bubble wand

For a few weeks now I had been wondering if creating a force field of soap bubbles or frothy foam might not disable viruses lingering in the air but fretted over the diversion of resources and efficacy versus the very real promoter of effective behavioural shifts in gamification and dressing up, accessorising—and while there still might be elements of window-dressing and gimmickry in some of these entrants in a sponsored competition, I liked how the idea was championed as a way to reframe hygiene in a society learning to deal and cope with COVID. Other honourable mentions included a clever doorbell that dispensed a dollop of hand sanitiser for arriving visitors, proposals for public washing-up stations and disinfectant doses encapsulated in a seaweed membrane so as not leave plastic litter. Learn more about the call for submission from Dezeen at the link above and get inspired yourself.

we can’t let a more sophisticated version of that happen again

Loath as we are to call any extra attention to Trump’s doltish antics that try to reel the world back into the idea of American exceptionalism or that humanity and its gracious hosts needs more of it—we’ve moved beyond the Anglo-Saxons in general as a matter of fact, his resurgent attack on the social media platform that is undeniably his bread-and-butter is a bit irresistible.
Cruelly appropriating the death of a reporter’s intern (at the same time disavowing that of one hundred thousand others) whom had soured on the former object of his admiration and cheerleading as leverage to discredit, his most diverse amplifier checked the veracity of his claims (plus his unfounded condemnation of mail-in ballots as voter fraud), wounding Trump’s notorious thin-skin and earning a punishing hiding from on high, citing how conservative viewpoints are silenced and threatening retribution. Let’s see how this one develops.  Close your account—that'll learn ‘em.

bridal registry

Courtesy of the Everlasting Blört, we find ourselves quite taken with the endless galleries of deep dives and long tails that comprise the Museum of Ridiculous Interesting Things. Renaissance sexuality and women’s roles is not the most enlightened exhibition to explore, assuredly, but their curation of the sexy symbolism of the weasel and related varmints is indeed edifying and comprehensive.
Branching off from and bringing it all back around to the era’s most iconic depiction from Leonardo in the 1490 portrait Lady with an Ermine (Dama con l'ermellino) of Cecilia Gallerani, mistress of Ludovico Sforza, Duke of Milan, we discover what sort of associations were laden on this poor creature as a companion and signifier of status and hope and generally commissions for marriages. Da Vinci himself would later remark in his own bestiary that the ermine represents moderation, deigning only to eat once a day, and the purity of character to surrender herself to the huntsman rather than sully her fine coat. Speaking of which, the keeping of a pelt from weasel, mink or stoat was referred to as a zibellini, a luxuriant fur flea to drape over ones neck as a charm for getting pregnant, reflecting the rather nonsensical and non sequitur belief that weasels conceived through their ears and gave birth through their mouths, following the Marian tradition of the messenger angle whispering in her ear and Mary proclaiming the news—an homage that does not seem quite ideal in terms of fatherhood and legacy. Much more to discover at the links above.

steinwand

Recently, H and I took a hike around a rock face (Felswand) at the foothills and steepening calved cliffs of the Maulkuppe, near the Milseburg.
A few climbers were out scaling the rocks—which are volcanic phonolite (Phonolith—sounding stone, named after the characteristic clink that this uncommon mineral makes when struck—we’ll have to be more attentive and listen next time) and not the more common basalt formations (see here, here and here) as we’d originally thought made up the mountain side. There are some one hundred climbing paths (Kletterrouten) on the Steinwand—which while it is on private property, is freely accessible for all.

6x6

mistress don’t harm me, mistress don’t harm me henceforth: What is Love medieval style (see also)

octopi, occupy: a history of caricature and other persuasive maps (previously), via Nag on the Lake

degenerate states: a look at myriahedral map projection (see also) and related attempts at squaring the circle

distance disco: your dance party at a safe range, via Swiss Miss

television and telephot: video-conferences envisioned in 1918

knight industries two thousand: Knight Rider theme for eight cellos (see previously)

be a gandlum, not a goldo

This cursed chart of unknown provenance (via Boing Boing—I’m sure that no one is eager to take responsibility for this un-unseeable nightmare for fear of reprisal) that blends, cross-references Lord of the Rings characters (previously) is more proof that idle hands are the tools of Sauron—or rather his hybrid Saurumon. That said, tag yourself. What other ensemble paracosm would you like—if any—the Marvel cinematic universe perhaps, subjected to the same treatment?

an account of the principalities of wallachia and moldavia

Under the imprint of Archibald Constable & Company, Bram Stoker’s Dracula was first published on this date in 1897. Heir to an established literary trope of continental influences invading England (strange how monsters pivot from expressions, repressions of xenophobia to homophobia and there is no unhappy medium), the novel went further in setting archetype, conventions and defining the genre with untold adaptations and interpretations, enduring and rejuvenated through a series of other building on the lore until it was ripe for mass-distribution with the advent of cinema and its attendant possibilities, much like the successful legacy of contemporary authors H. G. Wells and Arthur Conan Doyle.

sophonisba met de brief van masinissa

Identified as the patron of artists for having painted the portrait of the Virgin Mary by John of Damascus, the Guild of St. Luke—especially in the Low Countries—was a common term for the association representing professional painters through the Renaissance, an organisation that Leipzig-born Nikolas Knüpfer (*1603 – †1655) was admitted to (as a visiting member, bezoekend lid), allowing him to establish a studio in Utrecht, one of his pupils being Jan Steen, where he produced some of his small-scale masterpieces—focused on literary and mythological themes.
Reflecting his penchant for unusual poses, here pictured (1635, through the lens of course of what is familiar) is part of a series on the influential Carthaginian noble woman, powerful in her own right Sophonisba (𐤑𐤐𐤍𐤁𐤏𐤋) who famously poisoned herself rather than be captured by Roman forces during the Punic Wars. Sophonisba receives news from her husband, King Masinissa, from the front that a truce has been reached but she must be paid in triumph to the victors—the Romans feeling that she had incited rebellion to begin with and ought to be removed from Carthage. Having none of that, later Sophonisba drinks the goblet of poison, rebuking Masinissa for making their marriage short and bitter.