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Site, 2013
original lithograph
» Inuit Tactile Maps



…wood was, and is, the most distinctive medium used by the Greenland Eskimos in mapmaking. Blocks are carved in relief to represent the rugged coastline of Greenland with its fjords, islands, nunataks and glaciers, the shapes of the various islands being linked together with rods. In order to reduce the size of the blocks, the outline of the coast is carried up one side and down the other.”

Leo Bagrow, History of Cartography 1951

Tactile maps for navigating the coast lines of Greenland produced by inuits. The following posts describe the history of these objects in much more detail:

UNI: MH3284

(via lookinginto)


Gerhard RichterAbstract Painting (910-6)2009Oil on Canvas76¾” x 55½” (195 x 140 cm)

bird & bird head on green
13 7/8” x 22 3/8”
oil, charcoal, texture paste, acrylic paint on wood
w. tucker

Ackerkratzdistel-Schal - Cirsium arvense, Familie Asteraceae Die kratzige Ackerkratzdistel ist ein gefürchtetes Unkraut - sie hat kaum Vorzüge, wenn man im internet recherchiert. Aber sie hat die zartesten Samenstände, die ich je kennengelernt habe. Sie fliegen, schweben nicht wie Löwenzahn - sie stehen in der Luft, als sei die Luft dickflüssige Materie. Ich fasse ins Nichts, wenn ich sie zwischen Seide einnähe. Ich spüre nur einen unfassbaren warmen Hauch zwischen meinen Fingern. Tausende von Samen in einem Schal eingenäht geben das Gefühl, als würde man seine „Aura“ spüren. *Creeping Thistle Shawl - Cirsium arvense, family Asteraceae The scratchy thistle is a dreaded weed - it has hardly merits, if you search the internet. But it has the most delicate seeds I have ever met. They do not fly, float like dandelion, for example - they are standing in the air, as if the air were thick matter. I touch „nothingness“ when I sew them between silk. I feel only a unfathomable warm breath between my fingers. Thousands of seeds sewn into a scarf make you sensing “aura”.
» First, what is the nature of the flame?


Fig. 15

Seven Spectra taken at intervals of two minutes during the course of a “blow.”
In the first or slag period, the lines of manganese are alone visible. In the second, the lines and some bands of manganese and the yellow line of sodium are visible. After the second period, the change in the spectra, caused by rise of temperature is readily seen, the lines of iron and the bands of manganese become more numerous.

Fig. 16
Spectrum during (1) the Slag Period; (2) the “Boil;” (3) the Blaze of Spiegeleisen.
(squared, resized to same widths; borders replaced)
illustrating Noel Hartley. “The Thermo-Chemistry of the Bessemer Process.” (Cantor Lectures), Lecture III.—Delivered March 28, 1898.
Journal of the Society of the Arts 46 (July 22, 1898) : 733-744
University of Virginia copy, digitized May 21, 2009 

Spectra however differ not only with the metal blown in different works, but even with the same metal during different blows, according to the composition in the first case, and to the temperature in the second. But besides these variations there are certain broad facts which call for explanation. First, what is the nature of the flame?
p 740


» waves, interference


Plate 18. Fig. 38.—Deal.
(border cropped)
illustrating William J. Russell, Ph.D., F.R.S. “On the Action of Wood on a Photographic Plate in the Dark.”
Philosophical Transactions of the Royal Society of London. Series B. containing papers of a biological character. 197 (1905) : 281-289 (followed by plates 11-18)
University of Michigan copy, digitized August 16, 2007 

Having then proved that bright light had so strong an effect on woods and certain other bodies, the next step was to ascertain which waves were the most active in producing this effect. With this object stripes of different coloured glasses were laid on sections of different woods and then exposed to sunlight… Fig. 38 shows the action of a blue and a green glass and no glass on the wood… Many different woods were tried, but the effects produced in all cases were of precisely the same character.
p 288

was looking for blue + plate.
it’s the title, that stopped me.


i think of you as the one who is not here


Henning Fischer, Spectra, (1957)
Drawing takes time. A line has time in it
— David Hockney (via bentmaze)

(via annsymes)

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