motor city agate (12. 721)

Recalling a recent look at the much accelerated process of synthetic geology, we quite enjoyed this introduction to this gem of industrial inefficiency (which illustrates how the push for optimisation comes at a cost, though waste and pollution is to be avoid, the drag and misalignment that meant non-targeted ads for everyone was what enabled journalism and broadcast entertainment in the first place—which are no longer free and still serve commercials and designed obsolescence and the inability to repair and upgrade over replacing) that by dent of its relative scarcity and specific epoch has become one of the most appealing media for jewellery makers. Technically a cabochon, from the French to distinguish a stone that is not cut and faceted but rather shaped and polished, the agate was the byproduct of applying enamel coats to automobiles by hand, with overspray accumulating in paint bays and the layers of slag, ages within epochs, particularly from the late 1960s and early 1970s, when “high impact” colours were in fashion, have become highly sought after. Changes in bodywork by the 1980s saw the adoption of electrostatic painting, basically magnetising the enamel to the chassis, meant the end of this era.