Small Business

https://www.sydsvenskan.se/2016-12-08/vem-ar-musen-som-oppnat-butik-pa-bergsgatan

From reader Magnus Ehinger: A mouse has apparently opened a restaurant and nut store in Malmö, Sweden, just outside the Kebab House at the intersection of Bergsgatan and Almbacksgatan. The restaurant is called Il Topolino (the Italian name for Mickey Mouse), and the nut store next door is Noix de Vie (“nuts of life”).

The restaurant offers a variety of cheese and crackers, according to the tiny menu posted outside, and the nut store offers pistachios, almonds, and hazelnuts. Also arranged outside are a tiny bicycle and posters for mouse-related films (including Night of the Were-Rat).

No one knows who’s behind this — a group called Anonymouse posted images on an Instagram account as this project took shape, and recently left an update reading “Without spoiling too much we can tell you that we’re working on a new scene, and in 2017 you’re going to be able to see plenty more.”

More information, and photos, are here. (That’s an English translation — here’s the article in the original Swedish. Thanks, Magnus.)

Memento Mori

https://commons.wikimedia.org/wiki/File:Cornelius_Huyberts_Vanitas-Diorama_Frederik_Ruysch_1721.jpg

Dutch anatomist Frederik Ruysch had a curious sideline: He arranged fetal skeletons into allegorical dioramas on death and the transience of life. Set amid landscapes made of gallstones, kidney stones and preserved blood vessels, the skeletons are decorated with symbols of short life — one holds a mayfly, another weeps into a handkerchief made of brain meninges. Worms made of intestine wind through their rib cages. “Quotations and moral exhortations, emphasizing the brevity of life and the vanity of earthly riches, festooned the compositions,” notes Stephen Jay Gould in Finders, Keepers. “One fetal skeleton holding a string of pearls in its hand proclaims, ‘Why should I long for the things of this world?’ Another, playing a violin with a bow made of a dried artery, sings, ‘Ah fate, ah bitter fate.'”

Johannes Brandt, a Remonstrant teacher, wrote:

Oh, what are we? What remains of us when we are dead?
Behold, it is no living thing, but dry, bare bone instead.
Bladder stones you see in heaps, piled higher by the morrow:
Here one learns about life’s course through storms of pain and sorrow.
These wise lessons Ruysch presents with wit and erudition,
Amsterdam is fortunate to have this great physician.

Panorama

Diagnosed with autism at 3, Stephen Wiltshire quickly became fascinated with drawing London buildings, and by age 8 he was sketching Salisbury Cathedral for former Prime Minister Edward Heath. Known as “the living camera,” he can draw an accurate, detailed picture of a subject after seeing it once — including subjects as complex as major cities. He’s completed enormous canvases of Tokyo, Rome, Hong Kong, Frankfurt, Madrid, Dubai, Jerusalem, and London, drawing each from memory after a helicopter ride.

Below is the full time-lapse of his portrait of Singapore, drawn from memory over five days in 2014. “That he has a gift makes no sense at all to Stephen,” his sister Annette told the New York Times. “He knows that he draws very well, but he picks that up from other people — he sees the warmth on their faces, they tell him how much they like his work, and that makes him very happy. He loves the attention.”

Light Exercise

Artist Akinori Goto created this 3D-printed zoetrope, a rotating design that produces an animation when illuminated with a slice of light.

It won both the Runner-up Grand Prix and the Audience Award at the 2016 Spiral Independent Creators Festival in Tokyo.

He followed it up with “Ballet”:

Still Life

john fulton

After each of his victories as a matador, John Fulton would paint a portrait of the bull he had slain using its own blood, after the manner of the hunter-painters who had decorated the cave walls of Altamira.

Fulton grew up in a Philadelphia rowhouse but became captivated by the bullring after seeing the 1941 Tyrone Power film Blood and Sand. “The movie so stirred his sense of gallantry and romance that he decided on the spot to become a bullfighter,” reported the New York Times. “If a Rita Hayworth was the reward, he told friends years later, it was worth the effort and the risk.”

He spent a year at the Philadelphia Museum College of Art, won a scholarship to a Mexican art school, and began to study bullfighting. In 1956 he went to Spain, where he became the first American to qualify as a matador and spent 40 years fighting professionally in the ring.

The paintings were decidedly a sideline, as he regarded bullfighting itself as an art. “It is the most difficult art form in the world,” he once said. “You are required to create a work of art spontaneously with a semi-unknown medium, which can kill you, in front of one of the most critical audiences around. And it all leaves only a memory.”

The Lycurgus Cup

Roman craftsmen made a remarkable coup around 300 A.D. — they produced a cup that is red when lit from behind and green when lit from the front. The effect occurs because the glass contains tiny proportions of gold and silver nanoparticles that reflect light of certain wavelengths. The workers themselves may have discovered the technique by accident, and may not have understood it fully; only a few pieces of 4th-century Roman glass display this “dichroic” property. Art historian Donald Harden called it “the most spectacular glass of the period, fittingly decorated, which we know to have existed.” It now resides in the British Museum.

Emerging Artists

https://commons.wikimedia.org/wiki/File:ManodelDesierto(Panoramica).jpg
Image: Wikimedia Commons

Tourists traveling the Pan-American Highway can be startled to discover an enormous human hand emerging from the Atacama Desert in Chile. The 36-foot sculpture is Mano del Desierto, installed by artist Mario Irarrázabal in 1992.

https://commons.wikimedia.org/wiki/File:Los_Dedos_Punta_del_Este.jpg
Image: Wikimedia Commons

A thousand miles away, in the Uruguayan seaside town of Punta del Este, lies La Mano de Punta del Este, completed by Irarrázabal 10 years earlier. One is a left hand, the other a right.

American artist J. Seward Johnson Jr. finished The Awakening (below) at Hains Point near Washington, D.C., in 1980, and a copy near Chesterfield, Mo., in 2009. What’s next?

https://www.flickr.com/photos/kubina/413181940
Image: Flickr

Smoothly

http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html

This is an excerpt from Kaikhosru Sorabji’s Opus Clavicembalisticum of 1930. The snaky line running through it is a slur (!) encompassing the whole complex passage.

Indiana University information scientist Donald Byrd observes, “It has a total of 10(!) inflection points; it spans three systems, repeatedly crosses three staves (this is also the most staves within a system for any slur I know of), and goes slightly backwards — i.e., from right to left — several times.”

More at Byrd’s Gallery of Interesting Music Notation.

Inspiration

https://commons.wikimedia.org/wiki/File:Adriaen_van_Ostade_006.jpg

A poor artist is visited by a time traveler from the future. The traveler is an art critic who has seen the artist’s work and is convinced that he’s one of the greatest painters of his time. In looking at the artist’s current paintings, the critic realizes that the artist hasn’t yet reached the zenith of his ability. He gives him some reproductions of his later work and then returns to the future. The artist spends the rest of his life copying these reproductions onto canvas, securing his reputation.

What is the problem here? Kurt Gödel showed in 1949 that time travel might be physically possible, and there’s no contradiction involved in the critic arriving in the artist’s garret, giving him the reproductions, and later admiring the painter’s copies of them — that loop might simply exist in the fabric of time.

What’s missing is the source of the artistic creativity that produces the paintings. “No one doubts the aesthetic value of the artist’s paintings, nor the sense in which the critic’s reproductions reflect this value,” writes philospher Storrs McCall. “What is incomprehensible is: who or what creates the works that future generations value? Where is the artistic creativity to be found? Unlike the traditional ‘paradoxes of time travel’, this problem has no solution.”

(Storrs McCall, “An Insoluble Problem,” Analysis 70:4 [October 2010], 647-648.)