A Daily History of Holes, Dots, Lines, Science, History, Math, the Unintentional Absurd & Nothing |1.6 million words, 7000 images, 3.6 million hits| Press & appearances in The Times, The Paris Review, Le Figaro, MENSA, The Economist, The Guardian, Discovery News, Slate, Le Monde, Sci American Blogs, Le Point, and many other places... 3,000+ total posts
Its a little difficult to think of Ellsworth Kelly, Jacques Villon, Grant Wood, Laslo Moholy-Nagy and Thomas Hart Benton as painters-for-war. But its true, and true for many of hundreds of other artists in the 1915-1918 era. Its not as though they were in the trenches gunning down the enemy or lobbing hand grenades into the swirling gunsmoke. They were camofleurs, camouflage1 experts, artists employed as magicians, Wartime Magi, employed/drafted to make ships and such disappear.
Ever since it was (sort of) first noticed in 1915 that designs odd to the environment, stark geometric patterns and such, were capable of fooling the eye, people with design capacity were pressed into service, rendering offensive and defensive instruments of war optically semi-impervious with variations of the then-five-year-old modern nonrepresentational art. That must've been a very odd position to wake up to every morning.
Of course the idea of camouflage in the animal world is probably 250 million years old--animals and insects have been blending into their environment for eons, and I'm sure too that early hominids did their fair share of walking behind brush. But the idea of hiding great amalgamations of very heavy metal with paint is really quite modern.
[The original photograph is available for purchase at the blog's bookstore, here.]
In this photograph the camouflage is more a more futuristic conception of art than the abstract and cubist approaches that were taken during the war, this looking more like assemblages of found material more than anything else. And, according to the text that accompanied the photograph (which comes from 1918, from the Underwood & Underwood news photo service agency), the camouflage--empty sandbags thrown on a barbed wire fence) successfully concealed a gunnery emplacement for months on end.
1. A fine bibliography on camouflage appears here, at Leonardo Online.
The definition of "camouflage" from the Oxford English Dictionary shows that it is a young word, in English:
"(n) The disguising of any objects used in war, such as camps, guns, ships, by means of paint, smoke-screens, shrubbery, etc., in such a way as to conceal it from the enemy; also, the disguise used in this way; freq. attrib.
1917 Daily Mail 25 May 4/4 The act of hiding anything from your enemy is termed ‘camouflage’.
1917 Daily Mail 16 July 5/3 The King paid a visit to what is called a camouflage factory.
1922 C. E. Montague Disenchantment viii. 108 A French aerodrome across which the French camouflage painters had simply painted a great white high-road.
JF Ptak Science Books Post 1942 (Part I, reposting from 2012)
I silently laugh at my own cenotaph
And out of the caverns of rain.. Percy B. Shelley, "The Cloud", 1820
[John Ruskin, Cloud Perspectival, 1860. Source for all Ruskin images: "Cloud Studies: The Visible Invisible", by Mary Jacobus, here.]
John Ruskin (1819-1900) was still a very young man when he published the start of a series of works in art criticism,Modern Painters, in 18431. To refer to it as a great work in critical theory is painting the work with a narrow brush, though--it had a very sweeping overall effect, and addressed all manner of issues integral to art, and was a developing vision of what art was looking at in the 19th century. Ostensibly it began as a defense of the work of J.M.W. Turner and the way in which that man represented nature in his pre-Impressionist, pre-Expressionist work. Ruskin makes the case that the works that were so grating part of the art world i the 1830's were highly consistent with centuries of representing nature in art--and not only that, but presenting evidence that turner did so like no other artist in history. Ruskin would weave further volumes of Modern Painters through the body of his other work for the next 17 years, publishing the last installment in a fifth volume in 1860.
Turner (1775-1851) was a great Romantic and a lot of that work tends towards a very full and very early expression of Impressionism and Expressionism, something that not everyone was ready for in the first quarter of the 19th century. This is particularly so in his paintings of clouds, and even more so in cloud/ocean interaction. They are sweeping and breath-taking and very emotional works, in some ways like the late string quartets of Beethoven--powerful, provocative, internal dialogs of the deep power of nature. He must stand with John Constable as the Cloud Man of the 19th Century, or perhaps Constable stands with him. They both in a way stand with Luke Howard, the scientist who was really the first classifier of clouds--an undertaking which in some impossible way escaped the recognition of the greatest classifiers it he history of science--and who did so in a paper in 1802, written at a time when Constable and Turner were both young artists.
Turner and Constable both painted clouds like perhaps no others before them; and Ruskin, in his deep appreciation for the importance of the representation of nature int he art, also made a contribution to the understanding of clouds that was of an extraordinary nature. In the fifth volume of his Modern Painters Ruskin attempts a perspective study of clouds, and may have been about the first to do so. The illustrations of this effort I think are incredible, and remind me very much of installing a sort of rigidity to clouds, a cloud geometry, veritable studies of stones and blocks in the sky. The imaging part of this exercise must have been an enormous thing back there in 1860, to think of clouds in a perspectival way, floating very large geometric objects in the sky. The astonishing results are seen (above) and following:
In a way the first image reminds me of Andrea Pozzo's work in his monumental Rules and examples of perspective proper for painters and architects (1693):
but really more in the way that Pozzo's work seems to be elevated and floating in a heavy perspectivist space, bigger and blockier sky-borne marble than with ruskin. But still, the disembodied floatiness of the Pozzo work is ethereal.
Ruskin does round out his blocky and beautiful geometry, which definitely reminds me of work w=that would appear 90 years later: Ruskin, again:
And Georgia O'Keefe's Clouds III (1963), though her clouds tend towards a more rigid geometry in Clouds IV (1965, following):
O'Keefe, Clouds Above the Sky III, 1963
O'Keefe, Clouds Above the Sky IV, 1965
Ms. Georgia is definitely seeing her clouds with different eyes than Ruskin, and they are entirely different creatures--but still, the two come together in my head as relatives. The clouds, I mean.
I started looking around for early hard-line cloud geometries and thus far I haven't found very much, though there is a tremendous example by Henry Van de Velde's (1863-1957) "Sun at Ocean (Rhythmic Synthesis”) which I found in Werner Hoffman’s Turning Points in Twentieth century Art, 1890-1917 and which was executed in 1888/9, looks to me to be absolutely incredible for its time, a nearly non-representational, proto-abstract something, done three decades before these genres came into being.
I don't know where the designer Van de Velde fits in the early history of non-representational art, but his effort in the second to last decade of the 19th century certainly seems to be very unusual for its time, and a good example of creative cloud representation.
Non-standard cloud imagery is much easier to finding the 20th century, like those of Georges Braque in his La Ciotat Harbor (1906):
Even this starts to have the look of something earlier, particularly if you turned the clouds-in-art clock way back, say, into the Renaissance. For example Martin Schoengauer's spectacular The Temptation of St. Anthony, which was printed in 1470/5, has a beautiful, fluid circularity to it, full of an earthy roundness even as the saint is pursued by demons. But the sky in the background is populated with nothing but dashes to suggest clouds, and which also starts to look something like the Fauvist and Expressionist works to come, 400/500 years later.
(There are many examples of the sky being simply not represented at all, particularly in woodblock,
like this image from Ovid (Accipe Studiose Lector P. Ouidij Metamorphosin...printed in Venice in 1509:
"You could not see a cloud, because No cloud was in the sky: No birds were flying overhead -- There were no birds to fly".--Lewis Carroll, Through the Looking Glass.
There are many non-sky images like this.
Another interesting modern example is this Paul Klee (though it comes fairly late in that career, in 1940):
And an example from the ubiquitous Picasso, still later, in 1962:
But earlier images are harder to locate. The obvious early-ish source (though still much later in the century) would be Van Gogh (say, with Starry Night) and Monet, though the fractalesque Van Gogh gets much closer to the re-interperative power of the Ruskin images than the reflected impressionist beauty of the Monet.
On a cursory look around the antiquarian painterly sky-world, it is becoming obvious that the cloud geometries of Ruskin are very uncommon.
JF Ptak Science Books Post 692 (from 2009) Expanded
This post was written five yers ago when I was excited to find an illustration of a dreamer and numbers with some mathematical content. I thought that it was pretty unusual to find as an illsutrastion, even though I had read many stories of people being influenced byt their dreams, evem in the sciences, but that there were few images of the process. In Post 692 I psoted a found image of such a thing that was just a simple advertisement in a German magazine. There was also a series of images from Francis Galton on imaging arithmetical processes from Nature back in 1880, which may also be the first scientific article on synesthesia. And there doesn't seem to be a lot more than this, even in canonical illustration.
So it came as a surprise today to find this photo to add to the small collection of math dreams and imagery of "doing" math (from ca. 1880):
Thinking big thoughts in dreams is generally not a common thing, as anyone who has read their own semi-conscious half-awake memory notes of a dream-based inspiration could attest. But it does happen:
Paul McCartney1 dreamed the song Yesterday, Gandhi dreamed the source of non-violent resistance, Elias Howe dreamed of the construction of the first sewing machine, and Mary Shelley the creation of her novel Frankenstein... For good or for ill, William Blake was evidently deeply influenced by his own dreams; on the other hand, Rene Magritte was deeply influenced by dreams but didn’t use any of his own for his paintings, or so it was said. Otto Loewi turned an old problem into not one in a dream, finding a solution to the prickish problem of whether nerve impulses were chemical or electrical (and resulting in the Nobel for medicine in 1935); the fabulous discovery of the benzene ring came to August Kekule in a dream as well. Artists have been representing people in dreams and dreamscapes for many centuries: Durer depicted a dream in a 1525 watercolor, for example, and thousands of artists have depicted famous biblical dreams (Joseph of Pharo) for long expanses of time.
What struck me, though, in this illustration found on the other side of the page of the Illustrirte Zeitung2 (for August 1932) that I used for yesterday’s post about damming Gibraltar and Shakespeare’s memories, was the depiction of someone dreaming mathematical thoughts…or at the very least, dreaming numbers. People have undoubtedly dreamed much in mathematics, but I can not recall seeing illustrations of these dreams.
I'm differentiating here from something like a Poincarean inspiration, or vision, or thunderstrike--I'm talking about drop-dead asleep sleep, dreaming sleep, REM and all that. Also I'm differentiating this from imaging mathematical thought, as in the work of Francis Galton in 1880 in which the subject of mentally seeing the process of mathematics is perhaps first addressed. I wrote a short piece on that here, way back in Post 9. )
The numerical sequence in this dream doesn’t look like anything to me: the backwards radicand doesn’t strike anything common in my head. The geometrical drawing under the portrait in the dreamer’s room though is the impossibly iconic Pythagorean theorem, and there is a nice picture of a conic section in the foreground; but the artist, who improbably signed the work “A. Christ”, doesn’t offer much of math in the dreamscape. Still, it is a rare depiction of someone dreaming about math.
Notes 1. "I woke up with a lovely tune in my head. I thought, 'That's great, I wonder what that is?' There was an upright piano next to me, to the right of the bed by the window. I got out of bed, sat at the piano, found G, found F sharp minor 7th -- and that leads you through then to B to E minor, and finally back to E. It all leads forward logically. I liked the melody a lot, but because I'd dreamed it, I couldn't believe I'd written it. I thought, 'No, I've never written anything like this before.' But I had the tune, which was the most magic thing!" from Barry Miles (1997), Paul McCartney. 2. This is really a great sheet of paper, coming from issue 4492, pp 518-519. Two pictures of dreams on one side, with three visionary images on the other (the Gibraltar dam, a sub-polar submarine, and a futuristic Indian railway/bridge.
When modern art was becoming modern, and artists were reveiling more of nature and life by using less of its components and using more of suggestion and motion and color--leaving out the "detail"--where indeed did that detail, well, go?
It is interesting to imagine a composite world to our's, a place where that missing and removed detail goes. For example, when JMW Turner painted a train passing over a river on a bridge, he was more suggestive of the scene than he was in reality-based descriptors. [Rain, Steam and Speed – The Great Western Railway, 1844.] The intricacies of realism and reproductional relativity is not there, the action and train and river implied, artistic impressions and whatever else was in the artist's toolbox or mind's eye.
Perhaps the seeping detail from one world to the next is more like the sphere entering the two-dimensional world of Flatland, or better yet the reverse of Charles Bragdon's 1drawings of the footprints of 3-D objects passing through a 2-D plane...the detail of the Turner seeping through the canvas and into the opposing DetailWorld, falling like rain. Maybe it is a world of non-representational images and impressions awaiting the attention and arrival of detail to give it all a solid, easily distinguishable representation of the imagined world around the easel in that Other Place.
Another beautiful image by Bragdon is from “Personalities: Tracings of the Individual (Cube) in a Plane” from Man, the Square2 shows the “shadows” of the three-dimensional figures as they lived in their two-dimensional world. It comes close to the impact of the cubes above, but really only depicts what two-dimensional creatures would see of the three-dimensional beings inhabiting their Bragdonesque world. All of this was put into my mind by seeing this image (The Goldfinch, 16540 by Carel Fabricius. Clearly we can see a bird on a perch, chained to the upper rung, with another rung below, but as much as we can see the detail we don't. So much of this image is suggested and implied, hundreds of yers before Impressionism: the face of the bird is barely there, the second rung dissolves into the wall, the shadows are muted and half-existent, and so on. The details of the painting are as much missing as they are there.
And of course the world of detail would disappear more and more, until by 1911, it existed hardly at all, the representational world drifting off the canvas completely, for those who wanted that to be the case.
Again, as much as say Kasimir Malevich made all of the detail go away in his Suprematist paintings like a white square on a white square (White on White, 1917/18, which I can say is not served well at all with images online or in books, as the artwork is really pretty textured and detailed),
at about the same time ither artists like Marcel Duchamp were both taking away details of one sort while adding new details of another never-yet-done sort, as in his Nude Descending (1912), where we begin to see the representation of the fourth dimension in art:
Perhaps the rain of details into DetailWorld work in reverse for the unexpected details of stuff we can't see in our world?
Well. We know that there is no DetailWorld, but I think it is certainly interesting enough to think of these revolutionary changes in art and trying to imagine the enormous amount of painterly stuff that the innovations/discoveries replaced, if they were to all go to one place. In a way it is analogous to the changes in the mountain that I can see now from my living room window--mostly it is invisible when the patch of woods between our house and the mountain is all leafed out (seeing the forest for the trees), but with autumn and winter here at about the same time, it is easier to appreciate both the trees that I can see when I can't, and the mountain that I can't see sometimes when I can.
1.(Bragdon) A PRIMER OF HIGHER SPACE. (The Fourth Dimension). Rochester: Manas Press, 1913. 8vo, (12), 79pp, including 30 plates.
2. (Bragdon) MAN THE SQUARE. A Higher Space Parable. Rochester: Manas Press, 1912. 12mo, 34pp, 9 illustrations.
I'm not sure if I've ever seen a 16th century human perspective drawing showing the body in plan and elevation and cross-section. Jehan cousin the younger (1522-1595, in France), the son of Jean Cousin the Elder (1490-1560), a painter and sculptor, produced such an image in his Livre de Perspective, which was published in 1560. Well, the image definitely was published in 1560, though the artist may have been father and it may have been son--they worked closely together, and the Younger was taught at great length by the Elder, so much so that their work became indistinguishable. Nevertheless, the images I think are quite extraordinary, as we see below:
And so by Andreas Mantegna, a classic example:
The following images come from the 1608 edition of the Cousin Perspective. a number of which are fairly unusual (all from the Library of Congress site, here):
I was working my way through an edition of Nature for 1884 (23 October, page 606) when I found a review of F.W. Cory's How to Foretell the Weather with the Pocket Spectroscope (1884). The title was enough, and the review even more so--I knew this was an obscure work, but not so much anymore, as the entire book is located online! Sometimes I get used to the sci-fi aspect of the intertubes, but when I make discoveries like this I am reminded all over again how magnificent all of this is.
[Source: University of California Libraries via Internet Archive, here.]
[Detail from engraving in the seventh image, below]
I'm not sure if I've ever seen a 16th century human perspective drawing showing the body in plan and elevation and cross-section. Jehan Cousin the Younger (1522-1595, in France), the son of Jean Cousin the Elder 91490-1560), a painter and sculptor, produced such an image in his Livre de Perspective, which was published in 1560. Well, the image definitely was published in 1560, though the artist may have been father and it may have been son--they worked closely together, and the Younger was taught at great length by the Elder, so much so that their work became indistinguishable. Nevertheless, the images I think are quite extraordinary, as we see below:
And so by Andreas Mantegna, a classic example:
The following images come from the 1608 edition of the Cousin Perspective. a number of which are fairly unusual (all from the Library of Congress site, here):
These are particularly fine and relatively early printed images depicting a specific kind of line of sight--this one, a positioning, rather than a line of sight in fire control, or radial velocity, EM radiation or acoustics wave propagation, or targeting...this instrument was used to establish an imaginary line in perceived objects.
This is a detail from Andrew Wakley's The mariner's compass rectified : containing tables, shewing the true hour of the day, the sun being upon any point of the compass ; with the true time of the rising and setting of the sun and stars, and the points of the compass upon which they rise and set ... With the description and use of those instruments most in use in the art of navigation. Also a table of the latitudes and longitudes of places, published in 1763 and reprinted many times after that. (Full text is available from Google books and also from the Haithi Trust which offers a text version of the book as well.)
The full page from which the detail is drawn:
There is a certain continuum in developing sight lines that comes to mind, as with this famous image drawn by Leonardo in 1508, perhaps the first modern interpretation of how the eye functions, kept privately in manuscript, the result of theory and experimentation:
Which leads us to the sigh lines of Albrecht Durer, illustrating (some 17 years later) the use of a perspective tool, the vielo, in his work The Drawing Manual published in 1525:
Long is the line in the history of art--far less so the dot.
The line has been part of a long and deep inheritance of rendering a truth, factual, perspectival presence--in general, at least. Certain symbolic and metaphoric elements will sometimes confuse and collapse bits of the image, but the effort for centuries has been to present a balanced nature as close as practicable to its perfection. That was the strength of the line.
The strength of the dot was in doing something not quite the opposite but approaching it.
It is interesting to think of the importance of dots in the first revolutionary changes in 500 years in the history of art. Honestly, there wasn’t anything epochal that happened between the re-discovery of perspective (ca. 1330-1400) and the arrival of Impressionism (and just afterwards of non-representational art) in the 1872/3/4-1915 period.
Dots aren’t brought to bear formally in the revolutionary movement until the early 1880’s. Impressionism for all intents and purposes is formed with the Societe Anonyme in 1872 (whose members included Monet, Pissaro, Degas, Sisley, Morisot and eleven others), and perhaps more realistically in 1874 when the Societe exhibited its first salon. (The first show held at the Nadar Studio in Paris in April 1874; a tiny, one month long affair, compared to mammoth exhibitions like the Universal Exposition in Paris in 1867.)
It was Georges Seurat who brought the whole world to the dot experience with his artistic method of Pointilism, in particular with his magnificent Un dimanche après-midi à l'Île de la Grande Jatte, an enormous work given its composition—dots. The dots replaced the brushstroke, and their placement in relation to their color was an absolutely brilliant innovation, establishing a perfect result for the viewer when examining the work as a whole. (It may well be that the French chemist an designer Michel Chevreul made this discovery a few decades earlier, noticing the effect and changes in color depending on placement and—in his case, with fabric—color in the dyes for his material.)
Wassily Kandinsky (1866-1944), the discoverer of nothingness in art and the introduction of the first non-representational paintings in art history (1913) used his fair share of dots in his exploration of the previously invisible. One good example is his 9 Points in Ascendance (1918), which is nothing but black dots, an impossible composition just two decades prior to its creation.
In the middle of this appeared the half-tone illustration, the great liberator of photographic illustration in popular publication. Invented in the late 1870’s by Stephen Henry Horgan and used in the Illustrated London News for the first time in 1881, it made the publication of accurate images much feasible and economical. No longer were readers dependent on the accuracies of artists interpreting photographs or photographed scenes—the photographs themselves were now publishable at little cost and in high quality, vastly increasing the veracity of published reports dependent upon images. This was revolutionary in its own way, democratizing the sharing of images and icons.
That said about dots, the line was surely used to transport a bit of reality in art, even before the 18th century--among the earliest appearances being with Hans Holbein in his The Ambassadors of 1533, and a beautiful and very famous use was made by Andrea Pozzo in his illusionistic works at S. Ignazio in Rome in 1685 (and which I mention in an earlier post). Certainly Carel Fabritius attempted and succeeded in this throughout his career, playing with the substance of perspective, as we can see here in his View in Delft, in 1652:
Also the lines of the anamorphic image severely distorted the presentation of reality--if you had the mirror to distort it and if you had the mirror to reconstitute it:
This example is much more recognizable in widely-circulated images of the modern work of people like Kurt Wenner, who have continued in the tradition of Leonardo's researches in the difficulties of wide angle distortion:
Seeing this collection of dots in the construction of human faces I was reminded very strongly of the portraits made on the typewriter by Julius Nelson in his work, Artyping, published and sold for a dollar by the Artyping Bureau of Johnstown, Pennsylvania, in 1939 (and pictured first, above). Nelson was an instructor in "secretarial science" in Windber High School in Pennsylvania and no doubt put together this pamphlet as something expressive of his artform and as an advertisement for his profession. This was hardly the first time that anyone used the typewriter artistically, as I can recall some measure of artistic expression in type in Punch magazine as far back as 1869, though portraiture by typewriter does not appear to be a very wide section in the art world between those times. In any event, a portrait that he made here is rather close to those presented on the Modern Metropolis site--the "Dot Portraits" Nathan Manire.
Modern Art would have the final dispositional comment on the typewriter as an instrument of art, when Claes Oldenburg made his Soft Typewriter in 1963:
And then, of course, the magnificent resurrection of the typewriter artform, replacing the spplication of black or red with something a little more complex:
In this stereographic photograph of a group of 3,000 U.S. soldiers (prepared to fight in Europe in WWI, ca. 1917/1918), there is a smaller contingent in two rows, in front, consierably removed from the rest of the formation. This is difficult to see in the first image. However, with a more concentrated view and deeper scan, this is a little more evident, below:
This view still shows the first row of soldiers; that more-distant third row differentiation is much more defined here--the depth of the mass of the formation is starting to really come into focus. The next image shows the heads of the men in the second row, but mostly concentrates on that third row, and beyond:
The final view is just above the heads of the sldiers in the third rank, and more clearly shows the those men in the rear of the formation, including that final rank, which is a profile of men marching. This enlargement represents a section in the original photograph that measures less than 10x6mm--60 square millimeters of great density, complexity, insight, and beauty.
I cannot think of another illustration by a scientist or philosopher who attempts to explain their own--literal, interior, physical--view of the world and then offer what this looks like to the reader from inside his own head, looking out through his own eye. That's exactly what the (unnamed but very Escher-esque?) artist did for Ernst Mach, who is doing precisely that right here on page 15 of his influential book Die Analyse der Empfindungen. (That's the fourth German edition, also known in translation as The Analysis of Sensations and the Relation of the Physical to the Psychical, published in Jena in 1903.) It is a very unusual point of perspective, seeing the world under someone else's eyebrow and over their moustache. In a sort-of-similar vein, there is another point of view that is extremely uncommon, another you-are-there perspective, though not interior to the person making the observation, but nearly so. Here's an example, just found, and an early one, this imagined from the far side of one of Saturn's rings, looking back on the planet, and experiencing the distorition in perspective due to the closesness of the observer.
Another image, this one showing the view directly from "the first or second satellite" of Saturn, looking back and across the planet's rings:
[Source: Thomas Dick, Celestial Scenery, 1838, available in full at the Internet Archive, here.]
[Detail from one of the earliest images of holes made by insects? From Reaumur, citation following.]
There are many different ways of looking at antique (or any other) scientific images. Sometimes you see exactly what they're supposed to be showing, and other times the viewer sees something more. Sometimes this "something more" is useful, and sometimes it is simply a side bit, not adding to the understanding of the image content, but curious nonetheless, useful in other ways.
And so is the case with this miniature/micro observation of this engraving which appears in the great work on the lives of insects by René-Antoine Ferchault de Réaumur: Memoires pour servir a l'histoire des insectes, which was printed in six impressive volumes (some 26cm tall) in Paris from 1734 through at least 1742, illustrated throughout with 269 engraved plates, many depicting more than one subject. This was the masterwork of its time on insects, a great effort made and achieved on insect architecture, biology, and behavior--it was a careful and exacting work, magisterial. Reaumur (1683-1757) was an exceptional talent and observer, writing for the Academie des Sciences on a really wide variety of subjects for over fifty years--and even with this large output, most of his work was delivered posthumously to the Academy.
My attention was drawn to him from an illustration in Barbara Maria Stafford's Good Looking, Essays on the Virtue of Images (MIT, 1996, palte 93), which depicted the holes made by moths in cloth in volume 3 of the Memoires. The first image, above, is a detail from the Reaumur engraving, with the full plate, following:
[Reaumur, Memoires pour servir a l'histoire des insectes... volume III, from the Internet Archive, here.]
The series on this blog concentrating on the history of holes may or may not make any contribution to anything at all, save for perhaps serving as an outpost on looking at images from a different perspective.
And just for good measure, here's an image of the ghost of the image of the mothy hole, an image imprinted on the page opposite the page on which the original image was printed, the ghosted mirror image of the hole captured in an ink/iron impression on paper.
Here are the links for the six volumes of Reamur's Memoires:
Mémoires pour servir à l'histoire des insectes (1734-1742)
Tome I : Sur les Chenilles et les Papillons, Imprimerie royale, Paris, 1734, 654 p., 50 pl. ;
Tome II : Suite de l'Histoire des Chenilles et des Papillons et l'Histoire des Insectes ennemis des Chenilles, Imprimerie royale, Paris, 1736, 514 p., 38 pl. ;
Tome III : Histoire des Vers mineurs des feuilles, des Teignes, des fausses Teignes, des Pucerons, des ennemis des Pucerons, des faux Pucerons et l'Histoire des Galles des Plantes et de leurs Insectes, Imprimerie royale, Paris, 1737, 532 p., 478 pl. ;
Tome IV : Histoire des Gallinsectes, des Progallinsectes et des Mouches à deux ailes, Imprimerie royale, Paris, 1738, 636 p., 44 pl. ;
Tome V : Suite de l'Histoire des Mouches à deux ailes et Histoire de plusieurs Mouches à quatre ailes, savoir des Mouches à Scies, des Cigales et des Abeilles, Imprimerie royale, Paris, 1740, 728 p., 44 pl. ;
Tome VI : Suite de l'Histoire des Mouches à quatre ailes avec un supplément des Mouches à deux ailes, Imprimerie royale, Paris, 1742, 608 p., 48 pl. ;
Tome VII : Histoire des fourmis, Paul Lechevalier éditeur, Paris, 1928, 116 p. & Histoire des scarabées, Paul Le Chevalier éditeur, Paris, 1955, 340 p., 21 pl.
This Daily Dose from Dr. Odd combines two interesting categories today, "Looking Straight Down" and "Display of Information", and they involve food. Rather, its the placement of food, and maps of dinner tables, seen from above--directly above--and looking straight down.
The idea of representing a view straight down, of looking straight down from some height, is a relatively recent occurrence, this view being somewhat rare in the antiquarian world pre-balloon or pre-heavier-than-air flight. The pre-human-flight reason for its scarcity is understandable, but even after the first Montgolfier ascension in 1787, there’s another 120+ years of scarcity yet to come before these views would start to pop up in common (and uncommon) literature.. Now I’m not talking about cartography, which is basically a straight-down view of the world—what I’m referring to is that same view but not as a map per se, but what you would see if you were dangling out of a plane or balloon. It is an unusual and scarce perspective.
This ad appeared only 59 years ago--that's four generations in dog years, two human generations (or one for the more later-in-life crew, which is appealing as I knew a man whose grandfather was born in the 18th century), and 15 generations in managing data and communications. Perhaps more. It is difficult to imagine the intense surprise that attended this ad showing a practical and popular adaptation of a communications breakthrough.
The electromagnetic telegraph, which is arguably the first electrically-powered iteration of the internet, was in the works from the 1820's until it was nailed by Samuel Morse in 1837. It was 40 years to the development of the Bell telephone (another dramatic example of an invention/technological idea/breakthrough that was "in the wind", a popular undiagnosed monumental meme, some decades in the making in the hands of Bell anbd Reiss and Meucci and Gray and even Edison). Two more decades (just past the turn of the century) until more-widespread wireless telegraphy, another two decades after that (1920's) for poular radio, and another two decades after that (post WWII/1950's) for popular television broadcating. 120 years between the patented invention of the Morse telegraph to 50 million Americans with televisions in 1955.
The "telephone" of 2013 is as removed as the telephone of 1955 as the telephone of 1955 was removed from the electromagnetic telegraph--we're not meeting half-way in the meeting of improbable impossible worlds, of worlds of the future unimagined in the past. That is what comes to mind when I see this add for the speaking telephone in 1954--the astounding, astonishing, speaking telephone, the phone that allowed you to not have the receiver to the ear, tht allowed you to do free-hand work and communicate at the same time. It was an ambitious improvement, and as soon as the phone appeared, it became a standard of necessity if that necessity was within budget.
It is the weight of surprise that is so abundant looking at pictures like this, giving us the opportunity to imagine the surprise elements of another time. It may well be that the new 1954 user of the speakerphone would have looked at the first telephone systems of 1894 as we look on that 1954 telephone today. Probably not so, though, probably it was much more imaginable to have forseen the 1954 possibilities in 1894 than for 1954 to have seen in the same amount of time to 2013: the technological pieces necessary for part of that imagination had not yet been invented, the science ahead of the scifi.
The other part of this surprise element is that 1954 is well within living memory, and that this combinaiton of technology and physics and mathematics has grown so incredibly from the speakerphone to the massive changes in 2013--it is as surprising to imagine this as to imagine the same scenario for what ahppened a year before in biology: it is difficult to grasp the sweeping changes in that field from the identification of DNA in 1953 and how far those fields have come since.
I think that if one could quantify this sort of "surprise" that the greatest amount of "Surprise Integers" (or whatever) ever recorded would have taken place within these past 50 or 60 years. Which makes me wonder--will people 59 years hence see the pictures of our fabulous accomplishments in 2013 as quaint reminders of how much things changed between 2013 and 2072? Will those "Surprise Integers" be as great for that period of time as the ("our") preceding period with concomitant revolutions in thought? My guess is "yes"--its just hard to imagine.