The Eternal Enemy: Complexity
Wednesday 26th November 2025
Authored by: 2
apex predator of grug is complexity complexity bad say again: complexity very bad you say now: complexity very, very bad given choice between complexity or one on one against t-rex, grug take t-rex: at least grug see t-rex complexity is spirit demon that enter codebase through well-meaning but ultimately very clubbable non grug-brain developers and project managers who not fear complexity spirit demon or even know about sometime one day code base understandable and grug can get work done, everything good! next day impossible: complexity demon spirit has entered code and very dangerous situation! grug no able see complexity demon, but grug sense presence in code base demon complexity spirit mocking him make change here break unrelated thing there what!?! mock mock mock ha ha so funny grug love programming and not becoming shiney rock speculator like grug senior advise club not work on demon spirit complexity and bad idea actually hit developer who let spirit in with club: sometimes grug himself! sadly, often grug himself so grug say again and say often: complexity very, very bad
The Truth about Bank Voles (Why is no one talking about this)
Wednesday 26th November 2025
Authored by: 1
Bank vole - (Myodes glareolus) Stout but speedy, the bank vole skitters around woodland and dense vegetation looking for blackberries, nuts and small insects. It uses its large ears to listen out for its many predators, such as the fox and kestrel. Watch out little dudes.
Thoughts on Beef
Wednesday 26th November 2025
Authored by: 1
Beef is the culinary name for meat from cattle (Bos taurus). Beef can be prepared in various ways; cuts are often used for steak, which can be cooked to varying degrees of doneness, while trimmings are often ground or minced, as found in most hamburgers. Beef contains protein, iron, and vitamin B12. Along with other kinds of red meat, high consumption is associated with an increased risk of colorectal cancer and cardiovascular disease, especially when processed. Beef has a high environmental impact, being a primary driver of deforestation with the highest greenhouse gas emissions of any agricultural product. In prehistoric times, humans hunted aurochs and later domesticated them. Since that time, numerous breeds of cattle have been bred specifically for the quality or quantity of their meat. Today, beef is the third most widely consumed meat in the world, after pork and poultry. As of 2018, the United States, Brazil, and China were the largest producers of beef. Some religions and cultures prohibit beef consumption, especially Indian religions like Hinduism. Buddhists are also against animal slaughtering, but they do not have a wrongful eating doctrine. Etymology The word beef is from the Latin word bōs,[1] in contrast to cow which is from Middle English cou (both words have the same Indo-European root *gʷou-).[2] This is one example of the common English dichotomy between the words for animals (with largely Germanic origins) and their meat (with Romanic origins) that is also found in such English word-pairs as pig/pork, deer/venison, sheep/mutton, and chicken/poultry (also the less common goat/chevon).[3] Beef is cognate with bovine through the Late Latin bovīnus.[4] The rarely used plural form of beef is beeves.[5] History People have eaten the flesh of bovines since prehistoric times. The aurochs, the ancestor of modern domestic cattle, is known to have been hunted and consumed by Neanderthals.[6] Some of the earliest known cave paintings, such as those of Lascaux, show aurochs in hunting scenes.[7] People domesticated cattle to provide ready access to beef, milk, and leather.[8] Cattle have been domesticated at least twice over the course of evolutionary history. The first domestication event occurred around 10,500 years ago with the evolution of Bos taurus. The second was more recent, around 7,000 years ago, with the evolution of Bos indicus in the Indian subcontinent. There is a possible third domestication event 8,500 years ago, with a potential third species Bos africanus arising in Africa.[9] In the United States, the growth of the beef business was largely due to expansion in the Southwest. Upon the acquisition of grasslands through the Mexican–American War of 1848, and later the expulsion of the Plains Indians from this region and the Midwest, the American livestock industry began, starting primarily with the taming of feral and semi-feral Longhorn cattle. Chicago and New York City were the first to benefit from these developments in their stockyards and in their meat markets.[10]
What is a barrel
Wednesday 26th November 2025
Authored by: 1
A barrel is a cylindrical container, often made of wood, that is used for storing and aging liquids like wine, whiskey, and oil, as well as other goods. It can also refer to a specific unit of volume, especially for oil. Modern barrels are also made from materials like plastic and stainless steel, and are sometimes used in a more general sense as a synonym for "drum" when referring to a cylindrical shipping container. Container and its uses Liquid storage: Barrels are traditionally used to store liquids such as wine, whiskey, and oil. Aging: Wooden barrels, especially those made of oak, are used to age beverages like wine and spirits, which can add flavor and complexity. Transport: Barrels are a type of shipping container for various bulk goods, including liquids and powders. Material: While wood is traditional, modern barrels can be made from other materials like steel, plastic (like HDPE), and stainless steel. Other uses: The term "barrel" can also describe other objects shaped like a barrel, such as the tube of a firearm or the drum of a watch. Unit of measurement Varying capacities: A barrel can be a unit of capacity with different volumes depending on its use. Oil barrels: The most common volume for an oil barrel is 42 US gallons (about 159 liters). Other barrels: Other barrels can have different capacities, such as the US beer barrel (117.3 liters) or the UK beer barrel (163.7 liters).
Archibald Knox: the Manx artist in the ministry of the beautiful
Wednesday 26th November 2025
Authored by: 1
Archibald Knox (1864–1933) was a prolific and innovative designer who helped define the aesthetic of the early twentieth century through his work with Liberty & Co. He was a master of metalwork, jewellery, ceramics, fabric and lettering design. But it wasn't always this way. During his lifetime and for decades afterwards, Archibald Knox remained largely unknown outside of the Isle of Man – Liberty's policy of not naming their designers suited his preference for working anonymously. His legacy has only been recognised in the last 40 years. Archibald Knox (1864–1933)Image credit: Manx National Heritage Archibald Knox (1864–1933) Born on the Isle of Man in 1864, Archibald Knox's early life was shaped by his family's marine engineering business, though he chose to pursue art instead. In 1880, he enrolled at the newly established Douglas School of Art, where he studied under William J. Merritt, John Miller Nicholson and George Sheffield. The Douglas School of Art, Isle of ManImage credit: Manx National Heritage The Douglas School of Art, Isle of Man Embracing modernist ideas, Knox excelled in his studies. Reflecting on this time in later life, he said: 'We became post-impressionists, cubists, unnamed venturists... twenty-five years before such experiments were known in London.' Archibald Knox's long fascination with the Isle of Man's history, culture and spirituality profoundly shaped his creativity. Growing up at a time when the Isle of Man was only just discovering the significance of its history, Knox joined a group of 'tenacious patriots' enthusiastic about understanding Manx identity and committed to preserving and celebrating the Island's heritage and culture. Liberty Cymric silver menu holderImage credit: Manx National Heritage Liberty Cymric silver menu holder Shows Archibald Knox’s Celtic knotwork inspired by the Isle of Man's medieval carved crosses Knox was fascinated with the intricate designs of the ancient crosses and spent many hours documenting and recording them. The sinuous lines and curves of these carvings would influence much of his future work. Knox the designer: Liberty & Co. and the art of the home Archibald Knox's design career began on the Isle of Man, where he became friends with the renowned Arts and Crafts architect Mackay Hugh Baillie Scott. This friendship exposed Knox to European design trends and led to his work being featured in influential journals. Bud and leavesImage credit: Manx National Heritage Bud and leaves textile design by Archibald Knox (1864–1933) In 1896, his close friend and fellow Manx artist Alfred J. Collister was appointed headmaster of the newly opened Redhill School of Art in Surrey. He invited Knox to join him as art teacher, and so his design journey to London began. Liberty Cymric silver pepper castor 'Thorian'Image credit: private collection Liberty Cymric silver pepper castor 'Thorian' Stamped with the earliest known hallmark for Liberty's Cymric range On arrival in London, Knox soon began supplying designs to the Silver Studio, commercial designers for Liberty & Co. In 1898, he began working on Liberty's new Cymric silverware range, defining the minimalist Liberty aesthetic with its clean lines and modern elegance. Liberty Cymric silver-covered cup with enamelImage credit: private collection Liberty Cymric silver-covered cup with enamel 1900, designed by Archibald Knox (1864–1933) By 1900, he was designing exclusively for Liberty, whose search for a distinctively British style aligned perfectly with his Celtic-inspired motifs. Returning to the Isle of Man, Knox focused on design full-time. Over the next five years, he produced thousands of homeware and jewellery designs for Liberty's Cymric and Tudric ranges, always balancing beauty with function. He also designed pottery, textiles, wallpapers and furniture for Liberty. Sybil Cottage (left), Sulby where Archibald Knox lived and worked from 1902 to 1905Image credit: Mannin Collections Archive Sybil Cottage (left), Sulby where Archibald Knox lived and worked from 1902 to 1905 It is estimated Knox produced 5,000 designs for Liberty in this cottage Liberty opened its doors in 1875 when Arthur Lasenby Liberty transformed a modest shop at 218 Regent Street into a vibrant hub for exotic and beautiful goods. His vision was to make stunning items accessible to all, not just the wealthy – creating fashionable and tasteful design for the new middle classes of Britain and Europe. Liberty Tudric monumental clockImage credit: Manx National Heritage Liberty Tudric monumental clock The overall shape and design show the influence of the Isle of Man's carved medieval stone crosses on Knox Liberty Cymric gold brooch with a single opalImage credit: Manx National Heritage Liberty Cymric gold brooch with a single opal 1900–1904, designed by Archibald Knox (1864–1933) Embracing machine production to keep costs down, Liberty launched its own Cymric silver and jewellery collection in 1899. This luxurious line combined machine-made silver with meticulously hand-finished semi-precious stones and enamel. In 1902, the more affordable Tudric range, crafted from pewter, was introduced. Both ranges were manufactured by W. H. Haseler of Birmingham. Liberty Cymric gold and opal pendantImage credit: The Peartree Collection Liberty Cymric gold and opal pendant 1903, designed by Archibald Knox (1864–1933) Archibald Knox was the lead designer, blending Celtic influences with modernist design to create pieces that are still easily recognisable today. Knox's designs dominated Liberty's output, with an estimated 80 per cent of the silver, jewellery and pewter items from this period attributed to him. Modernist Liberty Cymric silver and enamel vaseImage credit: The Peartree Collection Modernist Liberty Cymric silver and enamel vase 1904, designed by by Archibald Knox (1864–1933) Liberty Cymric silver and enamel clockImage credit: private collection Liberty Cymric silver and enamel clock 1901, designed by Archibald Knox (1864–1933) Both the Cymric and Tudric ranges were hugely popular, with pieces available to purchase through Liberty's catalogue or in store. For those with the means, bespoke pieces could be ordered, designed specially by Knox. By 1906, the ranges' popularity had waned, and production ceased. Knox: the teacher and influencer Teaching was central to Archibald Knox's life. He was deeply committed to inspiring his students to find their artistic voices. Knox began his teaching career on the Isle of Man at the Douglas School of Art and Douglas Grammar School. Later, he moved to Redhill School of Art in Surrey, where he taught until 1899. He then took a break from teaching to focus on his design work for Liberty & Co. Knox returned to London in 1905 and taught design at Wimbledon (1906–1910) and Kingston Schools of Art (1907–1912). Archibald Knox (1864–1933)Image credit: Manx National Heritage Archibald Knox (1864–1933) Knox's teaching style earned him a loyal following. While quiet and reserved outside the classroom, he was animated and deeply engaged when teaching. Rather than giving lengthy lectures, he focused on drawing out the individual spirit of each student, offering brief instructions and personalised guidance. He focused on helping students 'see' rather than copy, often using his collection of over 3,000 lantern slides to illustrate concepts. These images encouraged students to think critically about design: its purpose, material and functionality. Knox encouraged his pupils to 'aim at order, hope for beauty' and urged them to 'never be ordinary, better be nothing than that'. Finding Art UK useful? Support us to keep it free Donate In 1912, Archibald Knox suddenly resigned from his post at Kingston School of Art and never taught in England again. In response to his resignation, Knox's students founded the Knox Guild of Design and Craft, headed by sisters Denise and Winifred Tuckfield. The Guild was dedicated to carrying on Knox's artistic ideals, focusing on simplicity and sincerity in design. Knox Guild of Design and Craft exhibition noticeImage credit: Manx National Heritage Knox Guild of Design and Craft exhibition notice Over its 25 years, the Guild hosted many exhibitions in London, which showcased Knox's work and that of his former students. The Guild's primary mission was to promote public interest in the design of personal and household items, in line with Knox's teachings. Capturing the Isle of Man in watercolour Whilst Archibald Knox's design work is now widely known and discussed, his intensely personal work as a watercolour artist is rarely acknowledged outside the Isle of Man. Knox painted hundreds of watercolours each seeking to capture the beauty of his island home. These were created not for public display, but, as he once explained, for the 'satisfaction of his own soul'. Rarely signed or dated, his paintings offered him a personal escape from the precision of his design work and became his lifelong passion. Knockaloe, PatrickImage credit: Manx National Heritage Knockaloe, Patrick c.1900–1933 Archibald Knox (1864–1933) Manx National Heritage His watercolours focus on the ever-changing landscape of the Isle of Man, with its hills, valleys and endless skies. Rather than aiming for exact representations, Knox sought to capture fleeting moments in nature, responding quickly to the light and atmosphere around him. Threatening StormImage credit: Manx National Heritage Threatening Storm c.1900–1933 Archibald Knox (1864–1933) Manx National Heritage Some paintings were completed in less than an hour, while others took much longer, as he waited for the perfect conditions to materialise. A Manx cultural icon Archibald Knox returned to live permanently on the Isle of Man in 1913, experiencing a creative resurgence that produced a diverse range of works from illuminated addresses to memorials and graphic designs. His uniquely Manx style of lettering and decoration played a pivotal role in the Island's early twentieth-century cultural revival, and his work continues to influence the Isle of Man today. A Design for Ramsey Grammar School Certificate for ArtImage credit: Manx National Heritage A Design for Ramsey Grammar School Certificate for Art 1930 Archibald Knox (1864–1933) Manx National Heritage The Deer's Cry is a beautiful example of Archibald Knox's illuminated lettering, showcasing his mastery of Celtic-inspired design. The pages reflect Knox's deep Christian faith and fascination with early Celtic art. The text is an interpretation of 'Saint Patrick's Hymn' or 'The Deer's Cry', a traditional prayer attributed to Saint Patrick. ‘God's might to uphold me’Image credit: Manx National Heritage ‘God's might to uphold me’ (from Knox's illuminated manuscript ‘The Deer's Cry’ or ‘Saint Patrick's Hymn’) 1914–1918 Archibald Knox (1864–1933) Manx National Heritage Knox's work combines intricate interlacing patterns, inspired by Manx crosses and Celtic manuscripts, with subtle, delicate colours. The designs are poetic and fluid, often requiring careful study to decipher their intricate lettering. Each page is a unique composition, blending freedom of expression with masterful balance. Knox gifted this illustration to Sophia Morrison for her book Manx Fairy Tales (1929). Knox and Morrison, both celebrated figures in Manx culture, were close friends. Design for Sophia Morrison's 'Manx Fairy Tales'Image credit: Manx National Heritage Design for Sophia Morrison's 'Manx Fairy Tales' 1929, illustration by Archibald Knox (1864–1933) The image accompanies the story 'Tehi Tegi' and demonstrates Knox's sense of humour: a glamorous 1920s flapper lady is pursued by a crowd of admirers in evening suits rather than the more traditional mermaid and her fishermen. The complete set of illustrations is housed in the Manx National Heritage collections. Knox's memorials Archibald Knox designed many memorial stones, all drawing inspiration from the Isle of Man's carved crosses. His distinctive grave memorials, recognisable for their unique design and lettering, can still be seen today, primarily in Braddan and Douglas Borough Cemeteries. His war memorials are located across the island. Knox worked mainly with Douglas stone mason and sculptor Thomas Quayle, and later with his son and grandson. Knox's designs, often featuring intricate interlacing, evoke the original Manx crosses. His distinctive lettering is often accompanied by sacred heart motifs. Knox created full-scale drawings of the designs, which he sent to Quayle. The stones were then hand-cut, with the complex lettering showcasing the Quayles' exceptional skills. Archibald Knox's grave, New Braddan Cemetery, Isle of ManImage credit: Manx National Heritage Archibald Knox's grave, New Braddan Cemetery, Isle of Man Though Knox never designed a headstone for himself, one of his designs was ultimately used. The headstone reads: 'Here lies Archibald Knox, Artist... A humble servant of God in the ministry of the beautiful.' 'KNOX: Order & Beauty' is a collaborative exhibition led by Manx National Heritage and the Archibald Knox Forum, featuring over 100 pieces from the collections of Manx National Heritage, alongside 100 works from private lenders and museums. It offers a unique opportunity to explore the lasting legacy of Archibald Knox, presenting a comprehensive showcase of his remarkable work. The exhibition will be on display at the Manx Museum on the Isle of Man from 5th April 2025 to 1st March 2026.