@matigo A lot of people have online identities that basically can't be associated with their real-life identities. That's the only thing that'll become more important if this happens.
It must be said, these are hands down the comfiest glasses I've ever worn. Incredibly light, very secure, and it feels as though the only contact point were at the nose.
I could exchange them for the regular black lenses, I suppose, but 45% transmission is pretty cool — I'd never have to take them off when out…
Oakley EVZero arrived.
Love them, but I wonder if see-through purple lenses (the Golf Prizm) looks a bit strange on me.
But I'll finally see the world through rose-tinted glasses, I suppose? :o
@hazardwarning Vibrato was only used very sparingly in the baroque period, from what I can find, because of the lack of chin and shoulder rests — vibrato requires free movement of the left hand, but with baroque violins, the weight of the violin was supported only by the collarbone and the left hand. I believe people would apply some for end notes, but it definitely wasn't comfortable to have the bare violin digging into the neck, so once or twice per movement. From what I can hear, historically informed performances avoid it completely.
Wine dinner tomorrow — probably my last in that restaurant for the foreseeable future — and I need to clean up and prep for a friend who's arriving the day after. Dinner at mine the first night, eating at (hopefully) wonderful restaurants for the rest of his time.
Sounds expensive, but I get 50% off at some of them…I just pray he's remembered to bring some decent clothes.
Therefore, bed.
@hazardwarning Ah, reminds me of one violinist who insisted that students avoid vibrato as a habit because it was, according to him, simply a way to cover up poor intonation. That one quotation completely changed the way I play — helpful, especially as I play a lot of baroque pieces.
@hazardwarning Oh I respect them alright — I wouldn't have them on Facebook otherwise!
@hazardwarning The way I play it is to have the coldest, stillest technique on A1 — no vibrato, no dynamics, metronome-accurate tempo, as though I were floating in space — then a very subtle introduction of some life in B, like a flower just starting to bloom, followed by A2 with plenty of vibrato, dynamic variation, etc. when, in my mind, everything's come to life.
Unfortunately playing A1 in that way is very difficult for bowing technique, with the requirement of absolutely constant pressure throughout the entire draw.
Messaged my secondary school English teacher this morning and discovered that, as well as having degrees in teaching and English, he did the WSET Diploma — sponsored by Grant's of St James — and nearly went for the Master of Wine program.
I'd always known my French teacher was a judge on some wine panels as well, but it's amazing how many people have qualifications they never talk about, or never have the chance to bring up. I suppose it's rather frowned upon to talk about those things in school though. Shame. Wow.
His funniest line was "I nearly died though because I couldn't bring myself to spit." We've all been there.