twenty minutes into the future or now we resume regular programming already in progress

One of the premiere moments for animation—that is, when it came to the small screen and was widely broadcast in syndication—was infamously introduced in 1959 with a distinct lack of animated sequences with the adventures of Clutch Cargo and friends.
Higher art with greater production value was reserved for the cinema, featurettes like Gerald McBoing-Boing to be shown along with news reels to the audience before the film began, and many great animators honed their talents, debuting on the air-waves later in the following decade, like Chuck Jones and the team of Hanna-Barbera. Utilising a process called Syncro-Vox that superimposed the moving images of the voice-actors’ mouths on to a cartoon visage, a lot of live action and stock footage transitions, the studio could produce episodes at a fraction of the cost, and although this series seems crude and decidedly inanimate compared to the next generation (Jones derided that early stage as “illustrated radio” and it was really rather not much more than a comic strip) but in defense of this flatness, the stories were quite involving and imaginative and offered a chain of cliff-hanger chapters to be resolved Saturday mornings and had quite a cult following.
Before universal audiences were exposed to a reference in passing in the 1994 film Pulp Fiction—the flashback scene when a young Butch (Bruce Willis) is presented his treasured watch nearly left behind as they fled and there’s an cartoon Eskimo with a human mouth on the television set, there was a more garbled and chaotic and perhaps more localised with the 1987 incident called the Max Headroom Signal Interruption in Chicago. An unknown man with at least one accomplice (disguised as the recently created British character Max Headroom and as a French maid, respectively) hijacked two broadcast stations in the city—I guess as a demonstration to show that they could but no one knows as they were never caught and their identities are still a mystery, ranted on air and hummed the theme from Clutch Cargo and made a few references to its final episode—which seemed to resonate with the otherwise bewildered at home audience.

fictophone

The editors at Public Domain Review are treated to the grand tour of the Museum of Imaginary Musical Instruments by its curators and invite us to tag along.
One might suppose that instruments never created either due to impracticality, impossibility or cruelty (there are sadistic specimens of an organ and a clavier that were to produce notes and chords from the torture of humans and cats respectively) would not have much truck with with reality or cultural currency, having not existed, but there is an interesting under-current championed by writers throughout several ages that use hypothetical horns, woodwinds and acoustic chambers as a philosophical lens and prevision all manner of things, from electronic music, music therapy and technological progress, just as much ones you’d encounter in the orchestra pit.

oh weal, oh woe and quid pro quo, so little time, so much to know

Via the peripatetic par excellence Dangerous Minds, comes this interesting and provocative book review from the Guardian of the encroaching post-capitalist era that’s taking place almost despite of ourselves. I hope against hope that the prognosis and synthesis is correct—that it is time for us to be utopians and maybe no longer be ingrates to the comforts that we’ve inherited that past visionaries would have surely deemed realised. The capitalists system is failing us and will moreover be our downfall if not more carefully mitigated, but it seems that no lessons from the distant or recent past have made much of an impression. I fear that revolutionaries and reformers have woefully underestimated the insidiously opportunist and adaptive nature of their opponent. The wealth gap, the disparity between rich and poor, is a significant measure—but I am starting to think that it is only that, a measure.

While certainly a problem and has enabled modern day slavery and serfdom to continue and grow unabated, I wonder if computer-generated alternatives, the sharing economy won’t just be creating more capitalist-controls in different guises. The creation of markets always results in winners and losers. Something that’s very dear but dangerously under-priced I think might be the engine that keeps the old system of avarice going. Governments and corporate influence through lobbying comes cheap and it’s the working classes and environment that pay. Peddling a little influence has led to massive deregulation and a virtual defanging of those mechanism meant to protect those loser disadvantaged by emerging markets, off-shoring, outsourcing, tax avoidance (that makes the position of the scoff-laws stronger) and most importantly, in my opinion, the dismantling and privatisation of public institutions and services contracted out. The battlefield is littered with all sorts of examples that have resulted in monumental miscarriages of the public good—from mercenaries in Iraq to the horrendous response to the Hurricane Katrina disaster in New Orleans—but the phenomenon perhaps most disturbing and far-reaching consequences is the breakdown of the educational system with rising tuition costs, for-profit colleges, defunding public schools, and sponsored educational material. Without even addressing the hardships and degradations that teachers face, the students themselves are matriculating into a system where competition goes unquestioned (because the classes are over-priced but obviously will deliver the same riches in kind upon graduation) and critical thinking is discouraged in favour of obsequiousness and thus the system is perpetuated. What do you think? Can the Sharing Economy run rings around old-money or will computers simply put us all out of our jobs?

5x5

sweded, swissted: minimal, moderne typographic calling cards for punk bands

shibui: fourteen Japanese words that make any language complete

trollface: candid photographs of the Der Fuhrer deemed unfit for public release

29 dresses: a look at the life and career of Bohemian designer Emilie Flöge who costumed Gustav Klimt’s models

the sphinx without a riddle: fascinating and comprehensive article on the Egyptian landmark

noonie, noonie, noonie, noo

For your viewing pleasure, here is the Typewriter Tip Tip Tip! sequence from the 1970 Merchant Ivory Bollywood musical Bombay Talkie—nearly as good as anything Busby Berkley could dream up.  *** Updated video montage.