DAZZLE PLUS – ON THE VIRTUES OF AN INTEGRATED DEFENSE

This is how I would do it…

MUCH BETTER AS PART OF AN INTEGRATED SYSTEM

While I am not against this idea by any means with modern anti-ship missile guidance systems this technique would be far more effective if combined with anti tracking (sonar and radar) countermeasures which made it seem to sonar and radar as if the ship were either farther ahead of or farther behind it’s actual position than it truly was.

That is to say that few hostiles, if anyone (aside perhaps from Somali pirates), sights or fixes a ship’s position (or a tank’s position for that matter) relying solely upon visual evidence.

Therefore to make the system far more effective as a defense you would need to tie the moving visual pattern to anti or counter sonar and radar pulses or to an omni-directional pulse which either scattered or confused incoming tracking systems so as to make the ship appear displaced from it’s actual physical position. Because most tracking systems are now sound and echo-reflection based rather than visual in nature. However if you could developed integrated confused/confusing visual systems, counter-sonar and radar systems, and stealth design techniques then I could see this being part of a very effective integrated ship (and other machine) defense protocol.

But alone I don’t see the actual advantage, other than as a psychological one. I think though that such an integrated system would, of course, be far, far more effective (especially a moving location/position displacement system) for our submarine fleet unless you had a flotilla of small ships that could overlap their integrated systems and in some way combine their power and effectiveness.

Of course the ultimate defense would be to combine a visual and radar/sonar Displacement System with Adaptive Camouflage and a Stealthy Design or Build coupled with an effective and efficient attack suppression system such as an Aegis Platform. That would make a ship appear to be displaced from it’s real position while being extremely hard to see and track and capable of intercepting attacks prior to a successful enemy strike.

I can also see such a system working well with a squadron of aircraft, or a group of tanks or armored fighting vehicles. If they could combine or overlap their displacement fields then they could not only confuse tracking systems but give their defensive response systems (such as the Aegis with ships) more time to effectively counter missile and other attacks.

Of course it would not be long before effective computer algorithms and compensational computer models were designed to help overcome such displacement systems.

But if done in an efficient and powerful enough way then integrated positional displacement systems would still be some defense and maybe just enough of an advantage to warrant the expense and employment.

Ships were painted with zebra stripes in hopes of evading and deceiving the enemy during World War I. It was not entirely clear how effective the “dazzle”
WARHISTORYONLINE.COM
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THE EXCELLENCE OF THE PHYSICAL – HAMMER, TONG, AND TOOLS

THE EXCELLENCE OF THE PHYSICAL

Some people think that I am primarily a mental man, or a “man of the mind” because I spend a lot of time studying, reading, attending and listening to lectures, mastering languages, writing stories and poetry and songs, conducting scientific experiments, etc. Some people think I am primarily a man of the spirit because I spend a lot of time talking about God and to God, examining scriptures, praying, meditating, etc. Some people think I am primarily a man of the psyche (of the soul) because I closely observe my own behavior and the behavior of others, because I watch and take note of other people and am very aware of how they actually behave versus just what they say or proclaim or pretend.

And all of those things are partially true. Not primarily, but partially true. I am in some respects a man of the mind, in other respects a spiritual man, in part a man of the soul and the human psyche.

But there is another part of me that is very, very earthy and physical.

Because I love, and am highly attracted to, and have always been highly attracted to, physical activity and things physical. (Except for eating, I could take or leave eating and if something better than eating existed I’d never eat again. Waste of time to me, and extremely inefficient and wasteful.)

Actually I often do my very best work when hiking, running, clearing land, having sex with the wife, exercising, exploring, climbing, etc. I am attracted to and have always enjoyed physical activity – strain, pain, pleasure, sex, exhaustion, etc. and to me all of those things are drivers and motivators. I have had to learn to correctly control them all and use them wisely and properly but they are all very dear and useful to me. They make me feel alive and invigorated. They are also both stimulants and inspirations to me. Doesn’t matter what I am doing, inventing, working on a business project, writing, composing, drawing, investigating, doing science, etc. physical activity is a stimulant to me.

For instance this morning I took Sam (my American Superior) for a run in the woods (rather than a hike, he’s getting a little fat and I want to work him back into shape with me) and while doing so I developed in my mind six good scenes for my Kithariune novel, a science fiction short story, a Real World invention based around the subject matter of the sci-fi short story (actually the real world invention came first), and had an interesting idea for a scientific experiment. (Physical activity is also an excellent mnemonic technique to me.)

Had I done nothing but sit on my ass this morning and tried to just “Think” (I have nothing against thinking by the way, I highly recommend it to everyone, it’s just I’m not much of a sedentary thinker, I’m an “active thinker” – physical activity stimulates my thinking) I doubt that a single one of those ideas would have occurred to me.

Yes, I am partially a man of the mind, and the spirit, and the soul, but also of the body. My body stimulates the other parts of me. In many ways my body is perhaps my single most important tool of creative expression, either directly or indirectly (as it feeds my mind, soul, and spirit).

I might not have the most excellent body but my body has done me the most excellent service. And just to give him his due, considering what I’ve put him through, he’s been tough as hell and I admire and respect him for that.

Is the body or physical activity a stimulant to you as well? Do you also rebel against the idea of “thinking” as being a sedentary pursuit, or the “thinking man” as a sedentary creature?

I certainly do and always have. Even as a child.

 

Linear Progression or Scene-By-Scene?

So in writing the Old Man for NaNoWriMo this year I had carefully planned how each section (since the novel is divided into four or possible five long short story sections) would go and how each event in each section would proceed. In a linear, chronological progression. That is how I actually intended to write the book. I’m at over 10,000 words so far and have not written anything in linear progression so far, even though that was my original intent.

In truth though I find that most all of the fiction I write – short stories, novellas, novels, etc. always end up being written scene-by-scene, as they occur to me, and then later have to be stitched together in chronological order. The one exception to that being children’s stories (for very young children, not YA – those I also tend to write scene by scene) which, like poems and songs or the music I compose I tend to write in chronological order or by linear progression.

If it’s a longer work however, like those I listed above, then I always end up writing it scene by scene as the scenes occur to me in my imagination. No matter how hard I try or what I plan or how carefully I outline the book in my imagination it always comes out being written scene-by-scene, or in the case of non-fiction, subject by subject.

Apparently this is simply the way my mind works in constructing long, complex stories. It used to bother me, that I found it so difficult to write a novel or long story chronologically, now it doesn’t, but it has always made me wonder, how many other people approach writing novels in this way?

So I ask you. How about you?

Do you tend to write novels and long stories in chronological sequence, or poco-a-poco, and scene-by-scene?

How does your mind work when writing such books?

Do you find any advantages in either method? Do you find either method nearly impossible because of the way your mind or imagination functions?

Or is there some other method or technique of construction you use other than the two I described above that I haven’t thought of?

THE OLD MAN BEGINS…

I’ve cleared my entire calendar for November in order to write my novel for National Novel Writing Month. Aside from some type of emergency, and I don’t anticipate one (though you never really do, do ya?), writing my novel will be my chief priority this month.

So my blogging and other social media efforts will likely lag as a result. So will every other non-essential pursuit as the novel will be my Essential Activity for November. Fortunately I anticipate a very quiet month which will allow me the opportunity to write completely without distraction.

I’ve decided to go with THE OLD MAN as my chosen novel.

I intend to produce between 1500 and 5000 words per day, depending upon the day and the way the story proceeds and progresses. I already have much of the plot, all of the sections, and a few of the scenes sketched out.

Because of my broken wrist I will be writing the novel out in long hand on long notepads and my daughter will be typing it for me. I begin as soon as I’ve had breakfast and I walk Sam (my Great Dane) as it’s been raining this morning and prevented an earlier walk.

Congratulations to all of those pursuing writing their novel this month.

Good Fortune and Godspeed.

See you at the end of the month if not sooner…

I KNOW YOU ALL – FIRST VERSE (WILL SHAKESPEARE AND JOHN GUNTER)

This happens to be my favorite section of monologue from a play by Shakespeare (any play by Shakespeare), and there are many brilliant ones. This is from the Henry Cycle. (Henry discusses his past nature as scoundrel and the companion of scoundrels and his coming nature as king.)

Since I was a kid, a teenager actually, I have taken what I consider to be great sections of poetry, prose, plays, songs, etc. and rewritten them to see if I could improve upon them in some way (linguistically, poetically, phonetically, in meaning or emphasis, etc.). As an exercise in the improvement of my own poetic capabilities. Or towards the improvement of whatever other capabilities I happened to be attempting to exercise.

To me this is the very paragon of verse from Shakespeare’s plays, for any number of reasons, not least the undercurrents of shaded meaning, the psychologically acute self-analysis, and the prophetic pronouncements of the future. I have rewritten this section many times and in many different ways but did it again late last week as an exercise to keep myself from becoming rusty and out of practice at this type of verse and monologue.

The first section is the Work of Shakespeare. The second section is partially Shakespeare’s, the part in italics (in order to set the theme of the monologue), and the last part is my rewriting of the same. It is not only a rewriting, I’ve also altered the emphasis, slightly and subtly, but it also contains allusions to other subject matter and characters I have written about in my own poetry, such as Orpheus and the Tears of Iron.

I hope you enjoy it. I also hope you try such exercises for yourself to improve your own capabilities.

 

I KNOW YOU ALL – WILLIAM SHAKESPEARE

I know you all, and will awhile uphold
The unyoked humor of your idleness.
Yet herein will I imitate the sun,
Who doth permit the base contagious clouds
To smother up his beauty from the world,
That, when he please again to be himself,
Being wanted, he may be more wondered at
By breaking through the foul and ugly mist
Of vapors that did seem to strangle him.
If all the year were playing holidays,
To sport would be as tedious as to work,
But when they seldom come, they wished for come,
And nothing pleaseth but rare accidents.
So when this loose behavior I throw off
And pay the debt I never promisèd,
By how much better than my word I am,
By so much shall I falsify men’s hopes;
And, like bright metal on a sullen ground,
My reformation, glitt’ring o’er my fault,
Shall show more goodly and attract more eyes
Than that which hath no foil to set it off.
I’ll so offend to make offense a skill,
Redeeming time when men think least I will.

 

I KNOW YOU ALL – WILLIAM SHAKESPEARE AND JOHN GUNTER

I know you all, and will awhile uphold
The unyoked humor of your idleness.
Yet herein will I imitate the sun,
Who doth permit the base contagious clouds
To smother up his beauty from the world,
That, when he please again to be himself,
Being wanted, he may be more wondered at
By breaking through the foul and ugly mist
Of vapors that did seem to strangle him.

Of temperance there is none found in me
When overwhelming Wyrd o’ermasters
All the conduct of my prior faculties
Yet when I am come, and baring as I come
The former foil that gilds me dull, yet sharp
In indiscretions manifold who
will vouchsafe all my claims and titles
Young with new maturity, if not I?
In reform well sprang like Orpheus
From the chair of Pluto and his iron tears
My coming crown unworn, my sins unshorn
Shall outline the very shadowed limits
That I so like the scorching sun of noon
Shall burn away when the Dawn of Me
Does unexpected rise from deep within
And clotted clay, the seeming sepulchre
That frontiers all I have ever been
Will be seen to walk beneath the heavens
As if a new king bestrode the mortal world
In glory more like ancient gods than man…

 

THE SORCERER’S TONGUE

THE SORCERER’S TONGUE

The Sorcerer’s tongue an adder crawls
To slither through the hearts of men
A viper coiled in roils of lies
Seduces all with poisoned ends,
The Necromancer of the Age
Raising up deceit and death
From tombs and tomes by ruin lost
Has given form and stirred cold breath,
Enchantments webbed and eldritch spun
Like spiders creep across the mind
So even men who seem themselves
Are slaves to him, enthralled like kine,
Hades vast and oceans deep
Are hidden in his crafty art
The conjured word is as he speaks
A servant dim and set apart,
The warlock’s gloom – bespoken like a spell
Has snared the fool and baited traps
To line the road of Truth along which
Even brave men cannot make their maps,
The Waystaff of the Witch’s word
Has charmed the Wise with venoms dark
Bound in blood men sound in every other way
By sound of him fall all unnerved
Their manhood washed away in flood,
The alchemic base of rank and rot
Has made a potent portion of regret
Yet who still speaks of deeds begot
When dread by sorcery yet abets?
The Witch’s teat, the serpent’s tongue
Eidolons frozen in the soul
Glams and dictums (dicins) doom us all
Who should by wit the Witch atone,
We have fallen all and one
Under shrouds envoked by terms of fraud
Cultic does the lie allure
Guile the noose of little gods,
If we will not soon this wrong dispel
Cut out the tongue that binds us so
Then sorcery shall be our gaol
The price of prison be our soul.

THE DAUFIN AND THE EGG?

In my Other World novels the Sidhs use a code word (or the Samarl and his allies do in any case) to describe a being they believe to have existed for a very long period of time using a most unusual method of life extension. (Or possibly it periodically dies and is reborn again.) The Samarl and his allies believe this being to be evil and an enemy.

The word used to describe this being among themselves (so no one else will understand who they are really talking about) is Daufin. The Daufin is typically also identified or represented by a code symbol, as well as a drawing of a mythical beast (which actually exists and is controlled by the code-named Daufin, though few believe it actually exists anymore), and by a code phrase.

The term Daufin is not to be confused with the French term Dauphin though I readily admit that I took the term directly from the French term. And yes, for those who know me well you must be thinking, “French?” As you know I have little interest in modern things French, but in Ancient things and Medieval things French (the Franks for instance, and Charlemagne, and the ancient Romances, and the Gauls) I have great interest.

And I have great interest in the Dauphin, both the one denoting the Medieval prince and the more ancient term I suspect it is derived from, and what that implied. The Dauphin has always fascinated me though I rarely mention it.

In any case before I insinuate the conspiracy surrounding the Samarl and the Daufin too deeply in my novel I have been trying variants on the term, as I actually very much adore the term Dauphin and think it perfect though being French, even if it is early French, it is not linguistically suited to the Sidhs and the other Eldeven peoples of the novels. With that in mind here are a number of variants upon the term Daufin which I might use. If you have a favorite variant or you wish to suggest one of your own that strikes you as particularly pleasing then please leave a comment and let me know. If you want to explain why I’ll be happy to know that as well.

Variants on the term Daufin/Dauphin:

Daughfin

Dolfign/Dalfign

Dalphin

Dahlfin

Dalphang

Dolfang

Daufang (this sounds a bit too Oreintal to me, but given the origins of the Daufin it might serve well)

 

Below is the code phrase (in verse) used to describe the Daufin, and it seems a sort of song, and it is, but it is also a set of codes by which the speaker identifies what he knows about the Daufin. As more is learned more verses are added. It is obviously translated into English from the original Eldeven:

“Arose the Daufin from the seas, as deep and dark as Tântalos
Whose ruin ran the riven world three times round the sunken hosts,
What is this thing, whence did it rise, who sired it or set it loose?
How many times to be reborn, how many mortals yet seduce?
A secret thing crawls in the Egg, the Sun has never seen its face  
When will it hatch next in the world, all other things to then erase?”   

 

The seeming symbol for the Daufin is a mythical beast,  but the symbol for the real Daufin is of a multi-headed sea-serpent hatching from a giant egg along the flooded beach of a sinking island.