Note Also The Project Mentioned Half-way Down The Page About Translating The Specific Couplets.

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Shakespeare translation research project. Multilingual translations - all languages - all periods. Othello: case study, pilot project. Data visualisations.

Note also the project mentioned half-way down the page about translating the specific couplets. 

This conference is p awesome, so many amazing projects I’m learning about.

And this is the point where I have to accept that I need to write out the next page of pattern. (The orange T is theta, the dark red T is Tau).

These are works in progress of a fellow artist and classicist, Sam. I love her work. My own work seeks to obscure the original classical texts to leave only an aesthetic object, it overlays the original text with the stories of it's translation and reception. Sam's work inhabits the text, blurs the boundary between narrator, translator, artist, and character, and brings a sense of grim reality to the myths. What could Philomel say to Procne to tell her what had happened? How she felt? Sam's work gives a voice to these largely silent women who have been abused both by the narrative, and by society's treatment of their narrative. These fictional women, who represent the stories of so many real women, and their ignored lives. tl;dr: this is all kinds of awesome.

Differences achieved by slipping knitwise/purlwise for an SSK decrease, for anyone who has ever wondered. Top left is traditional SSK - both stitches slipped knitwise. Top right is SSK with both stitches slipped purlwise. Bottom left is first stitch slipped purlwise and second slipped knitwise. Bottom right is first stitch slipped knitwise and second slipped purlwise. You can see that the traditional SSK gives the smoothest line. But that might not always be the best style for a pattern. If you're working something that emphasises corners and angles, try one of the other three. SSK with knitwise then purlwise completely hides the second stitch being decreased so it gives a simple step pattern in the decrease. The other two allow a leg of the second stitch to show through so could work with designs where you want to emphasise complexity or a 2-1 rib design, etc.

It's a little bit of a faff, but it works perfectly for me: when you get to the end of a needle, drop that needle and carry on knitting the next two or three stitches from the next needle onto your live needle as well, then pick up your empty needle, slip those two/three stitches from the old live needle onto this needle, and carry on.

Basically, always knit two-three stitches from the next needle without changing your live needle, then change to the next live needle and slip those two/three stitches onto it, so you're never having to knit any stitches on joins.

Hello! I have a question about laddering with DPNs because no matter what I keep getting ladders on my socks. I usually knit with three in the stitches and the fourth one to knit and I've tried using all five and I've tried putting more tension on the parts where the needles meet but I can't seem to get it right :/ should I give up and just do magic loop?

Hi there,

Unfortunately, laddering can happen with the magic loop method as well.  

You said you’re using more tension at the joins.  Are you putting extra tension on the first few and last few stitches on each needle?  

Also, another trick I use is moving the stitches around periodically to change up where the first and last stitches on the needles are.  This can make laddering quite a bit less noticeable because it’s not happening with the same stitches every row.

Aside from doing what she’s already doing does anyone else have other ideas for a-piece-of-pjorn on how to avoid laddering?

Something else amazing I didn’t realise I needed in my life.