Creative Security

alan fletcher alphabet gates

These metal gates, installed at designer Alan Fletcher’s West London studio in 1990, invite a double-take: The railings are formed from the letters of the alphabet, adapted from a condensed wood typeface of the late 19th century. The letters are mounted on two pairs of extended hinges, with the base of the Q forming the gate stop.

Reportedly local police used the gates as a landmark in orienting new recruits to the area.

alan fletcher alphabet gates

Reverses

the man who came to dinner

You never laugh at anything nice. A comedy that ends with a laugh is a comedy that ends not with a solution but with a fresh disaster. At the end of Gogol’s The Government Inspector the real government inspector arrives; the trouble is just beginning. At the end of George F. Kaufman and Moss Hart’s Broadway comedy The Man Who Came to Dinner, the eccentric Sheridan Whiteside, who has wrought havoc in the lives of the Middle American family in whose home he is stranded by a broken ankle, walks out the door to universal relief, slips on the front step, and breaks his ankle again. According to Arthur Koestler, laughter does not truly release tension because it does not solve the problem; it fritters away energy in purposeless physical reflexes that make action impossible. Laughter is not a solution, it is a sign of the problem. As a number of writers have observed, there is a built-in contradiction between comedy’s two purposes, laughter and the happy ending. In its normal operation [the reaching of a happy ending] the function of comedy is to make the audience stop laughing.

— Alexander Leggatt, English Stage Comedy 1490-1990, 2002

Podcast Episode 67: Composing Beyond the Grave

https://commons.wikimedia.org/wiki/File:Mondscheinsonate_nach_Vogel.jpg

In 1933, violinist Jelly d’Aranyi declared that the spirit of Robert Schumann was urging her to find a concerto that he’d written shortly before his death in 1856. In this episode of the Futility Closet podcast we’ll describe the discovery of Schumann’s lost violin concerto, as well as a similar case in which a London widow claimed to receive new compositions from 12 dead composers.

We’ll also puzzle over how a man earns $250,000 for going on two cruises.

Sources for our feature on Jelly d’Aranyi and Rosemary Brown:

Joseph Macleod, The Sisters d’Aranyi, 1969.

Erik Palmstierna and Adila Fachiri, Horizons of Immortality, 1938.

Rosemary Brown, Unfinished Symphonies, 1971.

Douglas Martin, “Rosemary Brown, a Friend of Dead Composers, Dies at 85,” New York Times, Dec. 2, 2001.

Michael Steinberg, The Concerto: A Listener’s Guide, 1998.

Nicolas Slonimsky, Slonimsky’s Book of Musical Anecdotes, 1948.

Here’s the Schumann violin concerto played by Frank Peter Zimmermann, and here’s a rather blurry interview with Rosemary Brown, in which she transcribes a composition for Beethoven.

This week’s lateral thinking puzzle is from Jed’s List of Situation Puzzles.

You can listen using the player above, download this episode directly, or subscribe on iTunes or via the RSS feed at http://feedpress.me/futilitycloset.

Please consider becoming a patron of Futility Closet — on our Patreon page you can pledge any amount per episode, and all contributions are greatly appreciated. You can change or cancel your pledge at any time, and we’ve set up some rewards to help thank you for your support.

You can also make a one-time donation via the Donate button in the sidebar of the Futility Closet website.

Many thanks to Doug Ross for the music in this episode.

If you have any questions or comments you can reach us at podcast@futilitycloset.com. You can also follow us on Facebook and Twitter. Thanks for listening!

Summing Up

Artist Thomas Cole took up a grand theme in 1833 — The Course of Empire, a series of five paintings that depict the rise and fall of a civilization. The Savage State shows a prehistoric wilderness in which the only artificial note is a circle of teepees:

https://commons.wikimedia.org/wiki/File:Cole_Thomas_The_Course_of_Empire_The_Savage_State_1836.jpg

The Arcadian or Pastoral State shows the beginning of agriculture, with a primitive temple, farmers, and shepherds:

https://commons.wikimedia.org/wiki/File:Cole_Thomas_The_Course_of_Empire_The_Arcadian_or_Pastoral_State_1836.jpg

The Consummation of Empire shows a thriving city, with an imperial procession crossing a triumphal bridge:

https://commons.wikimedia.org/wiki/File:Cole_Thomas_The_Consummation_The_Course_of_the_Empire_1836.jpg

Destruction shows barbarians sacking the city and nature herself punishing human presumption:

https://commons.wikimedia.org/wiki/File:Cole_Thomas_The_Course_of_Empire_Destruction_1836.jpg

And Desolation shows the return of nature, with trees growing up through the ruins of the city:

https://commons.wikimedia.org/wiki/File:Cole_Thomas_The_Course_of_Empire_Desolation_1836.jpg

Interestingly, all five paintings depict the same scene: In the foreground is a natural port, and in the background is a distinctive mountain precipice. The time of day passes from dawn to dusk.

In 1836 more than 2,000 people attended the paintings’ exhibition at the National Academy of Design, an audience unprecedented in the United States. “The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the savage state to that of power and glory, and then fallen, and become extinct,” Cole had written to his patron Luman Reed. “You will perceive what an arduous task I have set myself; but your approbation will stimulate me to conquer difficulties.”

(Thanks, Cody.)

Flux

vivant, green and yellow

Artist Pierre Vivant performed a sort of typographical sleight of hand in an Oxfordshire field in 1990. In early summer oilseed rape changes from green to yellow as its flowers open. Vivant cut the words GREEN and YELLOW into the flowering field so that each word bore the color it named. Over the ensuing month, the flowers faded and the field reverted to green while the plants in the areas that Vivant had cut grew and flowered. The end result was the reverse of what you see here: a green field in which the word GREEN is yellow and the word YELLOW is green.