The Midsummer Chronophage

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The Midsummer Chronophage.

John C Taylor’s Corpus Chronophage—the extraordinary mechanical clock surmounted by a time-devouring monster—was featured here following news of its installation at Corpus Christi College, Cambridge, in 2008. Two years later its creator is ready to unveil a new clock which he calls The Midsummer Chronophage.

The Midsummer Chronophage pays homage to the 18th century clockmaker John Harrison, inventor of the marine chronometer and the ‘grasshopper’ escapement, a low-friction mechanism for converting pendulum motion into rotational motion. The Midsummer Chronophage takes the grasshopper escapement out of the clock and presents it on the outside as a sculpture. The mythical creature is also the world’s largest grasshopper escapement.

The face of The Midsummer Chronophage is a 24 carat gold-plated steel disc almost 1.5M in diameter, polished to resemble a pond of liquid metal with ripples that allude to the Big Bang. It was created by a series of underwater explosions.

The Midsummer Chronophage has no hands or numbers but displays time by aligning slits in discs behind the clock face back lit with blue LEDS; these slits are arranged in three concentric rings displaying hours, minutes and seconds.

Dr Taylor’s new clock can be seen at London’s Masterpiece Fair from 23rd of June. For those outside London there are more pictures of the device here, and videos of the Corpus Clock in action here.

Previously on { feuilleton }
Andrew Chase’s steel cheetah
Another Midsummer Night
The Corpus Clock
A Midsummer Night’s Dadd
William Heath Robinson’s Midsummer Night’s Dream
The Bowes Swan

Odes and Sonnets by Clark Ashton Smith

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Clark Ashton Smith’s weird fiction is reprinted more often and more widely than his poetry so it’s convenient for those curious about his verse that the Internet Archive has two volumes of early work. Odes and Sonnets is from 1918 and features embellishments by illustrator Florence Lundborg whose grape-devouring peacocks nod towards the fin de siècle spirit Smith was trying to capture in his poems. The Star-Treader, and Other Poems is Smith’s first book from 1912, published when he was just 19, and is heavily indebted to the Decadents. That Decadent influence carried over into the stories he wrote for Weird Tales and augments their unique flavour and over-heated atmosphere, an atmosphere which raised his work above the often mediocre level of his contemporaries. On page 58 of The Star-Treader can be found The Eldritch Dark, the poem from which the leading Smith website takes its name.

Previously on { feuilleton }
Clark Ashton Smith book covers

Weekend links 16

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Sumer Is Icumen In but you wouldn’t have known it today, it being cold and wet, O my brothers. The picture above is the work of David Owen whose Ink Corporation does a splendid job of updating the iconography of the folk music world. Via Electric Eden.

• Biting the hand that feeds: designer Jonathan Barnbrook’s contribution to the Biennale of Sydney takes a dig at the whole enterprise. The art market is impervious to criticism (or shame) but the gesture is an amusing one.

Emanuel Schongut’s book covers of the 1960s and 1970s on the artist’s own Flickr pages. Via A Journey Round My Skull.

• Owen Freeman on illustrating William Burroughs. Related: Reality Studio interviews Victor Bockris.

• RIP Jack Birkett, Derek Jarman’s Caliban and the Pope in Caravaggio. And RIP Dennis Hopper, actor, director and photographer.

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“Sea Nettle” (1873), a costume design by the Mistick Krewe of Comus. From this BibliOdyssey posting of New Orleans Mardi Gras designs.

• Chris Summerfield’s surfer boys at Lulu.

• Homotography also has a Tumblr page.

The Ghost Box Study Series Singles.

• More 3D projection on buildings.

John Foxx interviewed at FACT.

Song of the week: Ineffect (1989) by Material.

Passage 13

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Ed Jansen writes again with news that no. 13 of his Dutch-language web magazine Passage is now online:

Number 13 of Passage contains stories about the Buddha Machine, a strange little box that emits music, then there is ‘Escape from the dollhouse?’, which is about the art of Hans Bellmer, surreal and strangely erotic, ‘The Skeleton that Climbed in Through the Window’ tells the equally strange and sad story of the life of Unica Zürn, companion of Bellmer and ‘Nomads of the Timestream’ is of course about the work of Michael Moorcock. This collection begins and ends with two sides of a story about the version of the visit of Odysseus to the Underworld, by Ezra Pound.

The customary eclectic mix, in other words. The Buddha Machine section is a nice overview of recent ambient music machines. I love the ad art for Zhang Jian’s Short-Wave of Bengal Bay.

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Previously on { feuilleton }
Passage 12
Gristleism
Passage 11
Buddha Machine Wall
Passage 10
God in the machines
Layering Buddha by Robert Henke

The art of Michael Hutter

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Stadtlandschaft I (City I) (1999).

Michael Hutter‘s work is pitched at that enjoyably nebulous zone which lies on the borderlands of fantasy, science fiction and Surrealism, from which hybrid visions emerge that are never too defined in one direction or another. It’s a zone that French and Belgian artists often visit but whose inhabitants from other nations often seem all too few. Hutter’s art encompasses oil paintings and also ink drawings which include some erotic scenes like the example below. His site is well worth a browse, especially the vast and detailed Triptych which recalls similar works by Wayne Barlowe and Hieronymus Bosch. For more inhabitants of the nebulous zone, see the archive link below.

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Pterdactyl II.

Elsewhere on { feuilleton }
The fantastic art archive