febrifugium magnum

occasional series, blue pacific on tv

semiotics of the kitchen

teapots in cultural life and death

wedgwood blue pacific

what it does

pisse not upon their ashes.

'Tis opportune to look back upon old times, and contemplate our Forefathers. Great examples grow thin, and to be fetched from the passed world. Simplicity flies away, and iniquity comes at long strides upon us. We have enough to do to make up our selves from present and passed times, and the whole stage of things scarce serveth for our instruction. A compleat peece of vertue must be made up from the Centos of all ages, as all the beauties of Greece could make but one handsome Venus.

When the bones of King Arthur were digged up⁹, the old Race might think, they beheld therein some Originals of themselves; Unto these of our Urnes none here can pretend relation, and can only behold the Reliques of those persons, who in their life giving the Laws unto their predecessors, after long obscurity, now lye at their mercies. But remembring the early civility they brought upon these Countreys, and forgetting long passed mischiefs; We mercifully preserve their bones, and pisse not upon their ashes.

cups in cultural life and death

AA Gill
Wedgwood blue pacific

tableware

Your search - ^^- did not match any documents.

blue pacific horror

babadook / cups of choice / wedgwood blue pacific

where the past dominates the present

A hair receiver

A hair receiver is a small pot, with a hole in the lid, kept on the dressing table in the Victorian era to store hair removed from brushes and combs. The hair was recycled in a number of ways—notably for stuffing small bags, about 8–10 centimetres (3–4 in) across, called ratts, used to bulk out women's hairstyles. Human hair was also used for stuffing pincushions and small furnishing cushions.
It was often paired with a matching trinket box or a powder jar or as part of a dressing table set, made mainly from porcelain, though glass, metal, and celluloid were also used. 

wikipedia

vulva | vultus

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Apotropaic patterns [Gell] are demon –traps, in effect, demonic fly-paper.

Pattern and multiplicity operate like this

Bringing about attachment between people and objects

 

 

in short there is a choice between vulva and vultus, genitals and face, two fantastical equivalents... 

 patrimony - dad's 'diamond' in blue, wedgwood - design 63 - apothecary jar

good father bad father

pearl binder

pearl binder

Artists' International Association (AIA) 
The association's aim was to promote the 'Unity of Artists for Peace, Democracy and Cultural Development'. It also aimed to promote wider access to art through travelling exhibitions and public art projects. The Artists International Association was a response to the social and political conflicts of the 1930s. It embraced all aspects of practice and held a series of group exhibitions. The AIA supported the left-wing Republican side in the Spanish Civil War through exhibitions and other fund-raising activities. The Association was also involved in the settling of artists displaced by the Nazi regime in Germany. Many of those linked with the Association were also pacifists.

An association of left-wing British artists founded in London in 1932 with the aim of achieving ‘the unity of artists against Fascism and war and the suppression of culture’. Originally it was called Artists International, but it added the word ‘Association’ to its name when it was reconstituted in 1935. It continued until 1971, but abandoned its political objectives in 1953, thereafter existing as an exhibiting society. Initially there were 32 members, mainly commercial artists and designers, although they also included the German-born Marxist art historian Francis Klingender (1907–55), who described his work as ‘theoretical and historical studies designed to elucidate the role of art as one of the great value-forming agencies in the social structure and social change’. The first chairman was the industrial designer Misha Black (1910–77), who later played an important role in the Festival of Britain. At the outset the position of the group was avowedly Marxist and its activities included producing pamphlets, posters, and other propaganda material (making use of facilities at the Central School of Art, where one of the founder members, James Fitton (1899–1982), taught lithography). Modern art, with its ‘negation of content’, was viewed with some suspicion as a sign of bourgeois decadence, but after the Association was reconstituted in 1935 it became much less doctrinaire and attracted support from artists working in a wide range of styles. Its exhibition ‘Artists against Fascism and War’ (1935), for example, included work by Robert Medley, Henry Moore, and Paul Nash, and by the end of the Second World War the Association had more than a thousand members. In addition to holding exhibitions, the AIA published a journal (sporadically and under different titles and formats, beginning as Artists International Bulletin, 1934–5) and also a book of essays entitled 5 on Revolutionary Art (1935). This was edited by the sculptor Betty Rea and the five contributors were Eric Gill, the ethnomusicologist A. L. Lloyd, Klingender, Herbert Read who gamely made the case, unpopular in the AIA, for the avant-garde against realism, and the writer Alick West.

http://spitalfieldslife.com/2010/05/01/pearl-binder-artist-writer/

sandman

Most curious to know more of this Sandman and his particular connection with children, I at last asked the old woman who looked after my youngest sister what sort of man he was. 'Eh, Natty,' said she, 'don't you know that yet? He is a wicked man, who comes to children when they won't go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so that they can pick up the eyes of naughty human children.'

endless wedgwood glass animals

one after the other

For Aristotle, the ways in which bees construct their hive in order to shelter their honey and youth, is parallel with the method in plants that produce leaves in order to surround and protect their fruits. Instinctive dispositions in animals like the construction of a hive, the construction of a nest, are comparable to certain modes of growth, which, have a visible finality in plants. What animals do by various movements such as the way bees construct their hive and benefit from the honey comb inside, is the construction of a structure comparable to what we see develop in the growth of a plant, a process with a view towards generation, reproduction. The animal and vegetal world are different, but there is a functional identity.. between these distinct operatory modes. In the less developed, least differentiated animals, the functions that liberate and define other animal forms such as imagination, anticipation. This phantasia aisthetike does not exist in ants worms, or bees, states Aristotle... They work and construct like a plant grows. The society of ants or the society of bees constructs its hive like a plant grows and constructs its branches and leaves during its development. This is where instinct appears. Instinct is a certain faculty of constructing as if it were a way of developing, like that of a plant. What is instinct in animals, is, in plants, the fact of growing in such and such a way, of developing a certain foliar scheme, formula, of the given vegetal form, with very specific characteristics. Consequently, instinct, in as much as it is an operatory mode of construction of a hive or an anthill, instinct is equivalent to a structure of development. It is specific. Instinct is part of specificity, it is a drive in animals and more specifically social animals, which is equivalent to growth defined by specific lines in the plant.

Two Lessons on Animal and Man / Simondon / Univocal Publishing 

They alone hold children in common: own the roofs

of their city as one: and pass their life under the might of the law.

They alone know a country, and a settled home,

and in summer, remembering the winter to come,

undergo labour, storing their gains for all.

For some supervise the gathering of food, and work

in the fields to an agreed rule: some, walled in their homes,

lay the first foundations of the comb, with drops of gum

taken from narcissi, and sticky glue from tree-bark,

then hang the clinging wax: others lead the mature young,

their nation’s hope, others pack purest honey together,

and swell the cells with liquid nectar:
there are those whose lot is to guard the gates,

and in turn they watch out for rain and clouds in the sky,

or accept the incoming loads, or, forming ranks,

they keep the idle crowd of drones away from the hive.

virgil georgics, book 1V

monument to wedgwood glass animals

one on top of the other

sack of rome by the visigoths and giant snail

As you see, I am all in pieces!

You know what a Leyden jar is it's the classical apparatus for storing electricity...  There was once upon a time a celebrated physicist, a man of science, called Professor Tyndall. He was manipulating a large battery of Leyden jars, while lecturing. Through some carelessness in handling them he received a very severe electric shock. It was so severe it knocked him out. ...He recovered himself, so to speak, very nearly at once. ...He was able to address the audience and reassure it immediately. But while he was reassuring the audience, his body appeared to him to be cut up into fragments. For instance his arms were separated by his trunk and seemed suspended in the air.

 **********************

Technology as Efficacious Action on Objects . . . and Subjects
Jean-Pierre Warnier
Journal of Material Culture 2009 14: 459 DOI: 10.1177/1359183509345944
The online version of this article can be found at:
http://mcu.sagepub.com/content/14/4/459

 

I have already suggested, a subject may be a subject-with-his-embodied- fountain-pen writing an article, or a subject-cum-Boeing 707 in the action of piloting.
This is where an ethnographic case may be usefully brought into the picture. In several recent publications (2006, 2007, 2009), I have tried to show that the people of Mankon (Cameroon) have a sophisticated bodily cum material culture focused on envelopes, openings, surfaces, contain- ers, the human skin, and on all the actions pertaining to the transit of substances through the apertures of the body and all kinds of vessels. People identify with containers and, since Mankon is a kingdom, the king identifies with a pot full of unifying ancestral life substances.
More precisely, for example, mothers give a daily massage to their newborn babies until they are able to walk. They work the skin of the infant with palm oil or industrial baby lotion, beginning with the shaved scalp and working all the way down to the toes, paying much attention to the folds of the skin around nose, mouth, ears, fingers, toes, genitals, buttocks, etc. They do not leave a single square millimetre of the skin untouched. Similarly, adults focus health practices on the skin. Rituals of marriage and succession are performed by anointing the skin with a mixture of palm oil and crimson camwood.
Such practices turn the bodily surface of the subject into a supple, shiny and healthy envelope. Although this is not explicitly verbalized in an emic way by the Mankon, I would gloss such practices by saying that young infants, adults, brides, grooms and successors are manufactured as leak-proof, sound vessels in order to retain healthy substances and all the principles of fertility and well-being within their skin-container. In other words, they are made to identify with material containers. No doubt, the facts that the human body itself is a container with a cutaneous envelope and openings, and that the self is built as an envelope by anaclisis on the lived experience of the skin envelope as indicated by Didier Anzieu (1985), play an important role in such an identification. This is underscored by the elaborate and extensive use of all kinds of material containers and substances embodied through sensori-motor conducts, and by the care that is paid to the openings and surfaces of people and containers alike in order to store given substantial contents and to make them circulate.

freedom from hunger planet