Alexander Graham Bell’s Kites.

Tetrahedral Kites!

Although best known for developing the practical telephone — for which he became the first, in 1876, to secure a US patent — the Scottish-born inventor Alexander Graham Bell is also noted for his work in aerodynamics, a rather more photogenic endeavour perhaps, as evidenced by the wonderful imagery documenting his experiments with tetrahedral kites. The series of photographs depict Bell and his colleagues demonstrating and testing out a number of different kite designs, all based upon the tetrahedral structure, to whose pyramid-shaped cells Bell was drawn as they could share joints and spars and so crucially lessen the weight-to-surface area ratio.

[…]

Bell began his experiments with tetrahedral box kites in 1898, eventually developing elaborate structures comprised of multiple compound tetrahedral kites covered in maroon silk, constructed with the aim of being to carry a human through the air. Named Cygnet I, II, and III (for they took off from water) these enormous tetrahedral beings were flown both unmanned and manned during a five year period from 1907 until 1912.

The delightful images below have mainly been sourced from three places: Bell’s own private journals, which meticulously log his progress not only with text but also with numerous photographs pasted into the pages (from 1903–104); a couple of articles (from 1903 and 1907) in the National Geographic Magazine; and the Bulletin of his Aerial Experiment Association, which he led from its beginning in 1907 until it disbanded in 1909.

There are so many photos, I just grabbed one at random, The Public Domain has oodles of photos, and links to all the sources!

Medieval Shipwrecks in the Black Sea.

A shipwreck from the medieval period, of a type known from literature but never previously seen, was discovered during an underwater survey of the Black Sea this past summer. UConn researcher Kroum Batchvarov says seeing it for the first time was ‘a truly thrilling moment.’ (Courtesy of Kroum Batchvarov).

While conducting their mapping in late summer using the most advanced underwater survey equipment in the world, Batchvarov and his colleagues discovered a total of 43 shipwrecks. The team had expected to see sunken ships, but were surprised at just what they found.

An Ottoman period shipwreck with well preserved wood carvings. The images, which show the shipwrecks in three dimensions, were produced by a process known as photogrammetry. It combines photographs and videos taken by cameras mounted on remotely operated vehicles with distance measurements produced by sonars. (Courtesy of Kroum Batchvarov).

Batchvarov first spotted the well preserved medieval shipwreck on a screen in the control room of the expedition ship after nearly 48 hours of monitoring images from the high remote survey vehicle moving along the floor of the Black Sea.

“That was a truly thrilling moment. We spent the next six hours looking at the wreck. No one had ever seen anything like it,” he says. “We had known of it. There have been descriptions in Venetian manuscripts that survived from the 15th century describing earlier vessels. But this was the first time that we were seeing it.”

The ship was complete, according to Batchvarov: “The masts were still standing. You could see the spars [wooden poles], the yards on deck. Everything was there.”

[…]

The vessels the Black Sea MAP team discovered date over the course of a millennium, from the 9th to the 19th centuries. Many were merchant ships from the Ottoman Empire between the 15th and 19th centuries, mostly from the 18th century. But the medieval ship – dating from the 13th to the mid-14th century and probably of Mediterranean origin – provides the first view of a ship type known from historical sources but never before seen.

[…]

While analysis of the shipwrecks is ongoing, the team continues with its intended purpose, investigating the area for evidence of how humans reacted to changes in the environment in previous eras.

“We are answering an archaeological question: At what stage did the level of the Black Sea change and what once would have been marshy coastal land become inhabitable and then become inundated?” Batchvarov says, noting that the team’s findings could add to previous studies on catastrophic flooding in the Black Sea region.

You can read and see more here.

Coal Comforts.

A “Coal Comforts” cupcake by Spencer Merolla (courtesy the artist).

Spencer Merolla is doing some great work, this time around, having a pop up bakery which has decidedly non-edible goodies, as they are made from ash. Just a bit here, the article is in-depth, with many links well worth following.

As the banks of Brooklyn’s Gowanus Canal continue to be developed, the legacy of pollution in its waters can be an uncomfortable narrative alongside gentrification. In conjunction with Gowanus Open Studios on October 21 and 22, artist Spencer Merolla is creating a pop-up bakery offering cupcakes, cookies, and other treats, all molded from coal ash. The inedible delicacies served from a mobile cart are meant to encourage conversation about the environment and climate change, especially on a weekend when many non-locals will be roaming the neighborhood.

“Gowanus is kind of a cautionary tale in terms of environmental degradation,” Merolla told Hyperallergic. “I love the work that is being done to clean up the canal and green the watershed, and it’s very exciting to think we can repair some of the damage we’ve inherited and be better stewards of this place in the future. But there is no putting the toothpaste back in the tube, here or anywhere. We have to do a better job of preventing these kinds of catastrophes in the first place. Because they are happening right now, all over.”

…Merolla’s work with molding ash emerged around that time, with a piece called “Ashes in Our Mouth (Baloney Sandwich Series)” that suggested the bad taste many were left with after Trump’s election, as well as his support for the coal industry over cleaner energy.

“I’d wanted to work with ash for some time, given its association with grief, but it was the presidential election of last year that turned me toward coal ash specifically,” she stated. “Trump’s campaign relied so heavily on nostalgia in general and for the coal industry in particular, and it got me thinking about the many ways in which that nostalgia is toxic. It persuades people that because something is old-fashioned and familiar, it’s also benign.”

[…]

It’s worth noting that among the developers of Gowanus is the Jared Kushner-led Kushner Companies. The Gowanus Canal was designated an Environmental Protection Agency (EPA) Superfund Site in 2010, thanks to its toxic cocktail of arsenic, radioactive material, and other pollutants. Lining the canal’s bottom is “black mayonnaise,” a concoction of coal tar, heavy metals, and other sludge from decades of industrial run-off. With rising tides of climate change, it remains vulnerable to flooding, even now pouring raw sewage into the streets in heavy rains.

During Gowanus Open Studios, Merolla plans to set up the “Coal Comforts” bakery cart outside the Gowanus Souvenir Shop at 567 Union Street. The tagline of the bakery is: “Can’t have your cake and eat it too.” By shaping the coal ash into food-like forms, Merolla references how much of the world’s population consumes poisonous air due to coal pollution, and the impossible balance between continuing the industry as it is and improving human life.

As she said, “The connection between food justice and environmental justice is only going to become clearer in the future — you can’t have one without the other.”

You can see and read much more at Hyperallergic, and you can watch a video by Ms. Merolla at the Kickstarter page for this show.

Cuttlefish Love!

Katja Novitskova, “Earth Potential (Cuttlefish Love, Earth)” (2017), digital print on aluminum, cut out display, steel and aluminum armature (all photos by the author for Hyperallergic).

Oh, these are all so dynamic and wonderful!

…This fuzzy zone of magical looking is where Estonian artist Katja Novitskova operates, and her current exhibition in New York’s City Hall Park is a wonderfully incongruous reminder that all our photos are manipulated.

EARTH POTENTIAL, a Public Art Fund exhibition, is that rare outdoor photography show that actually works. Instead of the usual billboards or placards clumsily affixed to a wall or fence, Novitskova’s photographs are printed on freestanding aluminum panels between six and eight feet in diameter, lending them sculptural dimensionality. Most combine two elements — one astronomic, the other microscopic — printed on separate, custom-cut supports.

[…]

Two of the seven pieces in EARTH POTENTIAL feature just one scientific image rather than a pair — one is a bulbous cluster of orange stem cell embryos, the other a towering, pale pink strand of E. coli bacteria — and they are the show’s most abstract and ambiguous. Without the humor of juxtaposition and jarring shifts of scale of the other pieces, they confront us with the enormous power of scientific imagery and the frontiers of microscopic photography. They also hint at places where the boundaries of human knowledge are butting up against the limitations of human morality.

Katja Novitskova, “Earth Potential (E. coli)” (2017), digital print on aluminum, cut out display, steel and aluminum armature.

You don’t want to miss any of this, head on over to Hyperallergic to read and see more!