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.”

uncanny gulch (13. 134)

For the reminder and textbook example of what the uncanny valley is when the feeling seems a vanishingly premium these days despite a slightly off-putting edge—via Everlasting Blört, we appreciated this photo essay revisiting an abandoned Old West-themed village in Japan. The roadside attraction grew out of modest ensemble known as the Kinugawa Family Ranch (ウエスタン村, in Tochigi prefecture near Tokyo) in 1973 and eventually hosted a population of animatronic denizens (see also here and here) but changing times and fortunes meant its eventual closure in 2006 with the installation ravaged by neglect and vandalism. Abandonment has of course dialled up the creepiness factor, making it look lie the set of a horror movie, and the remaining relics and ruins seem to be an apt commentary on the state of America and the desire to be a lawless cowboy.

synchronptica

one year ago: more Japanese family crests (with sychronopticæ), the founding of DOGE plus a particular kind of gluttony

twelve years ago: little apples of death, no photos of the ceiling of the Sistine chapel plus Cosmos reprised

thirteen years ago: illustrating the internet plus a sci-fi Groundhog Day

fourteen years ago: more thoughts on Groundhog Day 

fifteen years ago: uprising in Egypt plus cobbling together a movement without social media

sixteen years ago: Iran against the world 

the story so far (13. 034)

A photographic retrospective of the moments that have defined the first quarter of the twenty-first century, we quite enjoyed this feature from The Guardian’s Jonathan Freedland taking up the mantle of chronicler of those who have encapsulated, bookended the history of the previously century and those saying we’ve reached the end of it. A challenge no doubt to distill the past-present down to a few dozen watershed events, illustrated by arresting and indelible images, this survey meets the task—from the representative picture captured by Susan Meiselas in Liberty Plaza’s Zuccotti park Manhattan as debris from the Twin Towers was raining down with the life-sized bronze of a business man (sculptor John Seward Johnson’s 1892 commission Double Check of a well-appointed executive taking stock of the contents of his briefcase before going to the office) sitting sedately amid the fear and chaos. Meiselas did not know at first whether this still figure was a person or a statue and since became a makeshift memorial for the office workers lost during 9/11. The anthology, year by year, covers the Iraq war, the rise of social media, natural disasters, the Great Recession, mass-migration, Brexit, COVID, Trump, etc. And so it goes.

synchronoptica

one year ago: a starquake (with synchronopticæ), the mathematical properties of the year plus the life and career of Anna Banana

twelve years ago: Russian discontents plus historic maps of the Americas

thirteen years ago: privacy screens for traffic accidents to prevent rubbernecking 

fourteen years ago: Samoa adjusts its timezone 

seventeen years ago: Hey Ya and the Peanuts 

9x9 (13. 024)

participation, in this context, is a kind of alignment: the Vanity Fair photo shoot of Trump’s cabinet 

escape velocity: a super-massive runaway black hole has been ejected from its home galaxy and is careening through space—via Kottke 

that thoth over there: a guide to the messy divine family of Egyptian mythology  

beyond the last-minute gift guide: the year of Tedium wrapped  

no-one comes to casablanca for the waters—you were misinformed: every drink in the 1942 classic (see previously, oddly no gin)—via MetaFilter  

capital allocation: on the social uselessness of finance, creating winners and losers  

homecoming: a preview of Christopher Nolan’s adaptation of Homer’s Odyssey—see also 

intraterrestrials: subsurface microbes have geological lifespans 

unreliable narrator: Epstein and company as Nabokov’s Humbert Humbert—see previously

9x9 (13. 016)

brought to you by the inkjet lobby: the amount of redactions in the US justice department’s release of the Epstein files sparks outrage  

christmas and commerce: a David Sedaris holiday classic—see previously  

global building atlas: an ambitious project mapping all three-billion built structures worldwide  

grabenanlage: rescue archaeology in southwestern German town of Herxheim in 1996 suggests ritual cannibalism on a massive scale with research still ongoing  

your attention is all you have—wasting it is annihilating: Blackbird Spyplane on a life of screen-time—via Kottke

pithos: Roman amphora of sardines found in Switzerland 

orthorectified panorama: the Apollo transforming printer that developed cartographically accurate photographs of the Moon 

a christmas memory: Truman Capote recalls holidays past  

formerly known as the kennedy center: the history of the US national stage for the performing arts—see previously

pigs on the wing (12. 977)

On this day in 1976, as our faithful chronicler reminds, during a photoshoot for the cover art for their tenth studio album, a concept one called Animals (with deference to George Orwell), Algie the pig balloon, moored the previous day near Battersea Power Station, the iconic facility to be condemned imminently having reached the end of its useful life, broke free during wind gusts. Pink Floyd had commissioned the former Zeppelin manufacturer Ballon Fabrik to make the twelve metre pig balloon—to be inflated with helium—with an expert marksman on site to shoot it down in case it drifted out of control. The designated sniper was not present for this daring escape and the dirigible floated over Heathrow, forcing the airspace to close. The pig was recovered at a farm in Kent three days later as filming continued, but it was decided that the preliminary shots of the power station had turned out better and to superimpose Algie flying between the chimney stacks. The stunt has been successfully staged several times afterwards, including for the 2012 London summer Olympics.

paris du nuit (12. 958)

Through the lens of his nocturnal series documenting the comings and goings, rushing from haunt to haunt and the desolation of the darkness that created some of the most iconic pictures of the City of Lights of the 1920s, we appreciated this introduction to photographer and filmmaker Gyula Halász, of Transylvanian extraction and know professionally as Brassaï, the pseudonym after his home village. Wandering the streets of Montparnasse with a cadre of young artists, writers and expatriates, his collection ranged from the seedier side of night life to high society and portraits of his circle of friends that included Matisse, Picasso and Dalí, from cabarets to opera houses to those liminal places bereft of foot traffic—see also here and here—every image is quite arresting and enveloping, like the representative picture of a figure inspecting the beacon of a Litfass column. At first only trying to supplement his irregular income with commissions, Brassaï went on to become an advisor and founding member of the first press agency specialising in street photography in 1933, which enabled him and compatriots to license their work and secure royalties. There’s a whole gallery of photographs curated by Messy Nessy Chic at the link above.

ginx’ baby (12. 950)

Whilst working on commission for Charles Darwin for his third volume—a masterpiece overshadowed by his other works on evolutionary theory The Expression of the Emotions in Man and Animals—Swedish-British photographer Oscar Gustave Rejlander captured this unnamed image of what would be the poster-child of “Mental Distress” around 1871. Due to publishing technology at the time, photographic plates were prohibitively expensive but all representative pictures were used, making the book one of the first scientific illustrated treatises.  At the same time, using the reproduction methods for inexpensive postcards, Rejlander was able to capitalise on his proto-meme, building off the popularity of barrister and Liberal Party politician J Edward Jenkins’ satirical novels, the instalment, Ginx’s Baby: his birth and other misfortunes—about an unwanted thirteenth child, coinciding with the black-and-white print, christened after the title character, amassing a small fortune—praised for its expressive quality and good-timing—beating out of studio-sessions of contenders, only emerging decades after its sensation that the image was not exactly genuine but a series of tracings. For the naturalist’s part, Darwin was particularly keen on raw feelings prior to socialisation (see also), confident that the discomfort of children would be a particularly useful heuristic to explore the role of non-verbal communication in the survival of individuals. Rejlander’s picture was seen by reviewers as threatening to overshadow both the other examples and the author himself, the postcards selling in the tens of thousands and referenced in calling cards and other contemporary literature and even a polka by the same name that long outlived the popularity of Jenkins’ books.

kid icarus (12. 887)

Collaborating with astrophotographer Andrew McCarthy, skydiver and musician Gabriel C Brown captured this incredible image of Brown transiting the Sun with an appreciable measure of luck and timing to triangulate and signal the exact moment for the jump and the shot, a composite mosaic through a telescope’s lens of the Sun roiling surface remotely tracking Brown’s falling silhouette, captured in the course of six passes by the ultralight prop-plane in the skies over Arizona.

synchronoptica

one year ago: Musk as Salacious Crumb (with synchronopticæ), letters to the president, Julian time plus Trump pushes through controversial nominees

twelve years ago: outsourcing espionage plus moving Germany’s spy agency headquarters from Bonn   

thirteen years ago: a survey of customer service 

fourteen years ago: a news roundup 

fifteen years ago: hysteria and security theatre 

congrès solvay (12.838)

The preeminent series of annual alternating conferences organised by philanthropist and industrialist Ernest Solvay hosted in Brussels started in 1911 to address unsolved problems in physics, biology and chemistry, concluded its fifth and most notable session on this day in 1927, captured with this class photo (see also, referred to as the most intelligent picture ever taken) of attendees. With some tension over the participation of German scientists lifting, Albert Einstein, Max Born, Erwin Schrödinger, Werner Heisenberg and Max Plank were able to join colloquia and workshops with Niels Bohr, Auguste Piccard, Paul Dirac, Marie-Skłodowska-Curie and others to explore the topics of electrons and protons, hammering out the finer details of the newly formulated discipline of quantum mechanics. The congresses continue (on the legacy of Solvay’s fortune derived from an improved process for carbonating beverages) to this day with latest iteration on biology in scheduled for next month with talks on the subject epigenesis.

wormsign (12. 825)

This spectacular image of a lone horseman standing in the mawing mouth of a rocky outcropping in Cappadocia—one of the multitude of “fairy chimneys” or hoodoos (peribacası), the formations named for the Southern Paiute word of the indigenous Native American tribe of the southwest of the continent for a vista inspiring awe and trembling, some the pinnacles and spires in this region of Türkiye have been hewn into ancient dwellings—looking like scene from a wintry Arrakis was captured by Erfurt-based filmmaker and photographer Dennis Schmelz, securing top prize in the annual drone photo competition, the Siena awards, see previously. NPR’s Goats & Soda features more outstanding honourable mentions at the link above.

modernity in metal and mirrors (12. 820)

With a mission to curate a vanishing aesthetic referred to as millennial or Chinese dreamcore—nostalgic but a bit mordant with the energy of moribund malls, architecture student Liu Yujia has crisscrossed the country on foot, bike and train documenting the building boom of the 1990s and 2000s that echoed the beginning of the era of economic prosperity and unprecedented growth as told through vernacular towers, industrial parks and ageing apartment blocks dismissed by many as ostentatious and ugly, with little regard afforded for their demolition as relics of China’s rise, cleared away to make room for more growth and development. Liu’s catalogue is focused on some ten-thousand structures already slated for the wrecking-ball, hoping to create an archive of these high-rise enclaves that were once important symbols of China’s ambitions for progress. More from Sixth Tone at the link above.

synchronoptica

one year ago: cruise packages and Gen Z (with synchronopticæ) plus international maritime signal flags

fifteen years ago: handmade heraldry 

8x8

tor’s cabinet of curiosities: a collection of weird hagiographies 

photographie de rue: photography student Lionel Derimais’ impressions of New York City in the winter of 1980 

non-generative ai: artist Pablo Delcan responds to human prompts  

canary in the coal mine: the collapse of US private equity firms echoes the collapse of the sub-prime real estate market that caused the Great Recession of 2008  

to catch a thief: reconstructing the Louvre heist  

grattacieli: the medieval skyscrapers of Bologna—see previously 

breaker one-niner: the computer industry’s first challenge from the US federal communications commission was over frequency interference for citizens’ band radio—see previously  

elevator pitch: podcasters debate listening to episodes at 2x speed

slice of time (12. 786)

Whilst having been demonstrated through several experiments—the central consequence of Albert Einstein’s special theory of relativity—as an object accelerates close to the speed of light it experiences time differently and becomes stretched through time dilation, the Doppler effect, spaghettification, etc, one conjecture, independently concluded by physicists James Terrell and Roger Penrose (see previously here and here), evaded observation: that the fast moving object out to appear not elongated nor contracted despite the physical deformation but rather rotated. Utilising a battery of tricks to simulate light speed slowed down to two-metres per second in the laboratory, we learn via Damn Interesting, recording the flashes of a laser reflected off a target wire frame cube with an advanced high-speed camera, researchers at the Technical University of Vienna have reproduced the rotation for the first time. Despite the object approaching head-one, instead of seeing one face of the cube distorted, one sees a corner formed at the convergence at the vertices of two faces. This simulation is akin to photographing a rocket whizzing by at ninety-percent the speed of light with the resulting panoramic image twisted as Penrose predicted. It is a pretty nifty set-up and a way to magnify or minimise the unachievable but seems strange to have arrived at (not discovered) this anticipated effect through brute force of better lenses rather than by reason and the scientific method.

flinders street station, elizabeth street exit (12. 779)

Located outside of the busiest train stop in Melbourne and having been in operation continuously since 1961 gaining the celebrated status of a local landmark, owner Alan Adler maintained the iconic photo booth for the entirety of its existence up through his retirement in 2023 with a team of technicians now carrying on his legacy to keep the machine in good working order. A green-grocery by trade and self-taught in the antique and rarefied mechanics, Alder branched out purchasing more photo booths (see also) in different areas of the city—his business undercut by the entrance of larger super market chains but the coin-op enterprise remained a profitable one. Over six decades of repair, testing and calibration of his fleet of booth, Adler collected countless images, holding the title of the most photographed individual even in the age of the selfie and of course millions of visual keepsakes for residents and visitors. More from Flashbak at the link above.

forced perspective (12. 745)

Interested in the ways brains process visual information and the influence of context and frame of reference, psychologist Jules Beuchet first described his eponymous chair illusion in the mid twentieth century, and while popular for museum installations and retaining the effect in photographs unlike some others (see also here and here), we learn that the compelling dissonance, accidentally exemplified by this image of the giant Bidens with the tiny Carters without set up—courtesy of Futility Closet—we discover a new, more portable technique for disabusing this trick, staged easier with a tripod, a miniature frame and piece of upholstery, requiring much less space and focal length to achieve the result.

six° (12. 696)

Via Kottke, we are introduced to a project called the Network of Time linking celebrities, politicians and historical figures by their appearance together in photographs, combing through the endless montage of pictures to connect seeming very disparate individuals to one another. Conceptually kindred to Six-Degrees of Separation and another idea sourced from the same blogger—that of the Great Span—the linkages are mapped out, like in this pairing of novelist Roald Dahl and polar explorer Roald Amundsen in six images. Provenance and short biographies given for each intermediary, Jane Fonda, Helen Keller and Frank Sinatra seem to be particular catalysts for a given era and although there is for now only a limited pool of famouses, it’s fascinating to make connections, especially across generations.

synchronoptica

one year ago: assorted links to revisit (with synchronopticæ)

thirteen years ago: some castles of Mecklenberg-Vorpommern 

fourteen years ago: BUtterfield 8 

seventeen years ago: an Ersatz automobile 

10x10 (12. 683)

advisory committee on immunisation practises: following an attack on the Centres for Disease Control campus by a crazed gunman, RFK Jr forces out the CDC director and renders the government agency untrustworthy  

nephilim: right wing antipathy for the Smithsonian began with a conspiracy theory that the national museum was hiding the bones of biblical giants in the basement  

pick-a-brick: thanks to Trump tariffs, LEGO no longer shipping some items to North America  

kodama: sacred trees in Japan and beyond—via Strange Company  

the real macguffin: AI is only good for prioritising “me first” problems—not for solutions—see also  

from west philly to west swig̴̙̕g̷̤̔͜y: audience scenes from Will Smith’s concerts are authentic by a YouTube experiment (previously) makes them look fake  

best in show: a selection of entrants for London’s Natural History Museum’s annual Wildlife photographer awards—via Damn Interesting 

executive overreach: appeals court rules that most of Trump’s reciprocal levies, enacting under emergency powers, are not legal—see previously and may need to refund over a hundred billion collected in duties 

¡presente!: Smithsonian museum closes its Latino gallery, ostensibly in preparation for next year’s bicentennial celebrations—see previously 

social security administration: chief data officer of the SSA abruptly resigns with a mass email that was memory-holed within half-an-hour, citing security concerns and a culture of panic and dread

synchronoptica

one year ago: the K-Pop Fab Four (with synchronopticæ) plus weird academic book jackets

fourteen years ago: moving beyond the incandescent bulb 

aussichtspunkt (12. 670)

Via Damn Interesting, we are treated to a slide show of Kodachrome colour plates (see also), likely souvenirs from an unnamed nurse stationed at the 97th US General Army Hospital in Frankfurt circa 1952 to 1953 just as West Germany was rebuilding from the war—a sprawling medical campus first used during the Berlin Airlift and since become the grounds of the consulate general. Images from this individual’s tours of West Germany feature the most some of the most photogenic shooting locations for postcard snapshots from Frankfurt, Würzburg (including scenes from the Saint Killian parade), Rothenburg ob der Tauber as well as places unknown, just passing through, the obligatory grand tour whilst in Germany whether one’s stay is short or long. Much more at the links above.

pareidolia (12. 668)

Like pictures of the Moon, I usually expect instances of the above phenomenon (coined and introduced by Karl Ludwig Kahlbaum during his directorship of the mental hospital in Görlitz from the Greek παρά and εἴδωλον, substitute form of pattern or facial detection (previously) never to translate well to the camera from my mind’s eye so was surprised to see again this distinguished moustachioed chappy hanging among the leaves and branches at sundown as I had remembered him—whereas even whilst looking at them, most faces or fossils conjured up in trees, rough surfaces (called mimetoliths) and shadows are fleeting and transitory at best, very like a cloud—forced perspective and state of mind being and focus being likewise escaping. What sorts of creative, imaginative landscapes are your favourites?