing, repetitive task for 5-10 minutes (depending on how fast I burn that sucker down to the filter). I've tried to substitute other things, and I've tried just taking the break, but neither work. The flick of the lighter, the inhale and exhale, and the occasional attempts to blow decent smoke rings, they're all part of the soothing process. It even has a built-in time limit, which is great, because I know how long I can absent myself.

No, it doesn't make sense to anyone else except other anxious smokers, and yes, I know the downsides. I tried nicotine-free vaping, but the clove "juice" smell was nauseating (as is calling vape liquid "juice". eurrrggggh). Also, there's no built-in end to the vape, and the need to check my watch/phone for the time just throws me back into anxiety.

I smoke when I'm stressed, such as this week, where I'm trying to put together new jewelry to sell at 12th Night (I'll be selling jewelry at 12th Night! I have lots of Czech glass earrings, only $2/pair!), or over Christmas, when we had family. Or, further back, before Gardiner's Muster. Or Jamestown. Or, or, or. There's always something, especially now that getting sick has a catastrophic effect on my energy levels, and all I can do is read on the sofa and sleep 10+ hours a night. My list of things that I want to do (including, but not limited, to: Finishing that Damned Jacket, new patterns for RH!, hey, I had a book idea, and oh, I have no income, I need to put this jewelry stuff on-line so I can get funds) is getting so long that just revisiting it can trigger panic (short-lived, thank the holies, but still quite unpleasant), and an inability to do anything, as everything is important.

Smoking is so much more than nicotine - if it was just that, I'd save $50 and buy Marlboro lights (ugh). It's calming, it's a stress-reliever, and it keeps me sane, especially when I feel overwhelmed by noise or crowds. I used to be able to keep it to Pennsic, but in the past three/four years, it's become harder and harder to let it go, even for a week. Even when I hate the taste and smell of old cigarettes (technically they're cigars, but we all know they're cigarettes, Djarum), even when I chew masses of gum to get the taste out of my mouth, even when I know they're so very, very bad for me, they're essential to my mental health.

I don't drink to excess (I hardly drink at all; months will go by without a taste of alcohol), I only take the drugs I am prescribed, and I don't go in for dangerous things - I'm generally pretty risk-averse. I wish Parkour was as calming, I'd be in much better shape (I'm thin, but flabby). But it's not, and I can't find anything else that works that magic.

Pity me, but don't lecture me. I know what I'm doing, and I know the risks.

The thing that really gets to me is that when I'm sick, it comes on top of the various things that are already wrong. So, when I get (again) a strep infection in my lungs, it's not just strep, it's also headache/migraine, chronic pain, and the fatigue from immune issues. Consequently, I spend a significant amount of time on the sofa, reading.

(sudden segue goes here.)

When I was young, I spent a lot of time investigating the backs of wardrobes (you guys call them something else, sometimes, but they're the thing you hang clothes in when you live in a house built before closets were common ). I refuse to admit how embarrassingly old I was before I admitted that Narnia was a fictional creation, and I have to say that I only really admitted it under duress. I really hoped it was real, because my actual life was sadly wanting in awesomeness, mostly because I was fat, weird, and bullied. I wanted options, and (let's be honest, here) magic.

I had not actually read the Narnia books for many years, though I own a set, so last week I thought I'd read the entire series, seeing as how I was on the sofa anyway.

It was *excruciating*.

I remembered that there was casual racism, but I had forgotten how pervasive it was, and just how absolutely stupid. The "bad" guys are not only dark-skinned, but they're brutal slave-owners.

(Meanwhile, back in reality, white Europeans have won the "brutal slave-owners" cup hands down, and I don't believe C.S. Lewis was unaware of that.)

And then there's the casual sexism, where the girls don't get swords, nor do they actually fight in any of the battles. And one of the girls doesn't even get to go to heaven, apparently for the mortal sin of... lipstick.

(It's the rare book in which "rocks fall, everybody dies" is the *happy* ending; Bob points out that Susan is the only person left alive of all the main characters, therefore she actually wins.)

I never thought I was the princess; I was too fat and way too interested in weird things. If I ended up in a tower, being rescued by a prince, I'd drive him insane, telling him how everything he knows is informed by outmoded patriarchal mores. No, what I wanted was to be a warrior; if there was no way anyone would mistake me for the pretty girl, then maybe I could be useful. But when I was little, there weren't any fighting girls, not cool ones, anyway. My choices were Princess or witch.

Neither fit.

The thing about being female and wanting to be "one of the guys " is you find out eventually that no matter what you do, the guys will never let you in. It's a bitter lesson; you can't be the princess, and you can't be the hero. The Fellowship of the Ring will never let the chicks belong.

Modern movies and fiction are way more healthy for girls; Wonder Woman and Dora the Explorer both show women who do things, and don't wait around for men to do it for them.

I think it's a good idea for us put writers like C.S. Lewis up on a high shelf marked "Classics: DO NOT READ". It's time to close the wardrobe door and go looking for a world where women are treated like human beings, and not delicate fragile flowers too precious to wield a sword.

Or maybe a flamethrower...

We had totally intended to go to parties this weekend, but we both got the creeping crud and we figured everyone would be totally cool with us NOT giving out viral invaders as the world's worst party favour.

So, we are at home, and I have turned the red sofa into a pillow and quilt-laden nest, from which I am watching the snow fall. It's pretty.

The house is now decorated for Christmas, as it is now after my birthday, and therefore Christmas may start. When I was little, I avoided the whole "this is your birthday AND your Xmas present" nightmare because my older brother's birthday came 6 days after mine, and he was adamant that Xmas and birthdays could not be combined.

Yay, older brothers. I was never confident enough as a kid to demand that sort of concession, so his determination benefited us both.

The house does look really nice; it's not quite enough at the moment to make up for missing a fun weekend of seeing beloved friends, but the snow helps. Also, the soft sofa nest, and the bacon/avocado macaroni salad Bob has made for lunch.

And the snow. I love snow.

Do any of you teach? You've probably run into The Helper. Or, as known to the rest of us, "God help me, they're in my class".

The person who knows everything you're teaching, but rather than get a class of their own, prefers to attend yours and comment endlessly on everything, offering advice, answering questions for you, and generally making everyone wish they would lie down and die right then and there. They divide into two kinds - the one that wants to impress you, and the one that wants to show everyone else that they're as knowledgable as you.

STOP HELPING!
I did not ask for help, I don't need help, and 99 times out of 100, it's actually no help at all. Don't. Just don't. If I need help, I'll ask for it. If you want to impress me, take what I'm teaching and turn it around into something wonderful. If you want to show everyone else you're as knowledgeable as me, teach your own class. Find your own students, AND DON'T CONFUSE MINE WITH IRRELEVANT INFORMATION.

Seriously, if you've ever felt the need to help any more than "come sit here", "here's a pencil", or "she said do it this way", shut up. The teacher doesn't need an assistant, a co-teacher, or an echo.

There are also reasons why this behaviour is bad that have nothing to do with offending the teacher:

1. You disrupt the flow of the class. If you think the teacher has forgotten to mention something important, wait until the end of the class and ask about it - don't just jump in and start talking in the middle of an explanation of something else. The teacher may be coming to it, or it may not be relevant to this class. Starting a big discussion about tangential information takes time out of the class, excludes the other students, and wastes everyone's time. It doesn't make you look smart, it makes you look like a jerk. Especially if you use that "I is naow the teeechurrrr!!!" voice. It's disrespectful to the other students.

2. You will probably confuse the other students. Bringing up information that is not relevant, or worse, wrong, means that the students are now wondering what they should be paying attention to; was the class about left-handed widgets vis-a-vis the last days of Tsarism, or has it become a class about the economic conditions that led to the storming of the Bastille as a result of elitist widget-maker conspiracies? And was Marat stabbed in the bath, or was he brained by a widget while reciting poetry naked to Marie Antoinette? What the fuck? The teacher has a plan for the class ( side note: Teachers, you should always have a plan for your class), and if they haven't shared it with you beforehand, they don't want you to help.

3. Too much information is worse than no information. I see this one particularly in fighting - one person is talking to/teaching another, and some random person comes up to "help". What was a session between two people has now become a discussion group, and it only gets worse from there. It is extremely unlikely that random Joe has anything useful to add to a discussion about a fight they neither participated in nor witnessed; don't jump in. The teacher knows who to ask for opinions; unless the fighter asks for feedback, don't offer. This also applies to one-on-one discussions with artisans; I don't care how interested you are, don't butt in to a conversation unless both parties make it absolutely clear that your input is welcome. If you just jump in and start offering random blobs of knowledge, the student will get confused about what they're supposed to do; should they be concentrating on stabbing with widgets, or should they be throwing the widget in a manner that completely contradicts what they were just told to do? Respect the teacher, respect the student. "Help" is not help if all it does is show off how much you think you know.
The way to help effectively:
In a Class: If you think there is something the teacher missed, wait until the end of class to make sure. Make a note to yourself to ask about the issue in the Q&A at the end, and ask respectfully then. Ask, don't tell! Sample question: "When you were talking about left-handed widgets, you said that the worldwide widget conglomerate eventually led to the collapse of Tsarist Russia; is there any evidence that the widget conspiracy had anything to do with the French Revolution?" This leaves open the opportunity for the teacher to either expand upon the idea or to say that there is no evidence as such, and the whole idea was a put-up job by the editors of the Wikipedia entry on widgets. The bonus in this method is that if you turn out to be wrong, you won't look stupid, since you didn't state it as fact, and if you're right, you've given the teacher a graceful way to recover, and they'll like you for it (and be impressed by your knowledge and tact).

In One-on-one Conversation: If you know lots about the subject two people are discussing, read body language, and since you're kind of eavesdropping anyway, try to learn before you say anything whether this is a private discussion between teacher and student, or whether the floor is open to anyone with input. Such key phrases as "I want you to concentrate on this particular thing", and "Fight/work with only certain people so you get the maximum benefit" are big massive clues that this is not the time to jump in with your experience with left-handed widget-fu. On the other hand "Talk with lots of people to get a range of opinions" is a clear sign that your words will be welcome.

...Even so, don't just jump in with "This is how you do it!". Start by introducing yourself. Mention that you heard they were interested in left-handed widget throwing. Say "I am interested in widgets myself!"; and "are you interested in chatting with me about widgets sometime? Now?". Don't be offended if they say no; you might have misinterpreted what you overheard while pretending to be interested in the 12th century Polish widget embroidering display on the next table. Respect the wishes of the person you're trying to help; maybe they know of your work and want to go in a different direction, but don't know how to politely tell you so, or maybe they are awed by your widget ability, and want to get their act together so you won't think they're a moron. Be sensitive to their reaction, and trim your teaching sails accordingly - they may not have time for a full lecture now, but would be encouraged by a quick "I like your work, let's get together when you're not on your way to pick up your kids from day care".

Help is a funny thing; sometimes it's welcome, sometimes it's not, and it's not always clear when and which ( though helping the teacher teach? Always not welcome. You can rely on that one). In any case, situational awareness and respect for everyone involved means you'll never be The Helper.

Thus endeth the tirade.

My old Diaryland posts are still up - if you want to read them, go here: http://members.diaryland.com/edit/view.phtml?user=elsworthy

...or to Diaryland's page, and search on elsworthy, or something. I'm leaving them up.

I made you all a meme. Aren't I clever?

This is a meme designed to elicit more than one-word answers, since I find those kind of memes more stultifying to read (even if I like the people answering it). If you want to do the meme, take your time with it. Otherwise, enjoy this entry about mememememememeeeeeeeeeee (a subject I find endlessly fascinating, so obviously, you must, too).

SCA Meme by

:

1. What is your SCA name? (You don't have to write the full name, just your first name if you want.) - Isobel Bedingfield, once known as Isobel Gildingwater of Ditchingham (I got married, and took my husband's SCA name - er, which I picked out). I never got it officially changed, though.

2. What is your home kingdom? - Atlantia

3. Have you ever lived in another kingdom? If so, where? - No, and not only that, I've never lived in another part of Atlantia. I will be moving to Virgina eventually, so that will change. It will be fun to see how other groups do things.

4. Do you remember your first SCA event? When/what was it? - My first event was the first joint Myrkewode/Arindale about-to-become-Lochmere event. Spring's End, or something, it was called, and it was in 1988. I sat on Duke Sir Richard's lap and flirted with him, saw Mistress Dierdre O' Siodachan (spelling probably horribly off) get her Pearl, and had no clue about anything.

5. Do you have any awards? (You don't have to list them if you don't want) - Yes I do, and they're in the Atlantian Order of Precedence if you're really bored and want to look them up (but I'm too lazy to put in the link).

6. Do you list them after your name in communications like e-mail? - Not usually. Sometimes, when I'm either really pissed off, or doing official business, I'll toss in a couple of initials.

7. Do you have a device? - Yes, and it's based on the arms of the Barclay family. I could have modified my family's crest (I'm a distant Carr), but I really dug the Barclay's Bank eagle.

8. Do you use it? On what? - Rarely; I tend to use elements of it in certain designs (I use the estoile the most). It's not really Elizabethan to plaster one's whole device over everything. I do have a banner made for me by my lovely apprentice Lisette la Roux, but I'm ashamed to say I rarely use it, because I'm usually hanging out under someone else's pavilion.

9. Are you on all the kingdom/society lists available to you, or do you avoid them? - I'm on-again, off-again. I read the Merry Rose archives, and check the lists when there's something I'm interested in, but I have a hard enough time keeping up with regular e-mail. If I was active on all the lists, too, I'd go mad. Plus, I have dial-up at home, and it's slow, and I get bored easily. Look! A chicken!

10. Do you keep your Pennsic/Estrella/Gulf Wars/etc. site tokens? - No, though now I kind of wish I had. Not to wear or stick on a belt, but just as memories.

11. Do you keep the favours you've been given by royalty/friends/SOs, etc.? Do You wear them all? - Yes, when I don't accidentally lose them, but I don't wear them, I keep them in a drawer as mementoes. Since Atlantia started making cool pewter site tokens for major events, I've been keeping those, too. A friend of mine makes them into (very attractive) Christmas ornaments, but I harbour dreams of sticking them all on a pilgrim's hat someday. At which point, my neck will probably break from the weight.

12. Do you call your friends by their SCA names even when you're not at an event? - Embarrassingly, yes. Really, though, I switch back and forth - but I'm trying to be better about making sure I use the SCA names at events - it's a sign of respect, I think.

13. Do you go out to dinner in garb after an event? - Not unless I have no choice. When I was 18 and new, it was huge fun, but I'm feeling a bit old for it now. I have found people to be generally interested and nice about it when I do go out, so it's not torture.

14. Do you have all kinds of garb, or do you generally stick to one period? - I stick to mostly Elizabethan, but I have a few gothic dresses for theme events, and one Italian Ren (for the same reason). Despite it being over ten years since I lost 70 pounds, I'm still self-conscious about my figure, and tunics, sideless surcoats, and Vking clothes make me feel dumpy, for some reason.

15. How many interests do you have within the SCA? What's your favourite? - I have a crap load of interests, the most time-consuming being teaching, rapier, costuming, and scroll-making (yes, I still do it, but more slowly than in years past). I think my favourite will always be teaching - I *love* teaching people how to make/get/achieve what they want.

16. Do you have an SCA-oriented web site (to show off projects, keep dress diaries, etc.)? - Why yes, yes, I do - www.extremecostuming.com. I enjoy maintaining it, and hope to have new stuff up later this quarter.

17. Do you maintain a hairstyle that is more period style than modern? How about any other part of your appearance? - I keep my hair long so I can put it up, but I do have bangs (that are either hidden under a coif or curled in an Elizabethan style). My first tattoo was on my neck, so I chose a tudor-rose-style design (not that it shows, most of the time, nor should it). I also maintain my manicure as a French manicure because it's the least obtrusive style, but I get to keep my nails nice for mundane life (a compromise, I know, but one I'm willing to make).

18. Do you tell "No $###, there I was" stories? (Admit it.) Do any of them involve well-known SCA people? - I do, sometimes too much. They're a good ice-breaker, but you need to know when to stop and let other people tell their stories. And yes, I have some good ones, some involving people well-known in Atlantia. My favourite one involves a bottle of grain alcohol, some people who didn't know how to do fireballs, and my husband.

19. Authenticity is Fun. Yes or no? Why? - I think it is, though I know some people don't, hence the question. I think it's fun because it's always fun to go deeper. The better everything looks, the easier it is to see the magic. Plus, it's really fun when random strangers come up to you and tell you that you look "like a picture". I think some people think it's not fun because it's too much like learning, and learning isn't fun for some people (sadly). Now, when I say "authenticity", I mean "making your best effort, not an effort". I don't mean spending huge amounts of money to be perfect, just taking the time to learn what's period and what isn't. The people who regularly show up at events in completely non-period gear (even as a joke, such things should be applied sparingly) seem to be saying (sometimes quite aggressively) that it's impossible to have be period and have fun, which makes me sad.

20. Is there one modern thing at events that really bugs you? - Three, actually. I hate nylon sling chairs - they're modern, they're ugly, and the ones with footrests are the worst. I'm okay if they're covered with a piece of fabric, for some reason - I suppose it falls under my mental "did/did not make an effort" radar. I also get pissed off by people who don't bother to decant their soda/water into a period vessel - it's so little effort, yet I see people with modern cans/bottles all the time. The third, semi-famously, is sunglasses. I've talked about this before (with heated comments from people) in my other journal, but I really hate sunglasses. A legitimate medical reason I can understand, but they look modern, and wearing sunglasses while sitting up in/standing attendance on Court looks the worst. I don't expect people to agree with me on this one (and my husband has Transitions lenses, so his get darker in outside light, but he makes the effort to try and remember to switch to non-darkening glasses for events), and I've heard all the arguments, so let's agree to disagree and skip the comments. I hate these things, and no-one's going to change that, but I'm also not going to march up to anyone and scold them for it.

Bonus Question! 21. Everyone has a shameful garb/accessory mistake hidden somewhere in their past. What's yours? (We're all friends here, we promise not to laugh. Much.) - My first Pennsic outfit was made from baby blue nylon I got at a charity shop in Cambridge. It had angel-wing sleeves, a gathered skirt, a length of fabric attached at the shoulders as a "cloak", and silver star-shaped sequins on the plunging-neckline bodice. I wish I had a picture of it. My first real SCA "period" outfit is on my site on the page of shame. Later, I developed a penchant for wearing random plaid fabric draped around my shoulder because I thought it looked pretty, and my first fencing trousers were snakeskin-print leggings.

# data[].attributes.attachment_link.description
This is how "I'm going to quit smoking!" goes. (That's a link to Cracked.com.) #19 is probably the closest, helped right now by my attempts to cut down on the amount of anti-anxiety stuff I take.

# data[].attributes.attachment_link.readable_text
So a new year is here! 2018!
And I have big plans for this year regarding Katafalk.
Late 2017 I took the step making Katafalk into a "real company".
So I am going to open up my Etsy again and make it more active. I have also decided to start up a Pateron page. This will not affect my blog at all in a negative way, but I hope that it will make me post more regularly on Worpress.
All my content on my blog is free, and will always be free. I will not be making Patreon only tutorials, but there will be some perks for those of you who joins me over there as well.

Many of you might not be familiar with Patreon.
It is a subscription service that helps Creators to create more or better content by the help of its followers.
It is crowdfunding like Kickstarter or Indiegogo, but in stead of one big project it is focused on the continuous creative process.
Either by a monthly fee or a fee per smaller project. These fees differs from creator to creator and there are often a few different levels that you can choose from, each level having it's own reward of some kind.

So if you like what I do, pop over at my Patreon and check it out. Perhaps you want to join or it might not be you thing at all. Just know that the blog will not be affected in a negative way at all by this, it will if anything be more active and regular than ever with the help of this.
Check out Katafalk on Patreon!

# data[].attributes.attachment_link.description
So a new year is here! 2018! And I have big plans for this year regarding Katafalk. Late 2017 I took the step making Katafalk into a "real company". So I am going to open up my Etsy again and make it more active. I have also decided to start up a Pateron page.

# data[].attributes.body
Finsk 1300-talsreenactor

# data[].attributes.attachment_link.readable_text
Viikonloppuna osallistuin ensimmäistä kertaa 'itsenäisenä tutkijana' tieteelliseen seminaariin esinetutkimuksen alalla. Oli kutkuttavasti epämukavuusalueella olemista olla puhumassa seminaarissa alalla joka ei ole se oma, yliopistolla opiskeltu ala.

On herättelevää havaita, että oikeastaan olen vuosien saatossa paneutunut tähän harrastukseen niin intohimoisesti että tiedän siitä varmasti enemmän kuin alasta, jolta maisterinpaperit on.

Artefacta-seminaarissa oli hurjan kivaa! Kerroimme Mervi Pasasen ja Krista Vajannon kanssa Maskun paarivaatteen tarinan ja esittelimme projektista saatuja kokemuksia ja tutkimustuloksia.

Muut esitykset olivat kiinnostavia, sopivan napakoita ja tekstiiliaiheita ilahduttavan paljon.

Mieleen jäi erityisesti Tudor Tailoristakin tunnetun Jane Malcolm-Daviesin kudottuja lakkeja käsitellyt esitys, Riina Rammon Rabiveren suoruumiin takin elämäkerta sekä Katja Regevikin & Krista Vajannon esitys viime aikoina paljon keskustelua herättäneistä Snartemon kansanvaellusajan lautanauhoista.

Object biographies - seminaarissa teeman mukaan kerrottiin esineiden elämäntarinoita. Tekstiileiden kohdalla esineiden tarinat noudattivat tuttua kaavaa: löydön jälkeen ehkä esille, sitten arkistoihin, arkistoista uudelleen tutkittavaksi ja lopulta esille.

Nostaminen arkistoista esille on edellyttänyt tekstiiliasialle omistautuneen ihmisen panosta. Riina Rammolta sitä kysyttiinkin - miten vaatekokonaisuus päätyi esille Viron kansallismuseon perusnäyttelyyn? Riina naurahti ja totesi: "Varmaan minun takiani".

Miksi tekstiileitä pitää erikseen lobata näytteille? Muinaiset tekstiilit eivät ole esineistöä helpoimmasta päästä.

Monesti kyse on siitä, etteivät ne kestä esillä olemista ja ne on pidettävä arkistossa esineen säilyttämiseksi. Tästä on kyse esimerkiksi Maskun paarivaatteen kohdalla. Esillepano koituisi sen kohtaloksi.

Toinen ongelma liittyy siihen, että kuntonsa takia ne eivät ole samalla tavalla näyttäviä kuin esimerkiksi saman ajan metalliesineet. Tekstiilijäänteen näkiessä voi olla vaikea kuvitella sitä millainen se oli kun se oli uusi. Aikansa ällistyttävä, satoja työtunteja ja erikoisosaamista vaatinut luksusesine näyttäytyy nykykatsojalle ruskeana riekaleena.

Tässä rekonstruktiot voivat olla avuksi. Maskun tekstiilin kopio tuo tekstiilin nykykatsojan eteen kiiltävänä, värikkääänä ja ehjänä. Se tuo vau-elämyksen, joka on museokävijälle helposti avautuva ja ehkä mieleenpainuvampi.

Entä minkä takia tekstiileitä pitää nostaa näyttelyihin? Siksi, että ilman tekstiileitä käsityksemme menneisyydestä jää vajaaksi.

Nykyihmisenä on vaikea todella ymmärtää sitä, miten paljon aikaa arkipäivästä tekstiilien tuotanto vei. Kuitujen käsittely, kehrääminen, kutominen, värjääminen ja ompelu oli osa arkea.

Samoin tekstiilien käyttö oli läsnä koko ajan:tekstiileitä tarvittiin vaatteiksi, nukkumiseen, tavaroiden kuljettamiseen ja moniin arkiseen askareeseen ruuanlaitosta pyllynpyyhintään.

Nostamalla tekstiileitä esiin nostetaan esiin myös historialle vähälle edustukselle jääviä tai näkymättömiin jääviä naisia, heidän osaamistaan ja kädenjälkeään. Naisia, jotka jättivät jälkeensä vain kasvattamansa lapset ja valmistamansa tekstiilit.

- ENGLISH --

Last weekend, I participated for the first time as an 'independent researcher' for a scientific seminar.

I was pleasantly out of my comfort zone speaking in a seminar in a field that is not officially my own. Even though I have come to realise that over the years I have been dedicating my time to this hobby that I probably know more about it than what I have my masters degree in.

I really enjoyed participating in the seminar. In our presentation with Mervi Pasanen and Krista Vajanto we told the story of the Masku wool intarsia and presented the experiences and research results of the project. It was nice to get so much feedback and feel like we have provoked interest.

I had the pleasure to listen to several interesting presentations, several of which were on textiles.

Ones that seem to have stuck with me most were Tudor Tailor's Jane Malcolm-Davies' presentation on early modern knitting, Riina Rammo's presentation on the Rabivere jacket's biography and Katja Regevik & Krista Vajanto's presentation on the Snartemo tablet woven bands (that have recently been the topic of much discussion).

The Object Biographies seminar focused on stories items. In the case of textiles, the stories of the objects seemed to follow a common pattern: after the discovery they may have been displayed (or may not) then stored in the archives, then taken out of the archives, re-examined and finally displayed.

This process of rediscovering something from the archives and lifting an item into public consciousness has often required the dedication and contribution from a person interested in textiles. "Why did the clothing items become a part of the exhibit in the Estonian national museum?", someone asked Riina Rammo after her talk. With a smile and a small laugh, Riina said, "Probably because of me."

Why do textiles require special efforts to be displayed? One reason is that ancient textiles are not the easiest items to display.

Often it is a case of preservation versus display. Being displayed has its toll on an item - especially so with textiles - so the objects are kept in the archives to preserve them. This is the case with the original Masku intarsia. Displaying it would destroy the item.

Another issue is that, due to their condition, textiles are often not as spectacular looking as for example, metal objects of the same age. Looking at an ancient textile, it may be difficult to imagine and "see" what it was like when it was new.

The astounding skill the overwhelming hours of work and the special expertise required for making and item can be lost to the eye and all the modern museum visitor sees is a brown-tinted piece of fabric.

Here reconstructions can be helpful. The Masku intarsia replica shows the textile to the contemporary viewer in it's (almost) full glory: shiny silver and deep colours. It gives a certain wow-experience which is easier for modern day museum visitors to see and experiece.

And why should textiles be exhibited? Because if we overlook textiles, our view of the past will be lacking a lot.

As a modern person, it is difficult to really understand how much textile production was a part of everyday life. Acquiring and processing the materials, spinning, weaving, dyeing and sewing were part of everyday life. Production was not as invisble and distant then.

Likewise, the use of textiles was present all the time: textiles were needed for clothes, sleeping, transporting goods and many everyday chores from cooking to using the toilet. By rediscovering and displaying textiles, we also provide presentation to the women who are often invisible to history.

We present the skills and labour of the women whose heritage was only the children they raised and the textiles they produced.

# data[].attributes.attachment_link.description
Viikonloppuna osallistuin ensimmäistä kertaa 'itsenäisenä tutkijana' tieteelliseen seminaariin esinetutkimuksen alalla. Oli kutkuttavasti epämukavuusalueella olemista olla puhumassa seminaarissa alalla joka ei ole se oma, yliopistolla opiskeltu ala. On herättelevää havaita, että oikeastaan olen vuosien saatossa paneutunut tähän harrastukseen niin intohimoisesti että tiedän siitä varmasti enemmän kuin alasta, jolta maisterinpaperit on.

# data[].attributes.attachment_link.title
Pudding Lane Productions, Crytek Off The Map

# data[].attributes.attachment_link.description
We are six students from De Montfort University taking part in the Crytek Off the Map project, building a 3D representation of 17th century London before The Great Fire. For more information on our whole project, including concepts and processes please visit our team blog; http://puddinglanedmuga.blogspot.co.uk/ *the team does not claim ownership to the music used in this video, all credit goes the the composer Hans Zimmer, 'Leave No Man Behind'.

# data[].attributes.body
Bevarade kläder från muséer – kan ge tips om museer att besöka.

# data[].attributes.body
Finns flera olika appar. Bra för att veta vilka bibliotek man kan vilja besöka.

# data[].attributes.attachment_link.description
‎The Virtual Manuscript Library of Switzerland. Browse through over 1'000 fully digitized medieval manuscripts on your iPhone and iPad. Over 450'000 pages in high resolution. Bookmark, download and view manuscripts offline. Includes scholarly manuscript descriptions from official catalogs.

# data[].attributes.attachment_link.description
‎Se Sveriges historia som finns överallt omkring dig. Fornborgar, husgrunder, eldhärdar, rester av odlingar. De vittnar om vardagsliv, traditioner och dramatiska konflikter. Spåren finns kvar och vittnar om det som utspelades även om historierna är sedan länge glömda. Upptäck allt från gamla byar, gr...