C. Wiltberger created this allegorical map of temperance in 1838 (click to enlarge). The goal is to get from the Ocean of Animal Appetite in the west to the Ocean of Eternity in the east. It would be natural enough to investigate Indulgence and Generosity Islands, but this will lead you to Evil Company Island, and once you’re through the Devil’s Trap you’ll have to negotiate the Sea of Intemperance, with its islands of Murder, Arson, Larceny, and Quarrel. Beyond the Great Gulf of Wretchedness lies the Sea of Anguish, which puts you out at Suicide Island (and its capital, Spontaneous Combustion).
The better plan is to head north immediately and enter the Cold Water River at Hope Island. Bear south at Knowledge toward Cultureville and Mount Science and take the Tee Total Rail Road to the Sea of Temperance, and then head north through the Old Age Outlet past Comfortville and Restburg and safely into Eternity. (Beware the Gulf of Broken Pledges — even at this late stage, it will lead you directly to Desperation Point.)
My favorite part: Poverty Island has a port called Nosupper.
Berkeley software engineer Stephen Malinowski creates animated graphical scores of musical works.
“The vertical positions of the bars on the screen represent the relative pitches, while the color can represent instruments or voices, thematic material or tonality,” explains Crétien van Campen in The Hidden Sense. “When they are synchronized, the sound and image are easily linked in our perception. Musical structures like Bach’s canons or his many-voiced compositions thus become understood and accessible by means of a visual aid.”
In 2015, to celebrate the 150th anniversary of the publication of Alice’s Adventures in Wonderland, master sculptor Karen Mortillaro created 12 new sculptures, one for each chapter in Lewis Carroll’s masterpiece. Each takes the form of a table topped with an S-cylindrical mirror, with a bronze sculpture on either side. The sculpture that stands before the mirror is anamorphic, so that the curved mirror’s reflection “undistorts” it, giving it meaning:
“The S-cylindrical mirror is ideal for this project because it allows for the figures on one side of the mirror to be sculpted realistically, while those on the opposite side of the mirror are distorted and unrecognizable,” Mortillaro writes. “The mirror is symbolic of the parallel worlds that Alice might have experienced in her dream state; the world of reality is on one side of the mirror; and the world of illusion is on the mirror’s opposite side.”
Vernet relates, that he was once employed to paint a landscape, with a cave, and St. Jerome in it; he accordingly painted the landscape, with St. Jerome at the entrance of the cave. When he delivered the picture, the purchaser, who understood nothing of perspective, said, ‘the landscape and the cave are well made, but St. Jerome is not in the cave.’ ‘I understand you, Sir,’ replied Vernet, ‘I will alter it.’ He therefore took the painting and made the shade darker, so that the saint seemed to sit farther in. The gentleman took the painting; but it again appeared to him that the saint was not in the cave. Vernet then wiped out the figure, and gave it to the gentleman, who seemed perfectly satisfied. Whenever he saw strangers to whom he shewed the picture, he said, ‘Here you see a picture by Vernet, with St. Jerome in the cave.’ ‘But we cannot see the saint,’ replied the visitors. ‘Excuse me, gentlemen,’ answered the possessor, ‘he is there; for I have seen him standing at the entrance, and afterwards farther back; and am therefore quite sure that he is in it.’
— Thomas Byerley and Joseph Clinton Robertson, The Percy Anecdotes, 1821
The residents of Brattleboro, Vt., awoke to a surprise on New Year’s Day 1856: An angel of snow stood at the corner of Linden and North Main streets, holding a pen and notebook as if ready to record the events of the new year.
The artist turned out to be 21-year-old Larkin Goldsmith Mead Jr., the son of a local lawyer. He had worked through the night to fashion the eight-foot figure by lantern light, shaping it by hand from snow brought to him by two friends. He sculpted some parts separately in order to mold them more easily, attaching them later with wet snow, and he poured water over the finished creation to give it a smooth finish. The Vermont Phoenix marveled:
The inhabitants of the village discovered ‘The Snow Angel,’ in the prismatic glow of the morning sun’s reflection. The early risers and pedestrians about town were amazed, when they drew near, to see what appeared at a distance like a school-boy’s work turned to a statue of such exquisite contour and grace of form. … The passing school-boy was awed for once, as he viewed the result of adept handling of the elements with which he was so roughly familiar, and the thought of snowballing so beautiful an object could never have dwelt in his mind. It is related that the village simpleton was frightened and ran away, and one eccentric citizen, who rarely deigned to bow to his fellow men, or women either, lifted his hat in respect after he had gazed a moment upon Mead’s work.
The angel was featured in newspapers in Boston and New York, and it brought Mead commissions for more lasting works, including a statue of Ethan Allen and a wooden figure symbolizing agriculture for the Montpelier statehouse. His later projects include Lincoln’s tomb in Springfield, Illinois.
In 1886 he reproduced the angel in marble — it stands in the public library in Brattleboro. Across the street, commemorating the site of the original angel, stands a drinking fountain designed by his brother, architect William Mead — who immortalized the family name in his own way.
You know the singularity has arrived when the robots start playing marimbas. Shimon, engineer Guy Hoffman’s robot musician, doesn’t play programmed music — it improvises in ensembles with human players, communicating with a “socially expressive head” and favoring musical ideas that are unlikely to be chosen by humans, so as to lead the performance in genuinely novel directions.
“The project, therefore, aims to combine human creativity, emotion, and aesthetic judgment with algorithmic computational capability of computers, allowing human and artificial players to cooperate and build off each other’s ideas,” notes the Georgia Tech Center for Music Technology, Shimon’s patron. “Unlike computer- and speaker-based interactive music systems, an embodied anthropomorphic robot can create familiar, acoustically rich, and visual interactions with humans.”
Heather Ackroyd and Dan Harvey make photographs using grass. When grass is grown from seed on a vertical surface, it can record complex images much as photographic film does: Each germinating blade produces chlorophyll in proportion to the light that reaches it. Stronger light produces greener grass, and blades deprived of light grow but produce no chlorophyll, leaving them yellow. “In a sense we have adapted the photographic art of producing pictures on a sensitive film to the light sensitivity of emergent blades of young grass; the equivalent tonal range of black-and-white photographic paper is created within the grass in shades of yellow and green.”
“A grass photograph has the power to elicit strong emotional responses in the viewer, and it is undeniable that the beauty of the freshly grown grass canvas suggests all that is fertile and life-enhancing. Our desire to alleviate the process of decay has encouraged us to journey into the world of science and genetics, and has opened our work to a greater number of people throughout the world.”
When critics dismissed his paintings, Dutch artist Han van Meegeren decided to seek his revenge on the art world: He devoted himself to forgery and spent six years fabricating a Vermeer masterpiece. In this week’s episode of the Futility Closet podcast, we’ll recount the career of a master forger and the surprising mistake that eventually brought him down.
We’ll also drop in on D.B. Cooper and puzzle over an eyeless fruit burglar.