Performativizing Papyrocentricity #51

Papyrocentric Performativity Presents:

Bits of the Best – The Shorter Strachey, Lytton Strachey, ed. Michael Holroyd and Paul Levy (Oxford University Press 1980)

Shaman On U!Copendium: An Expedition into the Rock’n’Roll Underworld, Julian Cope (Faber and Faber 2012)

Scorpions and Sea-LordsPhilip’s Guide to Seashells, A.P.H. Oliver, illustrated by James Nicholls (various)

Spike-U-LikeThe Cactus Handbook, Erik Haustein, translated by Pamela Marwood (Cathay Books 1988)

GlasguitargangDog Eat Dog: A Story of Survival, Struggle and Triumph by the Man Who Put AC/DC on the World Stage, Michael Browning (Allen & Unwin 2014)


Or Read a Review at Random: RaRaR

Oneiric Ocean

20000-leagues-under-the-sea


I like this illustration of a scene in Jules Vernes’s Twenty Thousand Leagues Under the Sea (1870) even more because it has at least one mistake in it. At least, I think it’s a mistake: the jellyfish on the upper left are two Portuguese men-o’-war (really colonial hydrozoans, not jellyfish). They have gas-filled float-bladders, so in reality you see them only on the surface, not hanging in midwater like that. The mistake makes the scene like a dream. The absence of colour is good too: it fixes the illustration firmly in the past and the colours you imagine are more vivid. The artist is imagining, dreaming, conjuring a vision of an oneiric ocean.

Performativizing Papyrocentricity #46

Papyrocentric Performativity Presents:

Machina MundiThe Invention of Science: A New History of the Scientific Revolution, David Wootton (Allen Lane 2015)

Wandering WondersPlankton: Wonders of the Drifting World, Christian Sardet (The University of Chicago Press 2015)

Love BuzzA Buzz in the Meadow, Dave Goulson (Jonathan Cape 2014)

Quake’s ProgressThe Million Death Quake: The Science of Predicting Earth’s Deadliest Natural Disaster, Roger Musson (Palgrave Macmillan 2012)

Sin after CinGargoyle Girls from Beelzebub’s Ballsack: The Sickest, Sleaziest, Splanchnophagousest Slimefests in Scum Cinema, Dr Joan Jay Jefferson (TransToxic Texts 2016)


Or Read a Review at Random: RaRaR

Performativizing Papyrocentricity #44

Papyrocentric Performativity Presents:

Lesser LettersYou’ve Had Your Time: Being the Second Part of the Confessions of Anthony Burgess, Anthony Burgess (Heinemann 1990)

The Light of DaySJWs Always Lie: Taking Down the Thought Police, Vox Day (Castalia House 2015)

Sextual KeelingSextant: A Voyage Guided by the Stars and the Men Who Mapped the World’s Oceans, David Barrie (William Collins 2014)

Twy Defy the EyeThe World of Visual Illusions: Optical Tricks That Defy Belief!, Gianni A. Sarcone and Marie-Jo Waeber (Arcturus 2012)


Or Read a Review at Random: RaRaR

Performativizing Papyrocentricity #29

Papyrocentric Performativity Presents:

Sky StoryThe Cloud Book: How to Understand the Skies, Richard Hamblyn (David & Charles 2008)

Wine WordsThe Oxford Companion to Wine, ed. Janice Robinson (Oxford University Press 2006)

Nu WorldsNumericon, Marianne Freiberger and Rachel Thomas (Quercus Editions 2014)

ThalassobiblionOcean: The Definitive Visual Guide, introduction by Fabien Cousteau (Dorling Kindersley 2014) (posted @ Overlord of the Über-Feral)


Or Read a Review at Random: RaRaR

Thalassobiblion

Ocean The Definitive Visual GuideOcean: The Definitive Visual Guide, introduction by Fabien Cousteau (Dorling Kindersley 2014)

A big book for a big subject: the sea. But “guide” isn’t the mot juste. “Encyclopaedia” is better, because the book covers all aspects of oceanography and marine life, drawing on physics, chemistry and biology to describe everything inorganic from waves and icebergs to whirlpools and underwater volcanoes, everything organic from a beautiful flower like beach morning-glory, Ipomoea imperati, to a grotesque fish like the Pacific blackdragon, Idiacanthus antrostomus. The flower is on the shore, the fish is in the abyss, but both of them descend from a single ancestor.

And that ancestor may have evolved in the sea. It certainly moved there before it gave rise to flowers and fish. This big subject is also a very important one: the sea is central to the evolution and continued existence of life on earth. Only the sun matters as much, but some marine life could potentially survive the disappearance of the sun:

Hydrothermal vents are similar to hot springs on land. Located near ocean ridges and rifts, at an average depth of 2,100m (7,000ft), they spew out mineral-rich, superheated seawater. Some have tall chimneys, formed from dissolved minerals that precipitate when the hot vent water meets cold, deep-ocean water. The mix of heat and chemicals supports animal communities around the vents – the first life known to exist entirely without the energy of sunlight. (pg. 188, “The Open Ocean and Ocean Floor”)

The deep ocean is a fascinating and little-known place: much nearer than the other side of the earth, but much harder to get to. Like climbing mountains, plumbing the abyss is difficult and dangerous. It’s interesting that both endeavours have been dominated by a particular group of human being: both the highest and lowest points on the planet were first reached by white males. Fabien Cousteau, who introduces this book, continues the tradition. He’s the grandson of Jacques Cousteau (1910-97), who popularized diving and marine biology for millions of people. Jacques saw huge advances in marine technology and science and his son and grandson have seen more. But the discoveries are still coming: as Fabien points out, it’s estimated that “over 90 per cent of the world’s biodiversity resides in its oceans”.

Discomedesae by Ernst Haeckel

Discomedusae by Ernst Haeckel

Some of that biodiversity left the water for the land and evolved new forms. Some of those new forms went back to the water, like the ceteceans and sea-snakes. Like human beings, they’re descended from fish, the most varied of all vertebrate groups. But some marine life never left its cradle. Where else can you find the beauty and strangeness of groups like the jellyfish? Radial symmetry is a marine speciality and when H.P. Lovecraft was inventing his aliens, he looked to under-space as much as outer:

But to give it a name at this stage was mere folly. It looked like a radiate, but was clearly something more. It was partly vegetable, but had three-fourths of the essentials of animal structure. That it was marine in origin, its symmetrical contour and certain other attributes clearly indicated; yet one could not be exact as to the limit of its later adaptations. The wings, after all, held a persistent suggestion of the aerial. How it could have undergone its tremendously complex evolution on a new-born earth in time to leave prints in Archaean rocks was so far beyond conception as to make Lake whimsically recall the primal myths about Great Old Ones who filtered down from the stars and concocted earth life as a joke or mistake; and the wild tales of cosmic hill things from outside told by a folklorist colleague in Miskatonic’s English department. (At the Mountains of Madness, 1931)

Lovecraft would have enjoyed Ocean as much as Jacques Cousteau. It closes with a detailed “Atlas of the Oceans”, with maps of the ocean floor all around the world. Before that, you can learn how the Corryvreckan whirlpool nearly killed George Orwell in 1947, where to find manganese nodules, why so many deep-sea creatures are red and what the narwhale’s horn really is. You can also feast your eyes on photography that records everything from microscopic plankton to swirling hurricanes hundreds of kilometres across. Big subject, big book. Beautiful subject and beautiful book too.

She-Shell

Perseus Releases Andromeda by Joachim Wtewael (mirrored)

Joachim Wtewael (sic), Perseus Rescuing Andromeda (1611) (mirrored)

When I first came across this painting in a recent edition of Arthur Cotterell’s Classic Mythology,* it had mutated in two ways: it was mirror-reversed (as above) and Wtewael’s name (pronounced something like “EET-a-vaal”) was printed “WIEWAEL”. At least, I assume the painting was mirror-reversed, because almost all versions on the web have Andromeda on the left, which means that Perseus is holding his sword in his right hand, as you would expect.

I think I prefer the mirrored version, though I don’t know whether that’s because it was the first one I saw. In either version, it is a rich and dramatic painting, full of meaning, seething with symbolism. It’s displayed in the Louvre and if French etymology had been a little different, I could have called it La Conque d’Andromède. Here is the commoner version:
Perseus Releases Andromeda by Joachim Wtewael


*Mythology of Greece and Rome (Southwater 2003).