The coming and going of handwork is the rhythmic pulse that comes no other way by any other method of working wood. In some ways, it’s an unintentional exclusivity we enjoy, an acceptance of organic noise types and the exclusion of mechanical others. The human engine has multidimensionality relying on great and minute manipulations and shifts in direction second by second––the complete opposite of machine-like, inline omnidirectionality with mere pushes along a straight corner where table meets fence. This rhythm, the pulse of all handwork, is the same with most if not all handcrafts. By repetition, the day comes and goes in unmeasured chunks of time as do the patterns by which we carry them out. It brings true order in the art of our working. We think ahead by tasks stacked in order by anticipating every effort ahead of the need. This prefacing is our making ready our sphere of forward planning but dimensionally there is no flat one dimension screen with the illusion of 3D, we’re working in 3D every minute.