Category: Visual Arts

“These are not misprints”

Or: “Mistakes were made…”

As a long-lapsed rare books conservator, the lede caught my roving eye — “not misprints but beauties of my style hitherto undreamt of” — and I had to dig deeper. Of course I had to follow that link, and down the rabbit hole we went!

The first link in the MetaFilter story went to artnet.com and provides the source — from the Yale University Library — of the images below. The “Ulysses” image is especially nostalgic: the multiple copies of “Ulysses” held at the University of Texas’s Harry Ransom Center (I think there are twenty-two? I’ve forgotten the exact number) were the subject of some of the last treatments I performed when I worked there. I was responsible for cleaning the books and consolidating the paper dust jackets.

If you ever want to experience the very worst of the physical side of commercial paper-making, the 19th and 20 Centuries provide excellent examples. Given that the book was printed in between the two word wars, premium materials were not all that available and the paper dust jackets, seen here in the illustration, were made with some real crap. Yeah, a “technical” term to describe the highly brittle paper that was used. Fun times, indeed,

But the contents were also irresistible. The mother-in-law at the time and I discussed some of the eccentricities of Joyce’s linguistic games —“Agenbite of Inwit” has stayed with me the past forty years (Barb, you are missed by all).

So diving into these two articles was absolutely necessary!

The artnet story:
https://news.artnet.com/art-world/yale-errata-exhibition-2751007

The exhibition announcement:
https://events.yale.edu/event/beauties-of-my-style-errata-and-the-printed-mistake

Enjoy —




And what is the Internet for?

Or: “Prøn. Cats and prøn!”

Years ago — back in grad school, I think or shortly thereafter — there was some discussion about what were the “drivers” of the adoption of new technologies and people brought up the battles that video tape faced. Some went even further back and brought up book publishing/moveable type. It was a discussion I followed closely, in part due to my own interests in the history of bookbinding, as well as my interest in digital publishing.

A running joke at the time, yet still applicable today, was that “the Internet is for prøn, prøn and cats”, the deliberate use of the “ø” and misspelling to avoid immediate censorship by the more easily-offended. There is an amusing truth to the joke: adult entertainment drove the development of micro-payments that led to the monetization of anything put online. And erotica1 was among the earliest of Western European book publication. Quite simple, really, entertainment sells and adult entertainment sells very well.

And so, here we are:

We’ve already seen the AI cats, the nudification of celebrities and spiteful ex-partners, the slop that is spreading in all forms of digital entertainment.

  1. https://www.gutenberg.org/files/18459/18459-h/18459-h.htm
    This links to the Project Gutenberg digital version of the classic. More explanation and background on this text, in the following link,
    as the “Hypnerotomachia Poliphili is the a example of these early “entertainments”. ↩︎

META Loves Me, this I know…

OR: Be-cause FaceBook Tells Me So…

Well, that’s amusing… wonder if someone has complained and the Great Gawds of META have acted accordingly… time will tell.

Taking a force break from interacting with them until further notice. It’s not like I haven’t anything else to play with, right [looks over at the synths on the desk and the guitar on the other side]?

Gear Acquisition Syndrome

The dreaded Gear Acquisition Syndrome, or GAS as it is also known by, is a cousin to even more dangerous The Collector-Fetishist. Photographers and musicians know it all too well — it’s a constant battle against the impulse. The Fetishist is a real menace, keeping gear out of the hands of those competent to play/use it.

I think it falls most heavily on the musician, though, as parts of the instrument-making industry unnecessarily conservative when it comes to designing new performance instruments. This is especially evident when it comes to electronic/hybrid instruments that might incorporate new technologies. No, I’m not arguing that a 16th century violin needs that much innovation, but technologies surrounding electric guitars, synthesizers, and controllers are constantly changing and there seem to be an awful lot of small mammals racing around the scene.

I’m in the midst of a rethink about how I have used the guitar over the past 60-odd years and there are clearly still more changes ahead.

Watch/Listen to this space…

Now here’s a God Jul image to contemplate:

Image of snow covering buildings and the balcony.

For those about to rock…

Whew! Improv isn’t just what you do musically, it’s what you do.

Period.

Last night, I played my first face-to-face live gig in a very long time. Streaming live from a studio, where you can perform in your pajamas (if that’s your thing and maybe you’re not doing video streaming) on a platform like Second Life has its own challenges (does it ever!) but the audience rarely sees what is happening*.

So last night was an exercise in real-time damage control, improvising a solution that would make them smile and applaud (throwing money, underwear, or t-shirts is always optional).

https://www.facebook.com/emom.mtl/videos/786197931074043/

Eric Wrazen, master of ceremonies and no slouch on the synth himself, presided over the first EMOM performance of the Fall season at The Wheel Club here in Montréal. It was my first performance there and only the second time I’d been there for an EMOM event (I was lucky to have learned of it, shortly after getting settled in to my new apartment here). If I said it went off without a hitch it would be a bald-faced lie.

It didn’t.

I think it was Dwight Eisenhower who said that plans mean nothing, planning means everything. What I’d planned, while only mildly complicated considering all that was involved, and what happened were two quite different things. My original “blueprint” involved using two main audio sources: the Arturia MicroFreak and the Modal Argon8m. I’d brought The Three Sisters (my three Empress Zoias, Amelie, Brigitte, and Chloë — yes, the instruments are named and labelled so it’s easier to keep track of what’s been programmed), a Boss RC-1 for some simple looping, and an RC-500 for reverb on the Argon8m. Finally, I’d brought a Focusrite Scarlet to interface the iPad with the Argon8m.

What I find continuously challenging with Argon8m is using the software — I am not a big fan of using a laptop in live settings after having a hard drive catastrophically fail just moments before doing a gig in Fort Worth many years ago (yes, I salvaged the performance and no one even knew what happened). Rather than use a laptop, I’ve been using an iPad Pro, which has brings its own issues (Gee, THANKS Apple for making it so damned difficult to interface externals with the iPad, ESEPCIALLY the whole “Pro” series — another discussion for another day, but I’ve been using a Pro in one form or another since Generation 1.0 before I ever left the States). The MODALapp is pretty dependable on the computer, less so on the iPad, so it’s always a tiny gamble.

And last night, the gamble failed. Hard.

I could not get the Argon8m to send audio to the mix. For whatever reason, nothing from “that side” of the mix was working, or sending me output to the little mixer I had brought along. As I was the first person scheduled to perform, the pressure was on to get it sorted out and time was working against me. Eric was gracious enough to start without me and I frantically began pulling cables and re-configuring the set up to work with the ‘Freak and two of the Zoias. I managed to come up with a working arrangement and then it was “showtime!”

Give a listen to the video excerpt above; I have a WAV of the performance that I will be listening to in hopes of pulling some usable audio out of for later.

*At one point in the history of performances in Second Life, the question came up as to whether or not certain performers were actually “performing” live or simply having their avatar appear and running a prerecorded track — the VR version of lip-synching. The controversy is still there and, to my mind as a performer, has cast a permanent shadow over the whole scene.

Shadows and Lights…

Evening.

A darkened sky, the light beginning to emerge from the those corporate windows across the way, allowing their interiors to be more clearly revealed. And as I look at this checkerboard of light and darkness, a vacillation catches my eye. I move to get a better view of the two windows and see what looks to be a disco ball with garlands of bright lights running from wall to wall, and, somehow, a beam of light — like a searchlight — sweeps across the tableau. I see this several nights in a row and now I am truly curious.

Days later, I gaze over at the same scene, now reflecting the sky, buildings, and grounds — that are hidden from me, for they are behind me — to the north of here. I try to look closer, feeling like Jimmy Stewart in “Rear Window” but looking for my binoculars (I have none, at present).

Details emerge and resolve, as does the meaning of the mystery. I see a rising lansdscape, and atop it, lights flashing exactly where the “disco ball” had appeared. Indeed, the lights are flashing, even in the wild-fire smoke-muted sunlight of the Montréal skies. And now, I understand.

I spent some time yesterday, observing this reflection, periodically, as the day transited from a yellow-gray morning, through the equally yellow-gray afternoon, and finally into the welcoming cool of night. What I was seeing was the warning lights arrayed across the top of the promontory that hulks behind me, rising up and North of me. This, and nothing more.

Today, the reflection is muted by the aerial pollution of smoke from the Prairie fires — I had forgotten just how pernicious that smoke is on what our skies look like, after experiencing it in Wyoming and Alaska — and I cannot see the Mount or much other detail. But it is there, waiting for the fall of darkness.

Circles or Rectangles

Pre-emptive posting againt the probablity that a certain META platform will not allow this “news”-derived story from the Guardian UK.

“What” we see may be heavily culturally-driven. What do you see when you look at the image?

https://www.theguardian.com/commentisfree/2025/jul/05/optical-illusions-see-world-perception

… here’s a link that will help you see both:

https://imgur.com/a/Mp2MphF

… now you will probably see both every time you look.