A Primer on American Imperialism

"The fact is we are mixed in with each other in ways that most national systems of education have not dreamed of.  To match knowledge in the arts and sciences with these integrative realities is, I believe, the intellectual and cultural challenge of our time.  The steady critique of nationalism from the standpoint of real liberation should not be forgotten, for we must not condemn ourselves to repeat the imperial experience (although all around us it is being repeated).  How in the redefined and yet very close contemporary  relationship between culture and empire — a relationship that enables disquieting forms of domination — can we sustain the liberating energies released by the great decolonizing resistance movements and the mass uprisings of the 1980s?  Can these energizes elude the homogenizing processes of modern life? Can they hold in abeyance the interventions of the new imperial centrality?"  — Edward Said, 1993.

Blue & Green

Blue & Green, by Virginia Woolf.  Published by the Hogarth Press in 1921 in the collection of short stories entitled Monday or Tuesday.

GREEN

The ported fingers of glass hang downwards. The light slides down the glass, and drops a pool of green. All day long the ten fingers of the lustre drop green upon the marble. The feathers of parakeets—their harsh cries—sharp blades of palm trees—green, too; green needles glittering in the sun. But the hard glass drips on to the marble; the pools hover above the dessert sand; the camels lurch through them; the pools settle on the marble; rushes edge them; weeds clog them; here and there a white blossom; the frog flops over; at night the stars are set there unbroken. Evening comes, and the shadow sweeps the green over the mantelpiece; the ruffled surface of ocean. No ships come; the aimless waves sway beneath the empty sky. It’s night; the needles drip blots of blue. The green’s out.

BLUE

The snub–nosed monster rises to the surface and spouts through his blunt nostrils two columns of water, which, fiery–white in the centre, spray off into a fringe of blue beads. Strokes of blue line the black tarpaulin of his hide. Slushing the water through mouth and nostrils he sings, heavy with water, and the blue closes over him dowsing the polished pebbles of his eyes. Thrown upon the beach he lies, blunt, obtuse, shedding dry blue scales. Their metallic blue stains the rusty iron on the beach. Blue are the ribs of the wrecked rowing boat. A wave rolls beneath the blue bells. But the cathedral’s different, cold, incense laden, faint blue with the veils of madonnas.

Nuclear Cavalry

This was clipped from a 1966 film from the People's Republic of China, with English narration. The film shows the emergence of China as a nuclear power and describes the efforts of the Chinese in preparation and conduction of atomic and thermo-nuclear tests in the mid-1960s.

Suddenly You Have a Sphere

Aesthetics of Microfluidics, Part 1

I am interested in the extended and recontextualized meanings of industrial media, as a possible mirror image of the media industry.  This short video by Formulatrix demonstrates their product, "the Formulator", and its "microfluidic chip dispensing a 96-well plate".

Early Crystallographic Models

Colored glass models, Unsigned, first half 20th century

Wooden models of twinned feldspar crystals, G.E. Kayser, Berlin, 1834

Wooden models, Unsigned, late 19th century

Wooden models, Unsigned, mid 20th century

Porcelain models, Unsigned [John Joseph Griffin], England, ca. 1841

There are far too many beautiful examples of glass, porcelain and wooden crystal models from the 18th and 19th century to display here — much more information can be found at The Virtual Museum of the History of Mineralogy.  These once functional objects have long since been replaced in the teaching of mineralogy by computer models, but their present-day obsolescence only heightens their mysterious and sublime aura.  Such interactive sculptures surely must have been seen and relished by the Surrealists, as Taglioni's Jewel Casket by Joseph Cornell reveals.  Outside of their scientific context, there is even a prefiguration of minimalist sculpture — an unironic yet non-literal juxtaposition of organic processes and geometric perfection.  There is, for me, a fascinating contradiction in the innocence of their toylike size and sentimental presentation given that crystallography — though largely esoteric and academic in its early phases — became the foundation for the most impactful material sciences of chemical and molecular engineering in the twentieth century, as well as the more potentially transfiguring twenty-first century developments in application of topography, virtual three-dimensional modeling systems, rapid prototyping and nanotechnology.  The early crystallographic model is the self-anachronistic object par excellance.

Two Large Crows

From The First Angelinos: The Gabrielino Indians of Los Angeles by William McCawley (Malki Museum Press, 1996):

Other important observations made by the Spanish in 1602 describe Gabrielino religious practices.  Near Isthmus Cove on Santa Catalina the Spaniards o0bserved "a place of worship or temple where the natives perform the sacrifices and adorations."  According to Father Antonio it

was a large flat patio and in one part of it, where they had what we would call an altar, there was a great circle all surrounded with feathers of various colors and shapes, which must come from the birds they sacrifice.  Inside the circle there was a figure like a devil painted in various colors, in the way the Indians of New Spain are accustomed to paint them.  At the sides of this were the sun and the moon.  When the soldiers reached this place, inside the circle there were two large crows larger than ordinary ones, which flew away when they saw strangers, and alighted on some nearby rocks.  One of the soldiers, seeing their size, aimed at them with his harquebus [matchlock rifle], and discharging it, killed them both.  When the Indians saw this they began to weep and display great emotion.  In my opinion, the Devil talked to them through these crows, because all the men and women held them in great respect and fear.

Thirdworld

Thirdworld (1998)
Director: Apichatpong Weerasethakul

"This film depicts landscapes, metaphorically and actuality, of the southern island called Panyi. It reflects the impression of the shooting time at the island for several days. The sounds are taken from different sources, but all were recorded while the subjects were not aware of the recording apparatus. Thus, this piece may be called a re-constructed documentary. The title is intended as a parody of the word that is being used by the West to describe Thailand or other exotic landscapes. This film is the voice from individuals who reside in such environment. The film is presented in crude and rugged quality, as it is a product from the uncivilized."  — Apichatpong Weerasethakul

Kryžių Kalnas

Kryžių Kalnas ("the Hill of Crosses") is a site of pilgrimage about just north of the city of Šiauliai, in northern Lithuania. The exact origins are unknown, but it is considered that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.  Over the centuries, not only crosses, but giant crucifixes, carvings of Lithuanian patriots, statues of the Virgin Mary and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.

Wieliczka Salt Mine

The Wieliczka Salt Mine, near the Polish city of Krakow, is a salt mine that has been in continuous operation since the 13th century, and still is producing table salt today. The mine stretches to a depth of 327 meters and is more than 300 km long.  In addition to its purpose as a mine, Wieliczka features a oturist route lined with statues of historical and mythical figures (all of them sculptured out of salt by miners), chambers and chapels lined with salt crystal chandeliers, underground lakes, and exhibits showing the history of salt-mining.