{technology} – Page 40 – { feuilleton }

Alhambra cyanotypes

The cyanotype process is a very old photographic printing technique and also the source of the word “blueprint”, after the process became common among builders and engineers for the printing of plans. The technique also has its enthusiasts today, some examples of which can be seen here. These views of the Alhambra Palace in Granada, Spain, were taken by Carl Curman, a Swedish scientist and photographer, in 1878. The Swedish National Heritage Board at Flickr has two sets of Curman’s travel photography which include additional views of the Alhambra as well as other cyanotypes.

Previously on { feuilleton }
• Constantinople, 1900
• Edinburgh, 1929
• Old Bunker Hill
• Inondations 1910
• Berenice Abbott
• Eugene de Salignac
• Luther Gerlach’s Los Angeles
• The temples of Angkor
• The Bradbury Building: Looking Backward from the Future
• Edward Steichen
• Karel Plicka’s views of Prague
• Atget’s Paris
• Downtown LA by Ansel Adams

Weekend links 27

Annie Duels The Sun (2010) by Angie Wang.

I’m interviewed again, this time by James at Cardboard Cutout Sundown. Covering familiar subjects for {feuilleton} readers: art history, design, Lovecraft, the genre/mainstream seesaw, etc. Related: Jeff VanderMeer previewed my design for the forthcoming Steampunk Reloaded.

• Battle over legacy of father of Art Nouveau. Prague authorities are demanding the paintings which comprise Alphonse Mucha’s Slav Epic be moved to the capital.

• The films that time forgot. David Thomson on ten neglected works including a cult favourite of mine, Jerzy Skolimowski’s Deep End (1970).

• The Viatorium Press: “Fine letterpress printing, digital typography, and hand painted illumination.” Among their recent productions is a poem by Clark Ashton Smith.

À la conquête du pôle (1912); Georges Méliès vs. Jules Verne.

• Taxandria, a feature-length collaboration between Raoul Servais, François Schuiten and, er, Alain Robbe-Grillet, is on YouTube. My earlier post about the film is here.

• Salvagepunk, or (maybe) Post-post-modernism: “How a music micro-trend heralds an emerging, internet-enabled, aesthetic movement.” See also the latest issue of The Wire.

• Drainspotting with Remo Camerota: documenting Japan’s creative manhole covers.

• Yo-ho-ho, and a bottle of squid: a book devoted to Kraken Black Spiced Rum.

• After Stanley Kubrick. Christiane Kubrick on life without Stanley K.

• Pills and penises and kissing boys: Tara Sinn’s Kaleidoscopes.

• Found Objects: a hauntological dumping ground.

• Sandow Birk’s American Qur’an.

• RIP Frank Kermode.

• Feuerland (1968) by Theo Schumann Combo; Feuerland (1977) by Michael Rother; Feuerland (2007) by Justus Köhnke.

Weekend links 24

Delta-Wing (2009) by Chloe Early.

• “Feted British authors are limited, arrogant and self-satisfied, says leading academic”. Stating the bleeding obvious but it still needs to be said, apparently, especially when the announcement of the Booker list this year caused the usual confusion when Amis Jr. and McEwan weren’t included, as though the mere existence of their novels makes them prize-worthy. And as someone pointed out, the word “male” is missing from that headline.

• Hero of Comic-Book World Gets Real: Alan Moore again, in the NYT this time. Related: a review of Unearthing live.

• Announcing The Hanky Code by Brian Borland & Stephen S Mills, a 40-poem book to be published next year by Lethe Press. For an explanation of the Hanky Code there’s this, and there’s also an iPhone app.

• Folk—the ‘music of the people’—is now hip again, says (who else?) Rob Young who can also be heard on the archived podcast here. Related: the folk roots of Bagpuss. Related to the latter: The Mouse Mill.

An endpiece from The Firebird and other Russian Fairy Tales by Boris Zvorykin.

• ‘Yes’ to Catastrophe: Roger Dean, Prog and SF. A lengthy and thoughtful analysis of Roger Dean’s early work.

• Into the Media Web, the enormous Michael Moorcock book which I designed, is officially published this week.

• Cassette playa: in praise of tapes. I’ve complained about tapes in the past but people continue to find them useful. Some technologies die harder than others.

• Boy BANG Boy: “Quiet moments made suddenly very loud with the attitude and opinion of what it means to be a young male in an impossibly diverse world.” An exhibition opening at Eastgallery, London, on August 5th.

• Empty your heart of its mortal dream: Alfred Kubin’s extraordinary novel, The Other Side.

• Ghostly and Boym Partners devise a new way to deliver digital music.

• Besti-mix #27: a great selection by producer Adrian Sherwood.

• Agnostics are troublemakers. Amen to that.

• RIP Harry Beckett.

• Acousmata.

• Let Us Go In To The House Of The Lord by Pharoah Sanders (live, 1971): Part 1 | Part 2

Ghost clocks

Ghost Clock by Yee Ling Wan (2005).

We’ve had skeleton clocks and mystery clocks this week, ghost clocks would seem the next logical step. There don’t seem to be many devices which fit the label unfortunately but this pair are interesting enough. Yee Ling Wan’s clock is relatively cheap (around £70) compared to yesterday’s antiques and can be purchased from a number of online outlets.

Ghost Clock by Wendell Castle (1985).

Wendell Castle’s Ghost Clock isn’t a timepiece at all but is a solid block of mahogany carved and laminated to give a trompe l’oeil impression of a sheeted grandfather clock. The wrapped object and the confounding of expectations reminds me of Magritte who may have been an inspiration. Ce n’est pas une horloge, perhaps.

Previously on { feuilleton }
• Mystery clocks
• Skeleton clocks
• The Midsummer Chronophage
• The Corpus Clock

Mystery clocks

Yesterday’s post concerned skeleton clocks so I have to follow up with something about mystery clocks, those fascinating devices whose hands move without any apparent attachment to gears or clockwork. It’s the glass that moves, of course, and the trick is easily puzzled out in many of the pieces with circular faces. Rather more ingenious are square clocks like the simple and elegant Smiths Electric Mystery Clock from 1934 which used a central pane of glass moving from side to side to operate the hands. Especially impressive is this one-off piece which is entirely clear and seems to have no moving parts at all.

The clocks shown here are among the more lavish examples. The piece above is an early model from circa 1837 credited to Jean Eugène Robert-Houdin, the renowned stage magician who was also a notable inventor, clockmaker and scientist. Below is one of a series of Art Deco-styled clocks made by Cartier during the 1920s. Having the clock suspended rather than supported is an unusual touch which adds just that bit more mystery.

Previously on { feuilleton }
• Skeleton clocks
• The Midsummer Chronophage
• The Corpus Clock