On 06/08/06, Susan B. Farmer <sfarmer@...
> And [being shown "good" examples that are so far above one's
> own skill level that one can't IMAGINE ever managing them] just
> might have the opposite effect -- of intimidating them to the point
> where they won't even try -- because they're not that good.
That was my feeling.
Heck, that's almost where I -am-. I know what I need to do in order
to meet my personal standards, but am not capable of meeting them at
this time . . . so my SCA participation is entirely virtual until I
can get at least a few decent outfits for day events. And I spend
hours agonizing over minor details that nobody else would even notice,
trying to analyze details of pictures that the artist never intended
as the subject . . . because I don't want to be one of the ones who
does things wrong.
Still, there are a lot of things where I am not good enough to do them
myself, not equipped to try to do them myself, and not rich enough to
pay somebody else to do them. Currently, I can obsess about stuff
that I do have something approaching the ability to do, and so not
worry about details like triangular stools or six-legged tables.
Certainly, one can find things that are similar to what one might have
found in Roman times . . . but for some people, six hundred years too
early is as bad as six hundred years too late. Just because it's
authentic for some time during the SCA's period does not mean it is
authentic for any particular participant.
Bookwyrm, who set her period according to the existence of spectacle
frames, and Empath, whose collar is a much more affordable project
than his owner's attire :-)