Prelude: Military Relations between the United States and Germany and the Great General Staff Fantasy
“The German Army has been busy since the War, as it always was busy before the War, in developing new weapons or new applications of old ones, new tactics and new methods of training.”1
—Thomas Bentley Mott, U.S. military attaché to France at the turn of the twentieth century
“We are indebted to the Germans for this system of teaching the art of war, now gradually working its way into our own Army.”2
—Annual Report of the Commandant, U.S. Infantry and Cavalry School, 1906
t has been stated that “no other army in history has ever known its enemy as well as the American army knew the German army when the Amer icans crossed the Rhine River and began their final offensive.”3 While the
U.S. Army might have known a lot, it understood little.
The German Army—and before that the Prussian—has been a source of inspiration and education and even a role model for the U.S.
Army since it came into existence but especially since the successful wars of German unification.4 However, because the Americans have misun derstood the German culture of war until the present day, the lessons drawn from it by the U.S. Army often were, and still are, flawed or not implemented. Warfare is so much based on culture, tradition, and his tory that it would have been hard anyway to put into practice the warwaging culture of one army in another but it becomes close to impossible when this culture is misinterpreted.5
When I was an infant, Mrs. Twartski separated one piece of my mind to be the person who walked the pathways. She put the child-me on a baby scale, tied me down, put a support under my bobbing neck, and spun the scale. With each new rotation, Mrs. Twartski said, “You will do whatever you're told.” Spinning, I passed my families’ faces and representations of wild animals, monsters, and devils. I spun until all the faces became one and my family's faces melted into the animal-devil ones. This dizzy infant surrounded by people who didn't rescue her grew into the child who walked the inside and outside pathways in the bitter blackness.
Over sixty years later, the pathways still shiver in my mind. The leaders of my false-Kabbalah-based cult indoctrinated small children by having them walk a dirt path alone, usually in a secluded forest. The path was like an exploding tunnel. I felt alone despite Daniel's telling me he would always be with me, and my being surrounded by people. I never had a family and no longer had a friend, yet at times something insulated me. The pathway earth was filled with electricity, the kind the world made naturally. The earth breathed the way Daniel had breathed. I felt his breath through my feet. The forest with its trees reaching the black sky and breathing soil was not criminal, only people were. The earth molded to my feet. Typical pathway messages were, “You may never escape us,” and “You belong to us”, or “This is your destiny.” “What is learned in the pathways is applied to life,” they taught. By “life” they meant normal life, what all people lead. And I was deliberately given “normal life” experiences that echoed or foretold what the pathways taught.
I am going to offer two methods: you can tune by ear, using “Twinkle, Twinkle,” or you can use a guitar tuner. If both methods still leave you unsatisfied, take your guitar to a music store and have them do it. I have never done this myself, but it might freak them out, which would be well worth the trip.
If trying to tune is making you crazy, put the guitar down for an hour, or even a day. Practice singing the scale and “Twinkle, Twinkle, Little Star.” You are not tone deaf. If you were, you would not be able to tell the difference between someone asking you a question and giving you a command. Give in to the earworm and be patient.
After coming back to your guitar, just monkey around with it. You built it; it’s yours, and you can do whatever you want! Try over-tightening the strings, and see what the notes sound like until they break.
How loose can a string be and still play a recognizable musical sound?
If all we needed was a way to create an image to add to a web page, we have paint programs and photo editors, and wouldn't need either an XML schema or scripted object: we'd just create the image, link it into our pages, and go happily on our way.
In earlier chapters, I introduced both SVG and the canvas element, but only static variations. The real power to both graphics systems is the fact that graphics can be created and modified dynamically, responding to a reader's interactions, a changing environment, or even new data.
The canvas object is already dependent on scripting, but adding interactivity to the element adds a new dimension of usefulness and interest. SVG, though, is as static as any web page in HTML or JPEG photo. Or is it?