NASA – Page 3 – { feuilleton }

Weekend links 445

Masayo Fukuda‘s octopus is cut from a single sheet of paper.

• “But in the title track, Homosapien contains a truly great song; four and a half minutes of bubbling synth and clever wordplay, atop which Shelley puts to one side the knowing coyness he’d frequently inserted into his contributions to the Buzzcocks catalogue, loosens his tie, and, as much as he ever committed to tape, is explicit in telling the listen exactly what he desires.” James McMahon on Pete Shelley’s first proper solo album.

• Kosmischer Läufer, the reissue project for East German kosmische music of the 1970s which may not be entirely authentic, has now reached its fourth volume. Authentic or not, the attention to detail is impressive.

• One of my favourite browsing places this month: NASA Image and Video Library.

• At Dangerous Minds: Eric Stanton and the History of the Bizarre Underground.

• Public domain artworks in high resolution at the Art Institute of Chicago.

• Mix of the week: FACT Mix 686 by the The Radiophonic Workshop.

• At Dennis Cooper’s: Les Blank Day.

• Art of the Poster 1880–1918.

• cakeordeathsite

• Interstellar Rock: Kosmische Musik (1974) by Cosmic Jokers | Sehr Kosmisch (1974) by Harmonia | Meine Kosmische Musik (1974) by Sternenmädchen

The artists of Future Life

My earlier post about Future Life magazine mentioned the regular Portfolio series which featured interviews with illustrators and space artists, the latter group being the people who providing conceptual paintings for astronomy books and government entities such as NASA. Since the magazine files at the Internet Archive aren’t searchable I thought it worth making note of the interviews here, for my own benefit as much as anything else. (This blog has often served as a useful notebook.)

Issue 1: Chesley Bonestell.

Many of the artists featured in Future Life were receiving their first (in some cases, only) high-profile feature at a time when little attention was given to the producers of this kind of work even in popular science-fiction magazines. The story magazines have always run interviews with writers but prior to Future Life, Science Fiction Monthly was the only magazine that I’d seen with a regular illustration feature, and that title didn’t last very long. Future Life covered some of the same people, Chris Foss, for example, while seeking out the prominent figures of the US illustration world. Not all the art is to my taste at all but the interviews are of interest even if you don’t like the pictures. One surprise was finding an interview in one of the issues that I’d missed with Ludek Pesek, a Czech artist whose views of the Solar System and depictions of the evolution of life on Earth I knew from the Puffin books he worked on with Peter Ryan. Those books were aimed at a young readership and were great favourites of mine before I’d seen anything by Foss and co. Another of the space artists interviewed is David Hardy, a British contemporary of Pesek’s whose view of an alien planet will be familiar to Hawkwind enthusiasts on the back cover of Hall Of The Mountain Grill. Another notable feature of the series is the lack of women artists, although this isn’t so surprising given that women creating pictures of space hardware are few even today. All the same, they might have featured Rowena Morrill, a popular cover artist for SF and fantasy novels at the time, and someone whose work I prefer to many of the people they did profile.

Issue 3: Boris Vallejo.

Issue 4: Robert McCall.

Issue 5: Shusei Nagaoka.

A Japanese artist best known in the West for his album-cover art for ELO, Earth, Wind and Fire, and many others.

Issue 6: Ron Miller.

Issue 7: The Brothers Hildebrandt.

Issue 8: David Hardy.

Continue reading “The artists of Future Life”

Weekend links 298

The Gathering (2015) by Kristen Liu-Wong.

• Tom of Finland’s house in Echo Park, Los Angeles, “is a trove of homoerotic masterpieces“. The house and its former owner are celebrated in Tom House, a book by Michael Reynolds with photos by Martyn Thompson. Related: Tom House exposed by Rizzoli.

• “Underlying the heightened nature of the films was a deep, questioning soulfulness related to literary antecedents coupled with a vision of cinema open to shifting levels of perception and fantasy.” David Thompson on Andrzej Zulawski.

• Memories of the Space Age: Photos by Roland Miller of the ruins of NASA’s old launch pads, bunkhouses and research facilities. A British equivalent (and a much more modest affair) is the Highdown Rocket Site on the Isle of Wight.

• Statues allegedly made for the John Huston film of The Maltese Falcon are among the most expensive props in cinema history even though there’s still dispute about their authenticity. Bryan Burrough investigates.

• Mixes of the week: The Solar Gate: Female Private Press New-Age Music – Vol.1 by Michael Tanner, and an “alchemical” Bowie selection by The Ephemeral Man.

• “What Does It Take To Be A ‘Bestselling Author’? $3 and 5 Minutes.” Brent Underwood on why Amazon ratings can’t be trusted.

• Edward Gorey/Derek Lamb title sequences from the PBS/WGBH show Mystery! (1981).

• A Painter Possessed: Kate Kellaway on the occult abstractions of Hilma af Klint.

• Invertebrate Harmonics: a new composition by Chris Watson.

• Frozen in time: Inside Bangkok’s first ever department store.

• Roly Porter’s Favourite Space Records

• Space-Age Couple (1970) by Captain Beefheart & His Magic Band | Space Age Batchelor Pad Music (Mellow) (1993) by Stereolab | Space Age Ballad (2001) by Acid Mothers Temple & The Melting Paraiso U.F.O.

Weekend links 296

Mars (variant design): one of three new posters for NASA by Invisible Creature.

• “If the point of Sade’s work was to marry sexual frustration and release to the practice of interpersonal violence, he could confidently gaze out on the landscape of our popular culture and declare it a fait accompli.” Hussein Ibish on The United Sades of America.

• Gravitational Waves Exist: The Inside Story of How Scientists Finally Found Them by Nicola Twilley. Sean Carroll explains the importance of the discovery.

• Another This Heat interview: Bruce Tantum interrogates Charles Bullen and Charles Hayward about being a group ahead of their time.

The English word comes ultimately from Greek magike (in which the original Persian word is spliced with tekhne, “art”), while the Persian magos “one of the members of the learned and priestly class” ultimately derives from magush, “to be able, to have power”, from which we may also derive the word “machine”. So my social hierarchy is your magic, and my magic might be your craft—or even your machinery. My religion is your magic. Your religion is my fairy lore. Or your religions might be a mass of fakery and trickery and foolery. Hence in making magic into an intellectual discipline, I theorize based on my observations, which might not be mine but those of others, heritable observations. But because what I do looks very like empiricism, as I examine materials for the tricks or fooleries, or for the real alterations, checking my results against descriptions of previous experiments, what I do feels like science, feels like the template for Baconian empiricism and its great instauration.

Diane Purkiss reviewing The Book of Magic: From Antiquity to the Enlightenment, edited by Brian Copenhaver

• The Strange World Of…The Residents: Sean Kitching talks to The Residents’ resident artist, Homer Flynn.

• At Strange Flowers: film of Natalie Barney in 1962 reminiscing about Oscar Wilde and Marcel Proust.

• From Battleship Potemkin to Baker Street: Ian Christie on Sergei Eisenstein’s trip to London.

• Mixes of the week: Krautrock Mix by Tarotplane, and Mix #15 (Transversales) by Jon Brooks.

• From Rock en Stock (France, 1973): Can and Agitation Free in live performance.

• Twenty classic British folk-horror stories: a selection by Kai Roberts.

• Immemory: a Flash version of Chris Marker’s CD-ROM.

• Cronenberg Valentines

• Static Gravity (1980) by Chrome | Zero Gravity (2001) by Monolake | Gravity (2013) by Roly Porter

Solstice sky

Tyrrhenian Sea and Solstice Sky by Danilo Pivato.

Danilo Pivato’s marvellous photograph of the December sun was NASA’s winter solstice photo of the day for 2014, although it actually dates from 2005. (And they’d also posted it twice before.)

The multiplicity of heavenly bodies makes me think of the Hipgnosis cover for Harmony of the Spheres (1979), an excellent album by Neil Ardley. I think that’s the moon rather than the sun but the robed figure suits the solstice moment. This wasn’t the first time that Hipgnosis had a mysterious figure contemplating the landscape although by 1979 it was probably the last.