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Sunday surprise — literal rainfall ancient and modern

Sunday, March 19th, 2017

[ by Charles Cameron — a DoubleQuote in the arts ]
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Guillaume Apollinaire:

**

Il pleut

Il pleut des voix de femmes comme si elles étaient mortes même dans le souvenir
c’est vous aussi qu’il pleut merveilleuses rencontres de ma vie ô gouttelettes
et ces nuages cabrés se prennent à hennir tout un univers de villes auriculaires
écoute s’il pleut tandis que le regret et le dédain pleurent une ancienne musique
écoute tomber les liens qui te retiennent en haut et en bas.

Roger Shattuck, brilliant author of The Banquet Years: The Origins of the Avant-Garde in France) translates:

It’s Raining

It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below

As Edward Hirsch comments at Poetry Foundation:

The slanting lines of Apollinaire’s poem create the sensation of rain running downward across a windowpane. Graphic form and verbal music come together as each long vertical line becomes a rhythmic unit of meaning

— which is itself a verbal / visual DoubleQuote!

**

Code running downward..

**

This was brought to mind by the magnificent title sequence of the Le Carré thriller The Night Manager:

essentially completing a second DoubleQuote with those falling droplets. those rising bubbles — and there are several filmic equivalents of DoubleQuotes graphic matches aka match cuts — in the sequence itself: bomb cloud > martini, tea cups >machine gun, contrails > pearls..

I’m always happy to see more Le Carré on film..

On targeting as a mood this electoral season, 2

Sunday, October 23rd, 2016

[ by Charles Cameron — honor and shame ]
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dq-600-emmett-till

Not “no comment” — speechless.

On the felicities of graph-based game-board design: eleven

Friday, October 21st, 2016

[ by Charles Cameron — graphical thinking really has pretty much permeated the tech end of our culture at this point ]
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Two more examples of graphics — in the double sense of the word, or graphics squared if you like, where graphs, in the node and edge mathematical & network sense are used within graphics, in the visual or illustrative sense:

The first comes from a page on Carnegie Europe’s Strategic Europe blogpost titled Cyberspace and the World Order:

2016-01-14_cyber_605

The second is from the Eventbrite invite to The Future of Cybersecurity: A Conversation with Admiral Mike Rogers at Georgia State University on Moday 24th at 10am, courtesy of John Horgan.

cdn-evbuc-com

**

From a graphic (visual) perspective, the symbolic content is in each case interesting, and I’d be glad to read any comments on why, for instance, there’s a honeycomb hex grid in the upper image, and why the information flow is so much more curvaceous after the lock than before it (assuming a left-to-right reading in temporal sequence) — and in the lower image, why some of the nodes and edges are slowly getting stained red (and here I’m guessing an epidemiological image for the spread of a virus).

From a graphic (graph as potential HipBone game board) perspective, the upper graph doesn’t offer a game board as I envisage them, but the lower one certainly does, albeit this would be a complex game, with the sizes of nodes and lengths of edges to be taken somehow into account.

**

Earlier in this series:

  • On the felicities of graph-based game-board design: preliminaries
  • On the felicities of graph-based game-board design: two dazzlers
  • On the felicities of graph-based game-board design: three
  • On the felicities of graph-based game-board design: four
  • On the felicities of graph-based game-board design: five
  • On the felicities of graph-based game-board design: six
  • On the felicities of graph-based game-board design: seven
  • On the felicities of graph-based game-board design: eight
  • On the felicities of graph-based game-board design: nine
  • On the felicities of graph-based game-board design: ten
  • Heart Line — a response to Bill Benzon

    Wednesday, October 12th, 2016

    [ by Charles Cameron — design fascination — including a Mimbres rabbit with a supernova at its feet ]
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    Bill Benzon has been blogging a remarkable series of posts on Jamie Bérubé‘s drawings as recorded in the online illustrations to Michael Bérubé‘s book, Life As Jamie Knows It: An Exceptional Child Grows Up.

    **

    I wanted to respond to Bill’s latest, Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology, which included this illustration:

    berube-benzon-5-biomorphs

    and these comments, which I’ve edited lightly for clarity and simplicity:

    I emailed Mark Changizi, a theoretical neuroscientist who has done work on letterforms. He has been making a general argument that culture re-purposes, harnesses (his term), perceptual capacities our ancestors developed for living in the natural world. One of his arguments is that the forms used in writing systems, whether Latinate or Chinese (for example), are those that happened to be useful in perceiving creatures in the natural world, such as plant and animal forms. I told him that Jamie’s forms looked like “tree branches and such.” He replied that they looked like people. His wife, an artist, thought so as well, and also: “This is like early human art.”

    You’ll see why that-all interests me — letters and life forms — below.

    And then:

    Yes, each is a convex polygon; each has several ‘limbs’. And each has a single interior line that goes from one side, through the interior space, to another side. The line never goes outside the polygon .. Why those lines? I don’t know what’s on Jamie’s mind as he draws those lines, but I’m guessing that he’s interested in the fact that, given the relative complexity of these figures and the variety among them, in every case he can draw such a line.

    **

    Two thoughts cross my mind.

    The first is that one of these forms, Benzon’s Biomorphic Objects 6a, bears a striking resemblance to the letter aleph, with which the Hebrew alphabet — or better, alephbeth — begins:

    berube-benzon-5-biomorph-6a-aleph

    There may be some connection there, I’m not sure — though Jamie also has a keen interest in alphabetic forms, as illustrated here:

    berube-benzon-5-letterforms

    **

    But it’s my second point that interests me more.

    These “biomorphic objects” with “single interior line that goes from one side, through the interior space, to another side” remind me of nothing so much as the Native American style of representing animals with a “heart line” — best illustrated, perhaps, by this Acoma Pueblo Polychrome Olla with Heartline Deer:

    The image comment notes:

    One generally associates the use of heartline deer with pottery from Zuni Pueblo and that is most likely the origin. The fact that it appears on Acoma Pueblo pottery has been explained in a number of fashions by a number of contemporary Acoma potters. Deer designs have been documented on Acoma pottery as early as 1880, but those deer do not feature heartline elements. Some potters at Acoma have indicated that Lucy Lewis was the first Acoma potter to produce heartline deer on Acoma pottery. She did this around 1950 at the encouragement of Gallup, New Mexico Indian art dealer Katie Noe. Lewis did not use it until gaining permission from Zuni to do so. Other potters at Acoma have stated that the heartline deer is a traditional Acoma design; however, there is no documented example to prove this. Even if the heartline deer motif is not of Acoma origin, potters at Acoma have expressed that it does have meaning for them. It is said to represent life and it has a spiritual connection to deer and going hunting for deer.

    Here’s a “heartline bear” from David and Jean Villasenor‘s book, Indian Designs:

    bear-heartline

    And here’s an equivalent Mimbres design for a rabbit with heartline, in which the line passes completely through the body from one side to the other, as in Jamie’s biomorphs:

    mimbres-rabbit

    Again, the comment is interesting — it cites a 1990 New York Times article, Star Explosion of 1054 Is Seen in Indian Bowl:

    When the prehistoric Mimbres Indians of New Mexico looked at the moon, they saw in its surface shading not the “man in the moon” but a “rabbit in the moon.” For them, as for other early Meso-American people, the rabbit came to symbolize the moon in their religion and art.

    On the morning of July 5, 1054, the Mimbres Indians arose to find a bright new object shining in the Eastern sky, close to the crescent moon. The object remained visible in daylight for many days. One observer recorded the strange apparition with a black and white painting of a rabbit curled into a crescent shape with a small sunburst at the tip of one foot.

    And so the Indians of the Southwestern United States left what archeologists and astronomers call the most unambiguous evidence ever found that people in the Western Hemisphere observed with awe and some sophistication the exploding star, or supernova, that created the Crab nebula.

    That would be the sunburst right at the rabbit’s feet!

    **

    Posts in Bill’s series thus far:

  • Jamie’s Investigations, Part 1: Emergence
  • Jamie’s Investigations, Part 2: On Discovering Jamie’s Principle
  • Jamie’s Investigations, Part 3: Towers of Color
  • Jamie’s Investigations, Part 4: Concentrics, Letters, and the Problem of Composition
  • Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology
  • My previous comment on #1 in the series:

  • On the felicities of graph-based game-board design: nine
  • On the felicities of graph-based game-board design: ten

    Sunday, October 9th, 2016

    [ by Charles Cameron — a long, lazy Sunday post, packed with quirky interest and neat maps ]
    .

    Ten? What’s so special about ten, hunh? Just because you have ten fingers, you suppose that makes ten special?

    **

    One:

    As simple as a map can get:

    worry-line
    Simon Kirby, The Worry Line

    Two:

    As complex as one can get:

    most-complex-ny
    Eric Jaffe, The World’s 15 Most Complex Subway Maps

    And I mean complex, cognitively complex:

    When it comes to information processing, an average person’s “cognitive threshold” is about 250 connections, or the equivalent of roughly eight bits of data, according to the researchers. New York’s system neared that limit, with 161 total connections, and the most complicated two-transfer trip a person could make on the subway exceeded it—clocking in at 8.1 bits. Maps for the Paris Metro (with 78 total connections), Tokyo Metro (56), and London Tube (48) clustered around six bits of information.

    Three:

    Naked:

    naked-map
    Nick van Mead, Can you identify the world cities from their ‘naked’ metro maps?

    The Guardian wanted to know if you could recognize various cities if shown their metro maps without the stations markings.. and i could manage Chicago (above).

    Four:

    Coffee:

    coffee-shop-mapo
    Chris Ward, Coffee Stops

    Sadly, the map is not the territory, or I could get my Java from South Ken while sitting at my desk just outside Sacramento.

    The London Coffee Map, “Coffee Stops,” was designed by Chris Ward, who calls himself “the boss who works from coffee shops.” He recently published Out of Office: Work Where You Like and Achieve More, a best-selling guide to leading a successful working life outside an office building. Apparently, being properly caffeinated is one of his biggest tips. Now you can grab your joe at local London cafes with quaint names like Scooter and Electric Elephant.

    Five:

    Mug:

    I could then quaff it from an appropriately poetical Map Mug:

    50112-greater-shakespeare-map-mug-normal
    Royal Shakespeare Company, Greater Shakespeare Map Mug

    The map here representing affinities between characters in the Bard’s various plays:

    greater-shakespeare-map-rsc

    **

    Interlude:

    — and we’re half way to ten, let’s imagine ourselves at Shakespeare and Co‘s bookstore and cafe in Paris

    shakespeare-co

    **

    Six:

    Calvino

    While we’re on a literary streak, here’s a thumbnail of one of artist Rod McLaren‘s illuminations of Italo Calvino‘s Invisible Cities:

    italo-calvino-mapped
    Rod McLaren, Invisible Cities Illustrated #2: Trude/Ersilia

    The detail here is fantastic, as befits Calvino’s work:

    The diagram, a network of curved lines connecting to every other node on a 6 x 5 grid, has two configurations: if the picture is hung one way up, it shows the “Ersilia configuration” (where the lines are like the threads strung between the buildings of Ersilia); if hung the other way up, it shows that of Trude (where the lines are like a complicated airline route map).

    Ersilia (Trading Cities 4, p78):

    In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade, or authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain. From a mountainside, camping with their household goods, Ersilia’s refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing.

    They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away.

    Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form.

    Trude (Continuous Cities 2, p128):

    If on arriving at Trude I had not read the city’s name written in big letters, I would have thought I was landing at the same airport from which I had taken off. The suburbs they drove me through were no different from the others, with the same greenish and yellowish houses. Following the same signs we swung around the same flower beds in the same squares. The downtown streets displayed goods, packages,signs that had not changed at all. This was the first time I had come to Trude, but I already knew the hotel where I happened to be lodged; I had already heard andspoken my dialogues with the buyers and sellers of hardware; I had ended other days identically,looking through the same goblets at the same swaying navels.

    Why come to Trude? I asked myself. And I already wanted to leave.

    “You can resume your flight whenever you like,” they said to me, “but you will arrive at another Trude, absolutely the same, detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the name of the airport changes.”

    All of which reminds me of nothing so much as Antonio Gaudi‘s model — made of hanging chains — catenaries —

    inverted-model-barcelona

    which when turned upside down provide the structure for his Sagrada Familia cathedral in Barcelona:

    sagrada-familia

    Seven:

    Ghost:

    Meanwhile, back in London, we have maps of the ghost (ie abandoned) London tube stops:

    ghost-stations
    Dylan Maryk, Ghost Stations On The London Underground

    Eight:

    That’s one way to de-clutter the Tube map — show what ain’t there any more.

    Here’s another —

    declutteredtubemap
    Matt Thomason, 150 years of The London Underground

    Don’t ask me what it means — seeing as Hugh Grant gets a station, it’s either gentlemanly or ungentlemanly, I’m not sure which.

    Nine:

    Music:

    I simply didn’t know you’d have to travel this far to get from Dylan to the Beatles:

    london_music_genres_detail
    Dorian Lynskey, in Tufte, Response to London Underground maps

    I mean —

    bob-dylan-john-lennon
    Michelle Geslani, The Beatles and Bob Dylan met 50 years ago today

    Ten:

    I’ve kept this one for last because in some ways it’s the subtlest:

    exhibition-in-borders-we-trust

    It’s the work of architect Jug Cerovic., and on his page In Borders We Trust he offers this conceptual comment:

    Borders are primarily a mental construct.

    Just like a deity, they exist only insofar as People believe in them. Question is however how necessary our belief in their existence is and when exactly does that belief start harming us?

    At which point do borders cease to be a convenient orientation marker, a helpful tool for the comprehension of the land we inhabit, a common identifier for the construction of a shared identity? At which point do borders become a dogmatic limitation to imagination, a terrifying prison for the body and mind, a symbol and support of hatred?

    Borders do not possess an inherent bad or good character, on the contrary they are a malleable concept subject to appropriation and interpretation.

    “In borders we trust” examines the perception, physical manifestation and enforcement of the couple formed by People and Borders focusing on three key areas of the contemporary migration routes:

  • Gibraltar
  • Serbia
  • Levant
  • For this purpose the peculiar relationship between Borders and People is illustrated with a sequence of three distinct maps:

  • Borders without People
  • Borders with People
  • People without Borders
  • This novel perspective of a seemingly familiar representation, with each component of the couple shown separately and juxtaposed to their combined illustration, questions the articulation and pertinence of our present predicament.

    Happily, this is an area that I’ve delved into at some length myself in my earlier post, No man’s land, one man’s real estate, everyone’s dream? — with specific reference to ISIS’ bulldozing of the border between Iraq and Syria, and the Basque country, Euskadi, saddling the French / Spanish border.

    Cerovic has achieved an eminently practical limited version of one of my own grandiose castle-in-air schemes — building a universal graphical mapping system. Cerovic’s version offers us a universal graphical underground / tube / metro mapping system, in the form of his book One Metro World — you still have a couple of weeks to support it on Kickstarter!

    map-app

    **

    Earlier in this series:

  • On the felicities of graph-based game-board design: preliminaries
  • On the felicities of graph-based game-board design: two dazzlers
  • On the felicities of graph-based game-board design: three
  • On the felicities of graph-based game-board design: four
  • On the felicities of graph-based game-board design: five
  • On the felicities of graph-based game-board design: six
  • On the felicities of graph-based game-board design: seven
  • On the felicities of graph-based game-board design: eight
  • And hey, and we’re back at maps — where we started in

  • On the felicities of graph-based game-board design: nine

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