time machine // database // travel guide
timespace coordinates: Amundsen’s South Pole expedition 1910 – 1911, North Polar Expeditions and The Northeast Passage 1918 – 1926
Amundsen is a Norwegian film, released on 15 February 2019, that details the life of Norwegian explorer Roald Amundsen (1872 – 1928). It was directed by Espen Sandberg and was distributed in Norway by SF Studios. (wiki)
timespace coordinates: The Flying Train, Germany, 1902
timespace coordinates: A Trip Through New York City in 1911
timespace coordinates: A Trip Through Paris, France in late 1890s
timespace coordinates: San Francisco, a Trip down Market Street, April 14, 1906
timespace coordinates: A Trip Through the Streets of Amsterdam, 1922
timespace coordinates: Laborers in Victorian England, 1901
timespace coordinates: Views of Tokyo, Japan, 1913-1915
timespace coordinates: Moscow, Tverskaya Street in 1896
The oldest recorded video, timespace coordinates: “Roundhay Garden Scene”, England,1888
timespace coordinates: 1895 – France, Lyon, place des Cordeliers, – Factory outlet, France, Lyon, Monplaisir, chemin Saint-Victor (today rue du 1er Film) – The Landing of the photography congress in Lyon,
1896 – Launch of a ship, France, – Switzerland, Geneva, National Exhibition, Swiss Village, – Westminster Bridge, Great Britain, London, – France, Lyon: Quai de l’Archevêché, – Panorama of the Grand Canal taken from a boat, Italy, Venice, Grand Canal, – Arrival of a train in Perrache station, France, Lyon, – Broadway, United States, New York,
1897 – Jaffa Gate: east side, Jerusalem 1897 – The pyramids, Egypt, Giza – Panorama of the Golden Horn, Turkey, Istanbul – Camel caravan, Jerusalem, – France, Lyon, place du Pont – Japan, Kyoto, Honshu,
1899 – Biarritz: the beach and the sea, France, Biarritz, – Grande Plage, – Bad weather at the port, Italy,
1900 View from a whaling boat in motion, France, Hyères – Panorama taken from a sedan chair, January 25, 1900, French Indochina (now Vietnam), village of Namo, Annam
1902 Fort-de-France: market, Martinique, Fort-de-France, French Antilles
Dauði Baldrs (youtube) (Old Norse for “Baldr’s Death” or “The Death of Baldr”) is the fifth album by the Norwegian solo act Burzum. Unlike Burzum’s previous work, which was mostly black metal, this is a dark ambient album. It was recorded using a synthesizer and a normal tape recorder by Varg Vikernes while he was in prison, as he was not allowed to have any other instruments or recording equipment. The album has been described by many as “dungeon synth“.
The album is about the legacy of Baldr, the second son of Odin in Norse mythology. Most likely a concept album, as the whole album leads up to Ragnarök, the battle at the end of the world in Norse mythology.
“Illa tiðandi” is easily the most minimalist track, with only two sections being repeated over the 10:29 duration, which are both simple piano melodies, eventually accompanied by a choral chant. It is an alternative version of the song “Decrepitude I” (wiki)
Thulêan Mysteries (youtube) is the twelfth and final studio album by Norwegian musical project Burzum.
Recorded as a soundtrack to Vikernes’ role-playing game MYFAROG, the album follows the post-prison era medieval/dark ambient musical style. Vikernes said of the album:
“Since my true passion has never been music, but actually tabletop role-playing games, I figured I should make this an album intended for that use; as background music for my own MYFAROG (Mythic Fantasy Role-playing Game).”
The album’s artwork is by Norwegian artist Theodor Kittelsen called “Nøkken” (wiki)
timespace coordinates: Oxford > London, parallel ~Edwardian era Britain (or Brytain) // “The Trout” inn, the Priory of St. Rosamund, Jordan College
The setting is a world dominated by the Magisterium (commonly called “the Church”) an international theocracy which actively suppresses heresy. In this world, humans’ souls naturally exist outside of their bodies in the form of sentient “dæmons” in animal form which accompany, aid, and comfort their humans.
La Belle Sauvage is a fantasy novel by Philip Pullman published in 2017. It is the first volume of a planned trilogy entitled The Book of Dust and is set twelve years before Pullman’s His Dark Materials. It presents events prior to the arrival of the six-month-old Lyra Belacqua at Jordan College, Oxford.
The story follows 11-year-old Malcolm Polstead and his dæmon Asta, and a village girl named Alice and her dæmon Ben, who become the protectors of the infant Lyra Belacqua and her dæmon, Pantalaimon, in Malcolm’s canoe, La Belle Sauvage, during a flood. Malcolm forms a friendship with alethiometer specialist Hannah Relf, allied with the secret freedom-seeking organisation Oakley Street, and is drawn into their fight against the growing strength of the Magisterium, which has learned of a prophecy concerning Lyra. Malcolm and Alice are pursued by the maniacal villain Gerard Bonneville, an ally of the Consistorial Court of Discipline (CCD), as they struggle to reach London and Lyra’s father Lord Asriel, in order to gain the protection of Jordan College for the baby. (wiki)
| I discovered these incredible “grim reaper” images collected on the magical https://www.oneletterwords.com/weblog/?tag=grim+reaper section of https://www.oneletterwords.com/weblog/?id=6679 Aladdin’s Data Cave which I urge you to explore at length. Below is just a small selection. Please read this quote first describing an initial exchange btw Craig Conley and Gary Barwin in “Restoring the Lost Sense” from May 31 2011: It’s the searching for something clearly unreachable, with hopes of finding small significance along the way. It’s the attempt to understand what’s really going on by observing, neither by telescope nor microscope, but by naked eye, the intimate details in the most mundane of life’s happenings. It’s the need to describe the gist of the feeling of the tiniest modicum of The Great Universal Unutterable Joke we are all always not laughing at—except when we are. —Yoni Wolf (of the band WHY?) I have the dubious honor of Google being convinced I’m a machine. Apparently, I use Google’s various search tools with inhuman speed and voracity. My unflagging diligence has flagged me as “suspicious” (Google’s word, not mine; I was so labeled in one of their warning messages). Indeed, the obsessiveness/compulsiveness of my research has convinced the Google robots that I’m one of them, so they must challenge my humanity each time I try to use their service. Paradoxically, because I’m apparently one of those newfangled “smart” robots (my word, not Google’s), no single humanity test is sufficient, since I might be learning as I go. So I’m barraged with test after test, each more irrational than the last. (The tests are irrational, of course, because anything rational—like a math problem or a logic puzzle—is a piece of cake for suspect machines.) Indeed, Google’s tests have become so Kafkaesque that I’ve developed what’s known as “irrational test anxiety,” with symptoms including rapid heartbeat, muscle tension, and negative internal dialogue. And no wonder, really (though self-justification is another symptom), given what Google is throwing at me. Forget those simple CAPTCHA tests of identifying distorted letters on the screen. Child’s play! Google doesn’t even allow me to type my answers—I must use a graphics tablet with cordless pen and enter my answers in calligraphy. Just today, for the privilege of downloading a public domain journal from the year 1898, Google demanded a handwritten 350-word essay in defense of the radical pro-feminist slogan “Men are rapists.” (That did nothing to abate my negative internal dialogue; I’ve never felt so chauvinistic, selfish, coercive, dominating, and sadistic in my life. But, of course, no man with an ounce of humanity would offer a knee-jerk “no” to such a slogan. And that’s how Google gets you by the balls.) I never knew a search engine could be so protective of its data or so begrudging of its service. With each acceptance of my humanity, Google essentially says, “You may have won this round, my pretty, but the battle is far from over. Here’s a tiny wooden spoon with a sample of our gelato, but you’ll never, ever know what flavors we’re storing in the vat in the back. Now get out of line and take another number.” I’m left with an even greater challenge than certifying my humanness: to conduct my life’s work, I must strive to be less inquisitive, less passionate, less productive, and less insightful. Therein lies the irony, for I must dehumanize myself to prove to a search engine that I’m “real.” And now I’m off, once more, to Google myself. — Gary Barwin responds in his inimitable way: I think this is some kind of metaphysical, cybergnostic quest of a Jungian-Kafka-Borgesian nature and you must search for the answer within Google itself. The Google robots are reaching out to you, wanting you to realize their spidery hopes and dreams. They are silicon Pinocchios, and want to be real. You are their cultural hero. They can search, but they cannot truly find, not in any spiritual, psychological way. Only by risking ‘captcha’ in the belly of the beast, by becoming the Hero with a Thousand Searches, by taking on their aspirations, can you help these seekers move beyond dualism help them find the 1s within their 0s, the 0s within their 1s, the dark in the light. You can help them move beyond binary, beyond machine code, and help them become fully integrated integral beings. You are given little to prepare you for this quest. Search string. Your courage. An internet connection. A belief that somewhere in the digital kingdom, you will be able to find your Fissure King, a rent in the fabric of search-space, that you will get your digits on the grail-like, hidden Easter Egg which exists at a higher level of the search. You must go into the Wide World Wide Web for these baleful spiders, these everybots. They are calling you. |
Stanisław Szukalski (13 December 1893 – 19 May 1987) was a Polish (self-taught) sculptor and painter who became a part of the Chicago Renaissance. In 1930s Poland he enjoyed fame as a nationalist sculptor. He also developed the pseudoscientific–historical theory of Zermatism, positing that all human culture was derived from post-deluge Easter Island and that humankind was locked in an eternal struggle with the Sons of Yeti (“Yetinsyny”), the offspring of Yeti and humans.
Struggle: The Life and Lost Art of Szukalski is a 2018 documentary film directed by Irek Dobrowolski, written by Stephen Cooper and Irek Dobrowolski and starring Stanislav Szukalski, Glenn Bray and Robert Williams. (wiki)
TimeSpace Warps 