das kunstwerk im zeitalter seiner technischen reproduzierbarkeit (13. 136)

Courtesy of Damn Interesting, we are directed toward the seminal 1935 essay by pioneering media theorist, cultural critic and philosopher Walter Benjamin—one of the many exemplars of the oppression and rejection of German-Jewish intellectuals under the Third Reich, The Work of Art in the Age of Mechanical Reproduction. Informing later studies by Marshall McLuhan and Susan Sontag, Benjamin wrote of the limitless nature of publishing and distribution to have an estranging effect on the authentic experience of art, though while democratising access and stripping the ritual from production, the assembly line nature direction of publishing houses and film studios, exhibition of artefacts lessens the spectators’ identification with what’s being witnessed. Benjamin nonetheless aspired to write radio dramas and adored movie stars like Catherine Hepburn. This commodification of author and artist, however, is not veneration of the aesthetic value but rather the politicisation of it that affords the chance for all to be critics and creators, the potential for expression but not the right to it, since the gatekeepers are not talent or excellence by rather monied interest of the industry—or it the case of authoritarian regimes, the state itself as a tool of maintaining the status quo. Contemporarily and retroactively, the paralipomena—that is, things and topics omitted from the critical edition of his essay, like the prevalence of photography or as applied to television and social media, influencers and the spectacle of tribalism (see previously) make Benjamin’s observations very relevant, particularly for the performative gratification seeking to redeem what’s been lost to distraction and desensitisation.  Often misquoted from another collection of essays, Theses on the Philosophy of History, as having said, “History is written by the victors,” more nuanced, Benjamin posits that  “incumbents are however the heirs of all those who have ever been victorious. Empathy with the victors thus comes to benefit the current rulers every time.”

model village (13. 126)

Via the Blört Everlasting and Present /&/ Correct, we are directed towards the imaginary town of an “unconscious architect” in the papercraft district made by Peter Fritz, an Austrian insurance clerk reconstructing buildings from his home town from memory, running the range of every typology encountered from the residential to utilitarian as a pastiche of vernacular styles during the 1950s and 1960s. This all but anonymous collection of nearly four hundred structures was found a charity shop and exhibited at the 2013 Venice Biennale by Vienna-based artist Croy Nielsen, fine examples of the venue’s theme of an encyclopaedic palace. Much more at the links above.

synchronoptica

one year ago: deferred resignation programme (with synchronopticæ) plus who goes MAGA?

twelve years ago: crypto and money laundering, the Transatlantic Trade and Investment Partnership plus Dr Strangelove 

fourteen years ago: movie posters from a parallel universe plus botanical nomenclature

fifteen years ago: optical effects 

sixteen years ago: smoke-free workplaces 

7x7 (13. 112)

les chansons de bilitis: a century old literary hoax of a fictional lesbian poet incited dialogue and reevaluation on the genuine figure of Sappho and queerness in antiquity  

apt mascot: a manufacturing error created the Cry-Cry Horse and its popularity for the Lunar New Year has prompted suppliers to reinstate the stitching mistake  

tam o’shanter: a poem for Sunday’s Burns Night  

ts and cs apply: new updated user agreement for US TikTok draws scrutiny regarding its privacy policy, including sexual orientation, mental health and immigration status  

coming attractions: an imagined trailer for Star Trek: Voyage to Vengeance as directed by Quentin Tarantino 

the disappointed tourist: an elegy to lost places  

composition yellow, blue, black red and white: reevaluating the cross-dressing Cornish artist Marlow Moss whose work influenced that of Piet Mondrian—via Kottke

synchronoptica

one year ago: jazz artist Keith Jarrett (with synchronopticæ), a Bolivian abundance festival, assorted links to enjoy plus Trump pledges to overhaul federal emergency response agency

thirteen years ago: the assassination of Caligula 

twelve years ago: impending base closures and a reduction in US forces 

sixteen years ago: relaxing US campaign financing reforms plus petty kingdoms 

10x10 (13. 100)

the cameraman’s revenge: a 1912 stop-motion film featuring taxidermied insects by Ladislas Starevich—see previously  

collateral damage: Trump’s seizure of Venezuela has deliberate knock-on effects for Cuba 

the monkey’s paw curls: prediction markets and betting on everything  

a spirit of dialogue: the World Economic Forum begins its summit in Davos (previously) in moment of geoeconomic warfare 

il tormento di sant’antonio: an examination of Michaelangelo’s juvenilia, the painting (more on the subject) not attributed to the artist for half a millennium  

bic cristal: the flagship product of the French sundry firm turned seventy-five—see previously  

mercator projection: famed Flemish cartographer believed that there was a magnetic mountain, Rupes Nigra, at the North Pole, accounting why compasses point towards the arctic—see also  

snow crash: Facebook quietly discontinues the Metaverse  

vanity project: Trump has formed an intergovernmental agency to oversee reconstruction in Gaza called the Board of Peace as an alt-UN with billion dollar membership dues—see previously here and here 

how now, brown cow: back-scratching bovine causes animal behaviourist to reassess their intellect—see also

selbstbildnis mit zottelhut (13. 095)

Through the rather remarkable discovery of a previously unknown miniature portrait commission kept in the archives of the sitter’s descendants for over five hundred years, we are introduced to the early Renaissance mannerist artist called Hans Baldung “Grien”—adding an nickname he acquired from his student days for his penchant in working with the colour green, incorporating it into his monogram ʜɢʙ. After studying under master Albrecht Dürer in Nuremberg Baldung founded his own studio and workshop in Strasbourg, supplementing his projects by painting the aristocracy of the Free Imperial city of the Holy Roman Empire. An advocate of the Reformation, like Dürer and Cranach, Baldung produced paintings, woodcuts and prints (also working in stained glass and tapestries) traditional religious settings with protestant iconography and the usual mythological allegories but also indulged a life-long preoccupation with the subject of witches and witch-hunters, among the first artists to concentrate on the theme (his monicker may also have been a conscious echo of the German word “grienhals,” a German synonym for hexe) as well as nontraditional motifs like Phyllis and Aristotle, the female form in general and depictions of eroticism, heretofore unseen in the art world in any medium.

9x9 (13. 084)

foreverware: Eerie, Indiana was the Stranger Things of the late 1990s 

correlation is not causation: the mullet index of South American regime change—via Quantum of Sollazzo  

thirty-six views of the eifel tower: Henri Rivière’s woodblock prints inspired by the ukiyo-e scenes of Hokusai—via Messy Nessy Chic  

yakity-yak: prolific toy inventor Eddy Goldfarb at 104—via Damn Interesting  

the high price of exceptionalism: America’s problems are solved problems  

classifieds: an appreciation of the enduring earnestness of Craigslist, one of the few remaining refugees of the early internet before everything was commodified  

waggle dance: an optical compass inspired by bee navigators  

business in front, party in back: an annual hairstyle competition at the Pennsylvania Farm Show in Harrisburg  

mr burns: a post-electric play: post apocalyptic Simpsons stage show to have cinematic adaptation

høstutstillingen (13. 075)

Aspiring artist hailing from the historic city of Stavanger, Aage Stor-stein (*1900—†1983) studied in Paris in the 1920s, where inspired by Picasso developed his own unique style of Cubism executed in soft pastels and later exhibited there and his native Norway as well, eventually securing a teaching post at the National Academy of Fine Arts. Winning a competition to decorator the west gallery of the city hall of Oslo, Storstein’s frescos of the landscapes and mythologies of the country can be found there. More works and history from ultrawolvesunderthefullmoon at the link above.

synchronoptica

one year ago: assorted links to revisit (with synchronopticæ), a hike up the Hohe Schuhe plus a trivia break down of all fifty US states

twelve years ago: a visit to Döllbach, selling shame plus out with the Christmas tree

thirteen years ago: reflexive verbs 

fourteen years ago: floating a financial transaction tax plus combating predatory practises in online credit

fifteen years ago: mitigating thaw-induced flooding 

sixteen years ago: naming winter storms 

pale ale (13. 050)

As our faithful chronicler informs, on this day in 1876, the red triangle logo of the Bass & Co became the first colophon to be logged under the 1875 Act to establish a Register of Trade Marks when it came into force on New Year’s Day—which according to company lore, had employees queuing outside bureau offices on New Year’s Eve to be the first—strange for a bank holiday and Public Domain Day, as a demonstration of the brewery’s pioneering prowess in international branding and marketing. The iconic logo, simple yet pervasive, has been featured in over forty works by Pablo Picasso from his Cubist period as well as more contemporarily in James Joyce’s Ulysses, Leopold Bloom noting the triangle in the “Oxen of the Sun” (The Cattle of Helios in the Odyssey) episode and in Édouard Manet’s final painting (see also) Un bar aux Folies Bergère with the beer bottles depicted instantly recognisable and their conspicuous presence interpreted as an allegorical expression of anti-German sentiment following the Franco-Prussian war. Further achievements accomplished under the logo include being among the first corporate sponsors, licensing for production by foreign distributors and the earliest export entrant into the Japanese beer market.

living flower (13. 036)

Masterful at marketing and self-promotion across all media, Salvador Dalí never encountered an art form that caused him to shy away from disrupting with his signature surrealism. Though his career in jewellery design spanned for several decades, one could be forgiven for thinking it was a one-off project (see also) as his most radical creations were exhibited as a contemporary collection, with a forward for his 1959 catalogue calling them a protest against emphasis on precious materials. Craftsmanship was not reserved for costume jewellery, however, with diamonds, rubies, platinum and gold and some broaches and pendants were motile, as can be seen on the Pathé newsreels clicking through to the source above. Modelling an ensemble of Dali´’s pieces is Madelle Hegeler including a leaf-veined hand, the Eye of Time Watch and a pair of garnet and pearl lips inspired by Mae West’s come-hither smile. More from Open Culture at the link up top.

public domain review (13. 021)

In anticipation of Public Domain Day 2026 (previously), here is a preview of the selection of literary and artistic works from 1930 and musical compositions from 1925 (under US jurisdiction, songs have a full century until IP lapses under current law) whose copyrights expire and are released to whomever and for whatever purpose. Artists’ works include Piet Mondrian’s Composition II, the pictured untitled work by Sophie Taeuber-Arp and Abel Lafleur’s Jules Rimet Cup—the original trophy of FIFA, along with countless works in the Art Deco movement registered in that year. Among dozens of cinematic works, All Quiet on the Western Front, the Three Stooges’ Soup to Nuts, The Marx Brothers’ Animal Crackers and Savadore Dalí’s and Luis Buñuel’s L'Âge d’or are counted in, as well as audio recordings by the Gershwin brothers like “I Got Rhythm” and “Embraceable You,” “Georgia on My Mind” by Hoagy Carmichael, “Dream a Little Dream of Me,”Leo Robin’s “Beyond the Blue Horizon,” the inspiration for the Star Trek theme (see also) and “Sweet Georgia Brown.” Comics and cartoons include Betty Boop, Disney’s first appearance of Pluto (as Rover) and Flip the Frog and other characters created by Ib Iwerks after he left the studio. More from Duke Law School at the link up top.

kunstkammer (12. 956)

Having written on the subject of curio cabinets quite extensively beforehand (see here and here), exhibits public and private exhibits of one’s collection, we very much appreciated the chance to revisit the topic of presentation (and preservation) through the lens of the seventeenth century genre of gallery painting originating in Antwerp introduced by Public Domain Review contributor Thea Applebaum Licht. There’s a curated assortment of these exuberant canvases, recursive and metaphysical, of artefacts and artworks in a idealised reception space, whose study in detail, whether or not such assemblages existed outside of the commission’s imagination whose symbolic imagery and iconodules convey the refinement and erudition they not only hope to express in their collections but also aspirations from a uncategorised cornucopia by today’s standards of accessioning.

11x11 (12. 895)

american psychosis: pathologising along with artist Jordan Sullivan  

kojève and cigarettes: uncovering the history of Hegelian tobacco and the American spirit  

usenet: a 1995 CBC segment featuring Cory Doctorow on how to internet—via Waxy   

karzer: revisiting privilege and imprisonment in German universities  

de facto recognition: leaked US draft to end Russian war in Ukraine  

dress code: ignoring all other disruptions and baseline unpleasantness, US transportation secretary encourages flyers to not dress down for their flights to improve the overall experience for all passengers  

tiled words: a daily crossword puzzle-Tetris hybrid—via MetaFilter  

algospeak: taboo, newly minted unwords of search and social media

victor insulations: the ubiquitous American diner mug—via Miss Cellania  

in like flynn: over-exposure to the stupidest ambitions of society at large has brought us all down—via Web Curios 

operation charlotte’s web: ICE ruins a classic of children’s literature—some pig 

synchronoptica

one year ago: assorted links worth revisiting (with synchronopticæ)

twelve years ago: hand-washing and optimism  

thirteen years ago: the holiday winterval plus Martin Luther and bowling

grendel’s mom (12. 864)

We very much appreciated the introduction to artist and wordless novelist Lynd Ward through the lens of his 1939 hand-tinted woodcuts for his graphic novelisation (pioneering the genre) of the classic tale of Beowulf. Also working with the media of lithography and mezzotint, Ward was inspired to take up illustration when a teacher pointed out to him that his surname was “draw” backwards whilst recuperating at sanitarium for tuberculosis patients ay Sault Ste Marie in Ontario and honed his skill as an engraver. Settling in Leipzig with a scholarship, he first encountered picture books that were able to convey a narrative without captions and upon returning to New York City developed his portfolio for commission, first in an adaptation of Japanese folk tales.

A series of three classics brought out by Heritage Press in the late 1930s awarded to Ward also included The Count of Monte Cristo and Les Misérables fully established his credentials, avoided by the mainstream publishers for a time over depictions of racial injustice for earlier illustrations referencing slave trade and lynchings, though Ward’s work never shied away from taboo and subversive themes. Similar to the hortatory opening of Homer’s Iliad “Sing, Goddess, Achilles’ rage,” the Old English epic poem starts with the invocation Hwæt!—listen to my story.  Although preferring to work in monotone, the contrast of hot and cold colours for the heroic legend really demonstrate Ward’s mettle.

13x13 (12. 845)

norwalk platform: architect Jackie Ferrara ends her life, aged 95  

antedating: lexicographers talks lexicography through canonical form  

spoiler alert—some counties pronounce it as rhyming with stone: further exploration on British toponymy

index of multiple deprivation: UK office of government statistics releases its deciles of the most under-served  

willy and the poor boys: Creedance Clearwater Revival (previously) released their third studio album on this day in 1969 

loss-leader: an image editing tool on par with Adobe makes itself freely available to appeal to non-professionals  

holy war: Trump readies troops for action in Nigeria to protect Christian popular despite a paucity of evidence for persecution 

perfectly al dente: a research roundup of scientific investigations nearly overlooked 

body horror: biopolitics, the body politic and David Cronenberg  

police brutality: Sting and company release their debut album Outlandos on this day in 1978 

county stripes: visualising US demographics and distribution—see also 

anthimeria: the verbification of mystery writers—see previously 

first woman of fluxus: Alison Knowles passes away, aged 92—see more, see also

spreekwoorden (12. 788)

Having a passing familiarity with how the artwork of Pieter Bruegel the Elder could be read as an illustrated catalogue of Flemish proverbs and idioms to puzzle out, we appreciated this bit of art history presented,
via Web Curios, as an interactive canvas to explore each interpretation of the 1559 painting originally titled The Blue Cloak for the striking bit of contrast in the lower middle of the ensemble with the Max Rebo-looking figure representing a cuckold—Zij hangt haar man de blauwe huik, literally another proverb of pulling the wool over his eyes to hide her deception and faithlessness, see above. There are a hundred or so to parse and figure out one’s native equivalent.

10x10 (12. 780)

third amendment rights: ICE officers and associates beg to use the restroom  

dance this mess around: Cardhouse’s 2025 mixtape session—see previously 

anti-deficiency act: an omnibus of reports on the US federal government shutdown, including the threat to withhold back-pay from disloyal workers  

any dream of avarice: a historical comparison of the world’s wealthiest individuals—see also  

angry little clouds: Bob Ross paintings (see previously here and here) to be auctioned off to US support public broadcasters after federal funding cut  

the weight of a city: revisiting the idea of gradually x-raying a spot off-limits with ghostly cosmic particles through imagined and inspired celestial espionage  

permanent polycrisis: Curios Brain’s trends for 2026 of sustained chaos counterbalanced with the end of coincidence 

a good mix of the apocalypse and looney tunes: Thomas Pynchon (previously) has been warning us about American fascism his whole literary career 

r u experienced: a glorious re-upload of Devo’s 1984 cover of the Jimi Hendrix song  

in the land of the dollar bill: Trump threatens to arrest the mayor of Chicago for failing to protect immigration agents and invoke the Insurrection Act as he goes full authoritarian

synchronoptica

one year ago: boating on the Röblinsee (with synchronopticæ)

twelve years ago: fiat currency plus extending the sacrament to divorced Catholics

thirteen years ago: making crespelle 

la casa azul (12. 736)

Renowned artist Magdalena Carmen Frida Kahlo y Calderón, known for her numerous works of self-portraiture (Autorretrato) and murals executed in a naïve folk style with an element of magical realism that examined topics of class, race, gender, identity, post-colonialism and her personal experience with chronic pain, having recovered from a disabling case of polio as a child and, aged eighteen was a promising and gifted student headed to medical school was on this day in 1925 in Mexico City was nearly killed in a serious accident when the bus she was a passenger in collided violently with a streetcar. Sustaining numerous injuries, including a fractured spinal column—never fully recovering her mobility—for the next two years Kahlo (see previously here and here) was confined to her bed whilst her body healed. During this long convalescence, she returned to her childhood aspirations, also prompted by an extended period of recuperation and resignation, of becoming a painter. Kahlo’s parents provide an easel and supplies arranged where she could work reclined and mounted a mirror on the ceiling so she could study herself bedridden and produced among many other painting the pictured aristocratic self-portrait in a velvet dress. The mannerist piece was later considered Kahlo’s seminal project and first professional painting, and was gifted to her boyfriend at the time, during a fractious time in their short relationship, which aided in a brief reconciliation, though he moved away to Europe while Kahlo remained in Mexico, toughening up her self-image and rejecting the expectations of the male-gaze.

calling-card (12. 719)

We enjoyed this introduction to prolific Romantic painter Ivan Konstantinovich Aivazovsky (Иван Айвазовский) from Crimea of Armenian extraction, considered a master of the maritime scene and appointed official artist of the Imperial Navy and cemented in the popular culture of Russia in the mid-nineteenth century, and beyond (he is the namesake of an asteroid discovered in 1977, 3787 Aivazovskij RG₇) by the saying worthy of his brush by playwright Anton Chekhov, though this set of souvenir keepsakes presented to guests at his seventieth birthday soiree. Each was a unique miniature seascape inset framed by a studio photograph of the artist at work—continuing the gifting for years the original party. Some contemporaries criticised this flair for self-promotion as indicative of Aivazosky’s sheer volume and pace of output—over six-thousand paintings over a career spanning six decades—and cheapening through machine-like habits his monumental works, namely his 1850 The Ninth Wave (Девятый вал) from an old sailing adage that the biggest swell comes in succession of sea wreck survivors clinging to debris and hoping to be rescued—but these creative favours seem more than a demonstration of automation and rather prefigure collage and mixed-media as well as trading-cards and tokens.

sōsaku hanga (12. 689)

Via John Coulthart’s { feuilleton }, we appreciated the introduction (as well as the source) to renowned woodblock printer Sekino Jun’ichirō (関野 凖一郎) who is considered one of the leading figures behind the title Creative Print (創作版画) movement that was a post-war departure from the traditional ukiyo-e craft whose output was characterised by a rigid division of labour, the artist’s expression not dependent, downstream from the collaboration of artisan tasked with conceptualising, carving and colouring. The pictured “Summer Ending” seemed appropriate for the changing seasons (see previously), and the prolific artist produced and exhibited several series aside from individual portraiture and cityscapes such as a reinterpretation of the classic by Utagawa Hiroshige The Fifty-Three Stations of the Tōkaidō, the rest-stops and horse-refreshing posts along the royal road connecting the shōgun capital of Edo to the imperial one of Kyōto, hot springs of the country and folk toys. Much more at the links above.

10x10 (12. 674)

we are all piscasso’s fishermen: a reflection on “Night Fishing at Antibes” 

a dangerous game of jenga with a key pillar of our economy: Democrats push back on Trump’s decision to illegally fire member of the Federal Reserve board—see previously 

we want to be defensive but maybe we want to be offensive too: administration mulls changing the DOD back to the War Department  

they call me president of europe: Trump frames EU digital rules as disrespectful, threatens to up-end tariff deal  

what is going on in south korea—seems like a purge or revolution—we can’t have that and do business there: Trump meets with counterpart Lee Jae Myung—suggests detente with North Korea, appropriating leased land that hosts US military bases  

cornhusker clink: as judge orders closure of the hastily built Alligator Alcatraz (previously), the US department of homeland security announces a new detention facility in Nebraska  

cheeto mussolini: giant images of Trump swath government office buildings  

america by design: AirBnB co-founder appointed as director of US national design studio

stephen is a celebrated ballerino: Richard Grenell (previously) introduces Kennedy Centre’s Dance Director—in case you missed it, continued funding for the US national opera is contingent on the venue being renamed after the first lady 

the metaphorical frog has boiled to death: news media in denial about America’s descent into totalitarianism—via Kottke

synchronoptica

one year ago: the era of AI photography (with synchronopticæ) plus the death of Charles Lindbergh

twelve years ago: the last of the VW T-2s 

thirteen years ago: the singular roundness of the sun plus a trip through the Rheingau

fourteen years ago: assorted links to revisit 

fifteen years ago: bailouts and banking secrecy