animal glue

http://www.meublepeint.com/colles_animales.htm

Other times, but always the concern of work well done; de Chirico in his memoirs, says and proposes: "The decadence in which today paint the debate has only a single cause: the total loss of business, technology ... I always thought, as thought and also wrote Albert Dürer that technique is everything in an artistic creation (written in 1900). " Without abound in his writings, more than tendentious arguments, it gives us some very interesting tempera formulas:"We put in a cup one egg yolk, one teaspoon of vinegar, two teaspoons of raw linseed oil, a water teaspoon and a teaspoon of honey in As that we place these substances into the cup, mixed by turning with a hard brush. 

http://www.bmlisieux.com/normandie/lottinop.htm 

 objects necessary for molding.

 1. A large sponge and a medium.
 2. A large flat tin of 35 to 40 centimeters in diameter.
 3. A strong brush bristle with a round of 30 centimeters.
 4. Several pans in wrought iron.
 5. A broad brush cod tail flat called.
 6. A strong house painting brush.
 7. Two or three chisels clay.
 8. A large pair of scissors.
 9 ° Paper bubble crown slightly stuck.10 ° The big unglued gray paper.11 ° From yellow wax.12 ° From alum.13 ° From wheat flour.From 14 ° glue called Givet.15 ° From the oil lithargée.16 ° From turpentine.17 ° From the linseed oil.
 IFIRST OPERATIONMolding a relief or an inscription in marble, wood, stone, plaster or bronze.
If the object we want to reproduce is exposed to air or sunlight and primarily as a latitude ablaze as I experienced so many times in Africa and Asia, where the marble was often burning before in the operation, we must vigorously wet with a sponge so that the most perfect adhesion occurs immediately. If there is a bas-relief wood must first be coated with a thin layer of linseed oil in the event that there is any gluten above that would harm the removal of mold. That is, it takes five or six sheets of paper known as gray-name bubble bubble crown, that are superimposed on each other in a wide dish filled with water. In general, these papers have a bubble hint of glue, and mussels are best if you will draw a large number of tests; they are very durable, superior quality therefore it wets and highly macula in the hands, after which, plunging them back in the vase, it also makes them malleable (if allowed to apply to paper that phrase) that the filter paper.
In France, we have only abominable papers for molding; hope that the publication of my methods will force managers to deal mills to improve their production. I found excellent papers in Vienna, Constantinople, Erzurum, Mosul, Baghdad, Shiraz, Isfahan, Damascus, and especially in Egypt; he had the strength, quality, thickness, sizing barely perceptible, and a very desirable elasticity for my operations practiced on a vast scale. I do not know their exact provenance, and was never able to learn oriental merchants. Their formula was invariable: - Kiaat-frangui said the Turks (this is the European paper). Waraq-Fransiz (that is the French paper, replied the Arabs, but they were wrong, and I think most readily of English or Russian origin It is, however, an easy thing to learn, and that. need to know. Anyway, the paper quality is very important, and if, as is probable, this branch of trade takes one day a considerable increase, the French manufacturers will obtain samples of gray yellowish which sells in the bazaar in Cairo perfumes.
This explanation seemed necessary before going in, and I thought I should give it.
When the six sheets have been extended in the vase filled with water, after twenty or thirty seconds, the bottom sheet is removed which is further impregnated and applied on the most prominent part of the relief; it extends the whole length with minimal creases and is lightly dab the entire surface with a big house painting brush. If, instead of a relief, it operates on a large flat surface, for example, if there is a significant entry, start at the top, otherwise the water would tear off the portion lower; this operation should be continued over the entire surface of the building, taking care to superimpose the sheets of paper one over the other, so that the last sheet applied only covers two thirds of the first, and so on .
When the relief is completely covered at least two sheets of paper glued crown bubble slightly over its entire surface, we will stamp again with the Paint-brush; tears will be, especially if they are big figures of high relief: and if there is what is called, in statuary, blacks, that is to say, very deep parts that are no remains, do not be alarmed, this is of no importance. Then cover each with tear paper folded double or triple (practice quickly give the measure of what to do); then take the stock (5) you will tear strips or squares of 15 to 30 centimeters depending on the needs of the part to be molded, dip duplicate in your vase of water, apply them quickly over the entire surface of your relief, and hit them hard with your broad brush bristle (must be soft as silk as much as possible). This paper pulp becomes liquid and fat; it extends better and easier than plastic clay, especially more quickly, and has no thickness after siccion. If the brush finds the most protruding parts of the relief, which happens very frequently, cover them with wet paper and dab more gently. If it finds below, black on the monument, apply it boldly paste, and with chisels to shape, or the handle of your house painting brush fashioned ahead, push there in the hollow; then, with the fingers, strongly knead your contours. When this preparatory work is completed, marble, stone, wood or bronze are fully covered, made using a large sponge over the entire surface of the bas-relief, a strong spray of water, while avoiding, with great care, to introduce the top (if you operate on temple walls or on vertical rocks), between marble and pulp, which would make it detach.
Then you take the wheat flour sticks very cooked, diluted, after cooking, with slightly water saturated with aluminum sulfate (6) and, with a large tail cod (large flat brush), coat your entire relief with this composition; then apply over a layer of generally slightly sized paper, this time without worrying about wrinkles, and dab with the brush strongly for the glue is incorporated with your water soaked paper pulp.
One thing of very great importance when mold objects exposed to air, or peaks, is to guarantee these hollow fierce winds so light; as soon as the sun begins to dry, the wind takes them. How often, in the home of my discovery, I saw my work, after its full completion, fall down and go at the whim of gusts that prevailed in space! that sentences that fatigue, that trouble! The need, after bad or unsuccessful attempts, finally suggest me the way as follows: each time I had to cast a monument of some importance, I plunged a flat brush in the water very slightly stuck, and I was covering the edge reliefs, steles or inscriptions: the paper adheres immediately to the stone, and as it dries, the glue, although weakened further by the casting operation, enough to keep my hollow so frail, and sufficient protection against the storm; without this means, it would have been impossible to mold the colossal steles Sarabit el Kadem in the Sinai Peninsula, they are perched on a peak constantly plowed by terrible winds. Seen, I neglected nothing that can ensure the success of those who come after me and who have to use my discovery, known to be of great service to science, the arts and industry.

in memoriam Eduardo Galeano /// thanks SW

1520: Brussels Durer

These things must be emanations from the sun, like the men and women who made them in the remote land they inhabit: helmets and girdles, feather fans, dresses, cloaks, hunting gear, a gold sun and a silver moon, a blowgun, and other weapons of such beauty that they seem made to revive their victims.
The greatest draftsman of all the ages does not tire of staring at them. This is part of the booty that Cortes seized from Moctezuma: the only pieces that were not melted into ingots. King Charles, newly seated on the Holy Empire's throne, is exhibiting to the public the trophies from his new bits of world.
Albrecht Durer doesn't know the Mexican poem that explains that the true artist finds pleasure in his work and talks with his heart, because he has one that isn't dead and eaten by ants. But seeing what he sees, Durer hears those words and finds that he is experiencing the greatest happiness of his half century of life.


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The Mexica (Aztec) king Motecuhzoma greeted Hernan Cortés in 1519 with gifts of gold, silver, and precious stones, including jewelry, ornaments, headpieces, disks, garments, shields, and helmets. Cortés sent the tribute to Charles V, king of Spain and emperor of the Holy Roman Empire, who placed them on exhibit in 1520. Albrecht Dürer viewed the exhibit in Brussels and extolled its beauty in his travel journal: 

At Brussels is a very splendid Townhall, large and covered with beautiful carved stonework, and it has a noble, open tower. . . . I saw the things which have been brought to the King from the new land of gold, a sun all of gold a whole fathom broad, and a moon all of silver of the same size, also two rooms full of armor of the people there, and all manner of wondrous weapons of theirs, harness and darts, very strange clothing, beds, and all kinds of wonderful objects of human use, much better worth seeing than prodigies [myths, fairy tales]. These things were all so precious that they are valued at 100,000 florins [guilders] All the days of my life I have seen nothing that rejoiced my heart so much as these things, for I saw amongst them wonderful works of art, and I marvelled at the subtle Ingenia of men in foreign lands. Indeed I cannot express all that I thought there.

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It is quite clear from the passage that Dürer’s admiration is of riches, curiosities, and craft. When he discusses Western “art” he uses different terms, such as proportion, or alludes to comparisons with antiquity. Contrary to usual interpretations, he doesn’t marvel at the “art” of the New World, he marvels at the “curiosities” and “craft.”
Yet by the eighteenth century what were “heathen idols” had become art. Europe was more secular and Mexico was less afraid of native religious revivals. When three Aztec sculptures came to light in the construction in the Zócalo of Mexico City in 1790, two were left visible and eventually moved to a new museum devoted to antiquity. The third, a colossal idol-like female figure, was reburied for some time for fear of its effect on the natives. By the end of the nineteenth century, however, it had found its place in the museum too. Plaster casts were made of the sculptures and exhibited in 1824 in London for a public eager to see exotic monuments. 
http://www.columbia.edu/~ep9/articles_thinking.html
 

Four Horsemen of the Aufklärung

Je compare cette stratégie à celle du site Les barbares attaquent, fondé par Nicolas Colin, un ancien inspecteur des finances, connu pour son rapport sur la fiscalité du numérique, où il mettait en évidence l’inadéquation du système fiscal face à l’industrie numérique, qu’il décrivait comme des « cavaliers de l’Apocalypse », en l’occurrence les GAFA [acronyme pour Google, Apple, Facebook et Amazon].

En savoir plus sur http://www.lemonde.fr/emploi/article/2015/11/19/bernard-stiegler-ce-n-est-qu-en-projetant-un-veritable-avenir-qu-on-pourra-combattre-daech_4813660_1698637.html#6DChWWM095yuHcF4.99

monument to the vanquished peasants

Thanks F - proliferation

melencolia's block

flint / chalk /

Each event, however commonplace and insignificant, thus became the speck of impurity around which experience accrued its authority, like a pearl.

Agamben / Infancy & History / 14

The majority of silica found in flint nodules is biogenic (produced by living organisms or biological processes). Although today's flint nodules are inorganic, the silica that formed them was originally sourced from the remains of sea sponges and siliceous planktonic micro-organisms (diatoms, radiolarians) during the late cretaceous period (60-95 million years ago). Flints are concretions that grew within the sediment after its deposition by the precipitation of silica; filling burrows/cavities and enveloping the remains of marine creatures, before dehydrating and hardening into the microscopic quartz crystals which constitute flint.

 

 The exact mode of formation of flint is not yet clear but it is thought that it occurs as a result of chemical changes in compressed sedimentary rock formations, during the process of diagenesis. One hypothesis is that a gelatinous material fills cavities in the sediment, such as holes bored by crustaceans or molluscs and that this becomes silicified. This theory certainly explains the complex shapes of flint nodules that are found. The source of dissolved silica in the porous media could arise from the spicules of silicious sponges.^[3] Certain types of flint, such as that from the south coast of England, contains trapped fossilised marine flora. Pieces of coral and vegetation have been found preserved like amber inside the flint. Thin slices of the stone often reveal this effect.

 

How flint is formed

David Bone – West SussexGeology

The formation of flint is a complex process which began in the chalk seas millions of years ago and is, summarised below:

Organisms such as sponges (on the macro scale) and radiolaria/diatoms (on the micro scale) use silica from sea water to manufacture the biogenic opal which forms their skeletons. When the organisms die and the organic parts decay the microscopic silica is scattered on the sea bed and becomes incorporated in the accumulating sediment.

At depths of 1 to 5m within this sediment, the biogenic opal breaks down, enriching the water between the sediment particles (sediment pore water) with silica.

At sediment depths of less than 10m, there is an oxic-anoxic boundary where hydrogen sulphide rising from the decomposing organic material within the sediment diffuses upwards meets oxygen diffusing downwards from the water column above. At this interface, the hydrogen sulphide is oxidised to sulphate with hydrogen ions as a by-product. The hydrogen ions lower the local pH, dissolving the chalk and thereby increasing the concentration of carbonate ions. These act as a seeding agent for the precipitation of silica.

Silica precipitates by the molecule-by-molecule replacement of chalk. The silica is initially in the form of crystalline opal but gradually transforms to quartz (flint) during later burial and with time.

The chalk sea bed is deeply burrowed by many different organisms, such as shells, echinoids and worms etc. Some of these burrows are quite deep or branching, or have open living spaces. The burrows fill with sediment after the organism has died, this is slightly different material from the sediment around it. These filled burrows act as preferential pathways (conduits) for the chemical reactions to occur. Flint formed within these old burrows often has a nodular shape which reflects the whole, or part of, overgrown remnants of such burrow systems.

There are two possible explanations for why flint forms in bands or layers. Firstly because chalk sedimentation occurs in cycles and secondly because the process above exhausts the silica within a given depth of sediment and flint formation can only recommence when there is enough silica to start the process again.

 

Ensisheim meteorite / donnerstein

Title: The meteorite of Ensisheim - 1492 to 1992
Authors: Marvin, U. B.
Journal: Meteoritics (ISSN 0026-1114), vol. 27, March 1992, p. 28-72.
Bibliographic Code: 1992Metic..27...28M

reverse of Jerome in the Wilderness/ Durer / NG London

A short guide on how to recover a meteorite

sweet meteor of death 2016

TAG on Sea 2013

Seeing, Thinking, Doing: Visualisation as Archaeological Research

overprint // man of sorrows

man of sorrows

Sauvés par notre père 
panes were painted blue after the ordinances of the occultation

durer's monument extrudes the material of history

copycat crime

monument III

monument to the vanquished peasants

monument to the peasants /// after dürer /// screenprint

What is “Dead Peasant” Insurance?

Dead Peasant Insurance is sometimes used as a shorthand reference for life insurance policies that insure a company’s rank-and-file employees and name the company as the beneficiary. This means that the company receives the life insurance benefits when the covered employees die. This insurance may also be called “janitor insurance,”…

 

The Peasant War in Germany by Frederick Engels

maquette for peasants monument

Deleuze / assemblage // man-horse-weapon

holes/ composition