anapodoton (11. 293)

From the Greek ἀνανταπόδοτος for “I give back,” the ellipsis refers to a rhetorical device by which the gist of a saying is supported by its subordinate clause without mentioning it, like if the mountain won’t come to the prophet, when in Rome, a bird in the hand, if the shoe fits or when the cat’s away. As with the spoonerism I heard once and since incorporated “paying Peter to rob Paul,” I thought the former idiom (fabricated by Francis Bacon) was “Let the mountain come to Mohammed”—an anacoluthon, a disruptive thought expressed in reported speech by my favoured em-dash to mark the divergence—and is entirely missing the intention and making a postproverbial or preverb. The study of such maxims and their variants, dating back to Aristotle’s collections, is called paremiology, classing them into the categories of comparison, interrogation, their above misuse and metaphorical or allusory.

11x11 (11. 292)

liar’s dividend: digital propaganda and implausible deniability—via the New Shelton wet/dry 

working cows dairy: a collection of superlative cheeses—via Kottke 

the blazing world: a 1666 novel considered the first world of science fiction by a woman author 

everglades jetport: uncovering the ruins of a failed supersonic runway floundering in the in the Florida wetlands—see previously  

the furby panic: US National Security Agency compelled to release a trove of documents outlining their ban of the toy as a potential instrument of espionage—via Waxy  

press-gang: while most news outlets block AI crawlers used to scrape training data, right-wing media welcomes them—see previously 

mac@40: a website showing every model of the Apple computer as it enters its fifth decade  

winter in aizu: a woodblock series from Sosaku Hanga artist Kiyoshi Saito 

you are both so much more than kenough: Hillary Clinton weighs in the Oscar nominations for Barbie—via Super Punch  

time in a bottle: one bar’s water-clock has drained—though we’d not be adverse to a Harvey Wallbanger  

white stork: the Ukraine war-sandbox and the rise of the AI-Military Complex—see previously

synchronoptica

one year ago: data-scrapping and copyright

two years ago: MediaWiki Day, more custom cars, Roman milestones plus an inexplicable fast food mascot

three years ago: your daily demon: Valac, assorted links to revisit plus the Torlonia Marbles

four years ago: vintage virtual dressing rooms, happy birthday Volodymyr Zelenskyy, more on the US Space Force plus Mendelssohn’s Wedding March

five year ago:  photojournalist Jessie Tarbox Beals, a Droste homage, more links to enjoy, a Trump associate arrested plus cardinal notions

refractive index (11. 291)

Opening on this day in 1955 in New York City’s Museum of Modern Art, sparking many revivals and alternative exhibitions, the curation of some five hundred images from all over the world was the culmination of the the career of Edward Steichen, director of the MoMA’s department of photography—having earlier played a significant role in legitimising the medium as a recognised art form—drawing record-setting number of visitors. The ambitious project’s title was taken from the stanza of the Carl Sandburg poem, written as a prologue for the show: 

There is only one man in the world and his name is All Men.
There is only one woman in the world and her name is All Women.
There is only one child in the world and the child's name is All Children.

People! flung wide and far, born into toil, struggle, blood and dreams, among lovers, eaters, drinkers, workers, loafers, fighters, players, gamblers. Here are ironworkers, bridge men, musicians, sandhogs, miners, builders of huts and skyscrapers, jungle hunters, landlords, and the landless, the loved and the unloved, the lonely and abandoned, the brutal and the compassionate—one big family hugging close to the ball of Earth for its life and being. Everywhere is love and love-making, weddings and babies from generation to generation keeping the Family of Man alive and continuing.  

If the human face is “the masterpiece of God” it is here then in a thousand fateful registrations. Often the faces speak that words can never say. Some tell of eternity and others only the latest tattings.  Child faces of blossom smiles or mouths of hunger are followed by homely faces of majesty carved and worn by love, prayer and hope, along with others light and carefree as thistledown in a late summer wing.  Faces have land and sea on them, faces honest as the morning sun flooding a clean kitchen with light, faces crooked and lost and wondering where to go this afternoon or tomorrow morning. Faces in crowds, laughing and windblown leaf faces, profiles in an instant of agony, mouths in a dumbshow mockery lacking speech, faces of music in gay song or a twist of pain, a hate ready to kill, or calm and ready-for-death faces. Some of them are worth a long look now and deep contemplation later.

Embarking later on a global, goodwill tour partly under the auspices of the United States Information Agency (see also), a manifesto of peace during times of turmoil and division, the images were selected to communicate a story and the gallery of faces engendered mutual recognition and seemed to look back at the audience, inspiring tributes, sequels and re-examinations, beginning with West Germany’s 1965 Weltausstellung der Fotografie and some critical revisions, re-appraisals to shift perspective and build inclusivity and exposure on the intent. Ultimately inscribed to the UNESCO Memory of the World Register, the physical catalogue of prints is displayed (according to the original set-up) and archived at Clervaux Castle of curator Steichen’s native Luxembourg.

 synchronoptica

one year ago: drawing lessons from an ukiyo-e master, the US army leaves the Rheinland (1923) plus assorted links to revisit

two years ago: more on Saturn’s moons, a WWII holdout (1972) plus the Young Poland art movement

three years ago: geneticist Beatrice Mintz

four years ago: negative harmonies, City Roads, more synthetic humans, a belle époque residence plus French territories in Jerusalem

five years ago: the micronation of Sealand, a 1960 documentary on the Cosmos plus an impressive cultural centre in Tīanjīn

and there are twice as many stars as usual (11. 290)

Adapted and recirculated in 2019 on the occasion of another prodigious birth, the 1976 Walt Whitman award-winning verse by poet and nurse Laura Gilpin, from her collection The Hocus Pocus of the Universe, “The Two-Headed Calf” has become a thoughtful refrain for videos, viral and with millions of followers and fans, documenting this polycephalous twin recently born, with many concerned for their wellbeing and quality of life—precious, no matter how short it may be. 

Tomorrow when the farm boys find this
freak of nature, they will wrap his body
in newspaper and carry him to the museum. 

But tonight he is alive and in the north
field with his mother. It is a perfect
summer evening: the moon rising over
the orchard, the wind in the grass. And
as he stares into the sky, there are
twice as many stars as usual.

Not to disparage farm boys, though they’re always ready to take us, but at least for this night, we are perfect and primed for tomorrow unawares and nonetheless loved.

challenger deep (11. 289)

Damn Interesting’s Allan Bellows invites us to accompany the on-going adventures of the Swiss-Family Piccard (see previously also here), who on this day in 1960 reached the ocean floor in the deepest part of the Mariana Trench aboard the bathyscaphe Trieste, designed by father Auguste and co-piloted by son Jacques—marking the first time a vessel, crewed or uncrewed, dove to such extremes, garnering insights in this never before seen environment. Much more at the links above.

synchronoptica

one year ago: Stationtostation (1976) plus assorted links worth revisiting

two years ago: an Underground inspired uniform, Charles Lindbergh testifies before the US Congress (1941), artist Ger van Elk plus more on Wordle

three years ago: Earthrise, Bounty Day on Pitcairn, Duke Ellington at Carnegie Hall, the abominable mystery of flowers plus more links to enjoy

four years ago: hell for pendants

five year ago: the Ten Year Challenge for the environment, train-delays knitted, TRON minus the special effects plus artist Annie Wang

biface (11. 288)

The left panel of the original diptych executed by French court painter Jean Fouquet in the mid-fourteen hundred for the collegiate church of Notre-Dame in Melun on the Parisian outskirts depicts patron of the arts and royal secretary Étienne Chevalier with St Stephen, regarded as the first Christian protomartyr, robed and holding a book and a jagged rock as part of his iconography, having been stoned to death for blasphemy. On closer examination of this feature, however, archeologists believe that the rock might represent a prehistoric artefact—a handaxe (properly the above term) several hundreds of thousands of years in age from the Acheulean industry of manufactured tools used by Homo erectus and Homo heidelbergensis throughout Africa, the Middle East and Western Europe. Abundant finds as a source of mystery and fascination for centuries, and something not unfamiliar to the artist with the tool-making epoch named for a suburb of Amiens in Picardy, their folk-origin before the Enlightenment and acceptance of time-out-of-mind was sourced to “thunderstones” ejected from clouds, believing the well-wrought rocks appeared where lighting had struck and passed down as family heirlooms in the belief that they protected against subsequent strikes.

bildruta för bildruta (11. 287)

We appreciated the introduction to the portfolio of Swedish artist Iris Wildros through these mediative, contemplative frame-by-frame looming animations, which provide just as much enhancement and focus for the creator as for the observer. Multidisciplinary, Wildros has a preferred medium to reflect on change and return over time, dissecting what’s otherwise overwhelming into a more manageable component that still hangs, appends itself to a system as a whole rather than an isolating Much more on Wildros’ works exploring nature and cycles in a gallery of GIFs at the links above.

goody goodwife (11. 286)

Written as an allegory for McCarthyism, the Red Scare during which left-leaning views were repressed and politicians and private individuals were systematically repressed over fear of Soviet infiltration and Communist influence with most accusations ultimately found to be exaggerated if not outright false, Arthur Miller’s The Crucible had its premier performance on this day in 1953 at the Broadway Martin Beck Theatre. Speculating with the opening narrative (following on with each act) that the theocratic society of the Puritans, isolation and unstable conditions contributed to the paranoia and hostility, the play is set in colonial Massachusetts during the Salem Witch Trials of 1692. Though some liberties were taken to fully limn out the litigants and the sentenced, most of the names and events are dramatised from court records.

synchronoptica

one year ago: US Supreme Court rules on Roe v Wade (1973) plus artist Sophie Hollington, AI on fantasy glam rock plus the door gods of the Lunar New Year

two years ago: the new normal (2003), Our Town (1938), AI suggests breakfast cereal plus a 1972 interview with David Bowie

three years ago: the death of Queen Victoria, another MST3K classic plus unnamed implements

four years ago: assorted links to revisit,  the Adoration of the Mystic Lamb corrected, Trump and the tabloids plus an upcoming auspicious date

five years ago: artist Max Guther, a celebration of blank video cassettes plus Apple’s 1984 commercial