Negrets

Negative image of white egrets in a tree

Negrets


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Performativizing Papyrocentricity #54

Papyrocentric Performativity Presents:

Protean ProseThe Water-Babies: A Fairy Tale for a Land Baby, Charles Kingsley (1863)

SchmetterlingsschmuckButterfly, Thomas Marent (Dorling Kindersley 2013)

Criblia – ბიბლია / Biblia (Georgian Bible) (2013)

Micro MacroSuper Bugs: The Biggest, Fastest, Deadliest Creepy Crawlies on the Planet, John Woodward with Dr George McGavin (Dorling Kindersley 2016)

Chute: The LotThe Fallen: Life In and Out of Britain’s Most Insane Group, Dave Simpson (Canongate paperback 2009)

Twice Has Thrice the VicePisces, Peter Sotos, with an introduction by Dr Miriam B. Stimbers (TransVisceral Books 2017)


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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.

Jewels in the Skull

Phaidon Art BookThe Art Book, Phaidon (Second edition 2012)

An A to Z of artists, mostly painters, occasionally sculptors, installers and performers, with a few photographers and video-makers too. You can trace the development, culmination and corruption of high art all the way from Giotto and Fra Angelico through Van Eyck and Caravaggio to Auerbach and Twombly. But the modernist dreck heightens the power of the pre-modernist delights. A few pages after Pieter Claesz’s remarkable A Vanitas Still Life of 1645 there’s Joseph Cornell’s “Untitled” of 1950. One is a skull, watch and overturned glass, skilfully lit, minutely detailed, richly symbolic; the other is a wooden box containing a “frugal assortment of stamps, newspaper cuttings and other objects with no particular relevance to each other”. From the sublime to the slapdash. Over the page from Eleazar Lissitzky’s Composition of 1941 there’s Stefan Lochner’s The Virgin and Child in a Rose Arbour of 1442. One is like a child’s doodle, the other like a jewel. From the slapdash to the sublime.
Hirst Skull and landscape
And so it goes on throughout the book, with beautiful art by great artists following or preceding ugly art by poseurs and charlatans. But some of the modern art is attractive or interesting, like Bridget Riley’s eye-alive Cataract 3 (1961) and Damien Hirst’s diamond-encrusted skull For the Love of God (2006). Riley and Hirst aren’t great and Hirst at least is more like an entrepreneur than an artist, but their art here is something that rewards the eye. So is Riley’s art elsewhere, as newcomers to her work might guess from the single example here. That is one of the purposes of a guide like this: to invite – or discourage – further investigation. I vaguely remember seeing the beautiful still-life of a boiled lobster, drinking horn and peeled lemon on page 283 before, but I wouldn’t have recognized the name of the Dutch artist: Willem Kalf (1619-93).

Willem Kalf, Still Life (c. 1653)

Willem Kalf, Still Life (c. 1653)


Elsewhere, I was surprised and pleased to see an old favourite: John Atkinson Grimshaw and his Nightfall on the Thames (1880). Many more people know Grimshaw’s atmospheric and eerie art than know his name, because it often appears on book-covers and as illustrations. If Phaidon are including him in popular guides with giants like Da Vinci, Dürer, Raphael and Titian, perhaps he’ll return to his previous fame. I certainly hope so.

Finding Grimshaw here made a good guide even better. The short texts above each art-work pack in a surprising amount of information and anecdote too. What you learn from the texts raises some interesting questions. For example: Why has one small nation contributed so much to the world’s treasury of art? From Van Eyck to Van Gogh by way of Hieronymus Bosch and Jan Vermeer, Holland is comparable to Italy in its importance. But only in painting, not sculpture or architecture. There aren’t just patterns of pigment, texture and geometry in this book: there are patterns of DNA, culture and evolution too. Brilliant, beautiful and banal; skilful, subtle and slapdash: The Art Book has all that and more. It puts jewels inside your skull.


Elsewhere other-posted:

Ai Wei to HellHow to Read Contemporary Art, Michael Wilson
Eyck’s EyesVan Eyck, Simone Ferrari
Face PaintA Face to the World: On Self-Portraits, Laura Cumming

Performativizing Papyrocentricity #23

Papyrocentric Performativity Presents:

Face PaintA Face to the World: On Self-Portraits, Laura Cumming (HarperPress 2009; paperback 2010)

The Aesthetics of AnimalsLife: Extraordinary Animals, Extreme Behaviour, Martha Holmes and Michael Gunton (BBC Books 2009)

Less Light, More NightThe End of Night: Searching for Natural Darkness in an Age of Artifical Light, Paul Bogard (Fourth Estate 2013)

The Power of Babel – Clark Ashton Smith, Huysmans, Maupassant


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Performativizing Papyrocentricity #22

Papyrocentric Performativity Presents:

Plates from the GreatShots from the Front: The British Soldier 1914-18, Richard Holmes (HarperPress 2008; paperback 2010)

Math for the MistressA Mathematician’s Apology, G.H. Hardy (1940)

Sinister SinemaScalarama: A Celebration of Subterranean Cinema at Its Sleazy, Slimy and Sinister Best, ed. Norman Foreman, B.A. (TransVisceral Books 2015)

Rick PickingsLost, Stolen or Shredded: Stories of Missing Works of Art and Literature, Rick Gekoski (Profile Books 2013/2014)

Slug is a DrugCollins Complete Guide to British Coastal Wildlife, Paul Sterry and Andrew Cleave (HarperCollins 2012) (posted @ Overlord of the Über-Feral)


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