The Bowes Swan

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“I watched a silver swan which had a living grace about his movements and a living intelligence in his eyes.” Mark Twain, Innocents Abroad.

The Silver Swan is perhaps the best known and best loved object in The Bowes Museum. It is musical automaton in the form of a life-size model of a swan, comprising a clockwork mechanism covered in silver plumage above a music box. It rests on a stream made of twisted glass rods interspersed with silver fish. When the mechanism is wound up, the glass rods rotate, the music begins, and the swan twists its head to the left and right and appears to preen its back. It then appears to see a fish in the water below and bends down to catch it, it then swallows the fish as the music stops and resumes its upright position. The whole performance lasts about forty seconds. In reality the fish has been concealed lengthways on a pivot in the swan’s beak and returns to this position. In real life swans do not eat fish.

The Bowes Museum site has more details about John Joseph Merlin’s splendid swan and this page has a QT movie of the automaton in action.

Lapis by James Whitney

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Lapis (1966).

Proof of the conservative nature of cinema as an artistic medium can be found in the way its abstract practitioners don’t merit anything like the attention received by Piet Mondrian or Jackson Pollock. In cinema narrative is all, and it’s ironic that when artists such as Julian Schnabel or Robert Longo turn to film they end up telling stories.

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James Whitney’s Lapis (1966) is a classic work in this field, a 10-minute animation that took three years to create using primitive computer equipment:

In this piece smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied with Indian sitar music. The patterns become hypnotic and trance inducing. This work clearly correlates the auditory and the visual and is a wonderful example of the concept of synaesthesia.

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James and his brother John were pioneers of the use of computers in animation. Looking around for stills from Lapis turned up this fascinating page of early computer graphics:

In the early 1960s digital computers became available to artists for the first time (although they cost from $100,000 to several millions, required air conditioning, and therefore located in separate computer rooms, uninhabitable ‘studios’; programs and data had to be prepared with the keypunch, punch cards then fed into the computer; systems were not interactive and could produce only still images). The output medium was usually a pen plotter, microfilm plotter (hybrid bwn vector CRT and a raster image device), line printer or an alphanumeric printout, which was then manually transferred into a visual medium.

It’s difficult to see these films outside a special screening at a gallery or arts cinema. The Keith Griffiths documentary Abstract Cinema is an excellent introduction, including both Lapis and James Whitney’s Yantra among many other short works. However, this isn’t available to buy so viewing it means scouring TV schedules or waiting for some of these neglected works to turn up on YouTube. Gene Youngblood’s 1970 book Expanded Cinema discusses abstraction and the Whitneys and is available as a free PDF download here.

Update: Lapis on YouTube again, in full this time!

Elsewhere on { feuilleton }
The abstract cinema archive

The art of John Atkinson Grimshaw, 1836–1893

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Spirit of the Night (1879).

Few people recognise the name of John Atkinson Grimshaw today but anyone who’s bought a birthday or greeting card in Britain will have seen his Spirit of the Night fairy painting, one of a generic series he produced in the 1870s that remains very popular despite the painter’s obscurity. Grimshaw would probably be surprised by this, the fairies were a brief diversion (I like the camp Classicism of Endymion on Mount Latmus), his real enthusiasm was for depicting the gold and amber tints of an English autumn. When he wasn’t painting fallen leaves in quiet streets he was capturing the moonrise or a smoky Victorian twilight in pictures of such spectral delicacy they could easily be used as illustrations for stories by Arthur Machen. This site devoted to the artist has many more, including the fairy paintings; perfect viewing for damp and gloomy evenings.

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Autumn Morning.

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A Golden Beam.

Previously on { feuilleton }
The art of Karl Friedrich Schinkel, 1781–1841

Gay for God

thevessel.jpgSo, another week, another gay sex scandal in America… Schadenfreude levels are going through the roof with all this happening days before a critical midterm election. Latest culprit is Pastor Ted Haggard, president of the 30-million-member National Association of Evangelicals who yesterday was denying that he paid for sex with a male escort and bought drugs (yet he still resigned; er, okay…) but now seems to be fessing up, perhaps prompted by incriminating voicemails being passed to the press.

Pastor Ted claims to have the ear of the White House and has been very vocal in the past about the iniquities of gay sex. Here’s a random sample from the NAE website:

May 17, 2004

A Special Message From Pastor Ted Haggard, President

Today, homosexual couples are marrying in the Commonwealth of Massachusetts. The crisis concerning marriage is now a real and present danger to our society. Join with the National Association of Evangelicals for an important 90-minute Church Communication Network (CCN) broadcast this Sunday evening, May 23rd, 6:00-7:30 PM Mountain Daylight Time. Hear some of the nation’s leading experts on the crisis of homosexual marriage and its detrimental impact on America’s families — Dr. James Dobson, Chuck Colson, Bishop Wellington Boone and Tony Perkins — as they inform, educate, and call the Church to action.

Business-as-usual, in the world of the god-botherers, and there’s more of the same drivel here. But Pastor Ted has gone beyond mere preaching in the past, as this eye-popping Harper’s article reveals:

Pastor Ted soon began upsetting the devil’s plans. He staked out gay bars, inviting men to come to his church; his whole congregation pitched itself into invisible battles with demonic forces, sometimes in front of public buildings.

Seems like the sinful gay men may have done some inviting of their own. Then there’s this:

He called the evil forces that dominated Colorado Springs—and every other metropolitan area in the country—”Control.”

Sometimes, he says, Control would call him late on Saturday night, threatening to kill him. “Any more impertinence out of you, Ted Haggard,” he claims Control once told him, “and there will be unrelenting pandemonium in this city.”

This may be coincidence, but any reader of William Burroughs’ work will tell you that Burroughs patented the term “Control” as a name for abstract forces (human or otherwise) attempting to dominate the world. Burroughs’ work, of course, contains a lot of gay sex, often used as a means of combating that same Control.

The Harper’s article has a great description of Haggard’s World Prayer Center:

The angel’s pedestal stands at the center of a great, eight-pointed compass laid out in muted red, white, and blue-black stone. Each point directs the eye to a contemporary painting, most depicting gorgeous, muscular men—one is a blacksmith, another is bound, fetish-style, in chains—in various states of undress. My favorite is The Vessel, by Thomas Blackshear (above), a major figure in the evangelical-art world. Here in the World Prayer Center is a print of The Vessel, a tall, vertical panel of two nude, ample-breasted, white female angels team-pouring an urn of honey onto the shaved head of a naked, olive-skinned man below. The honey drips down over his slab-like pecs and his six-pack abs into the eponymous vessel, which he holds in front of his crotch. But the vessel can’t handle that much honey, so the sweetness oozes over the edges and spills down yet another level, presumably onto our heads, drenching us in golden, godly love. Part of what makes Blackshear’s work so compelling is precisely its unabashed eroticism; it aims to turn you on, and then to turn that passion toward Jesus.

In fairness to the artist, I think that’s supposed to be annointing oil they’re pouring. Blackshear’s paintings are certainly preferable to the dreadful figurines on his site, the kind of things that give kitsch a bad name. His eroticism is of the unspecified variety that one sees in Frank Frazetta’s work and which was also present in the fascist sculptures that Arno Breker produced for the Nazis. Breker was gay but Hitler managed to overlook that inconvenience, just as the evangelicals probably overlook the ambiguous qualities in Blackshear’s paintings. As Kenneth Clark says in The Nude: A Study in Ideal Form, all nude art is erotic. Or maybe that’s just “Control” speaking through us lousy perverts?

To return to Pastor Ted, I’m curious now to see how the “gay is a lifestyle choice” contingent deal with this one. The wingnuts who deny a biological component to gay attraction are going to have to accept that their noble leader willingly entered into a sinful relationship rather than being driven there by even the slightest genetic impulse. In Colorado at the moment it seems that Control has the upper hand.

Update: latest news is that Pastor Ted bought crystal meth (an addictive compound very popular among gay men when used during sex) out of curiosity. More than once. At $100 a shot. That’s an expensive curiosity habit you have there, Ted. Oh and the escort gave him a massage but they didn’t have sex, no sir. The current Congressman for Colorado is the egregious Marilyn Musgrave, a woman who recently made Rolling Stone‘s list of “10 Worst Congressmen“, and “an evangelical Christian who married her Bible-camp sweetheart”. Marilyn is down on the gay in a big way:

Once in Congress, Musgrave introduced a constitutional amendment to outlaw gay marriage — which she calls “the most important issue that we face today” — nearly a year before a Massachusetts court approved civil unions. “She doesn’t like the idea of one gay person,” says Rep. Barney Frank of Massachusetts. “So obviously the idea of two of us hanging out makes her very unhappy.” For her opposition to gay marriage — as well as her push to legalize concealed weapons — Musgrave received an endorsement from the KKK in May.

I wonder what she has to say about Pastor Ted’s curiosities?

And there’s more from the party of gay hate, with the news that the Republican National Committee has accepted donations from the president of a gay porn distribution company, Marina Pacific Distributors. I think this is what’s called sending a confusing message to the voters. Coming next (as it were), President Bush is caught being fellated by a chimpanzee in the Oval Office. Maybe.

Previously on { feuilleton }
The election Google Bomb
Why doesn’t America believe in evolution?