Late to blogging this, Annemiek van Vleuten of Australian UCI team Mitchelton-Scott winning the 2018 Giro Rosa last Sunday. Third place overall to teammate Amanda Spratt, and second to Ashleigh Moolman Pasio. Women’s cycling is smashing it the last couple of years, brilliant races, brilliant riders, like Cecilie Uttrup Ludwig said, “Watch more women’s cycling!”
Continuing with this amended way of blogging about what I’m reading, another small pile of books I picked up a couple of weeks ago and am currently getting through.
Akala came up in my Twit feed a while ago, I watched him utterly destroy at least one idiot white British politician on TV, decided he fitted into where I’m reading at the moment in combinations of UK / London / Colonialism / Black / Grime history, realised he’s the brother of the deadly Ms. Dynamite, laid into it at the same time I was reading Dan Hancox’s Inner City Pressure: The Story of Grime. Pretty much highly recommend Natives: Race and Class in the Ruins of Empire, even though he’s kinda weak on the feminism / queer side of things — bit of a cishet male bias there, mate — but he’s talking from his own experience growing up as a black boy and man in London, and it’s grim shit we need to hear and read.
Small aside, I went on a Giggs binge last night. First time I heard him was JME’s and his Man Don’t Care. Dasniya said she liked his voice more, something kinda menacing and slow but also “cinnamon tea”. He was live at Roundhouse earlier this year, and closed with Whippin’ Excursion, just watch the crowd fucking lose it when the bass drops, it’s a madness. Then go back to Talkin’ da Hardest in 2007 or even further, 2003, dejavu FM pirate radio and the Conflict DVD. That’s where grime came from, the rooftops of council housing tower-blocks (yeah I know Giggs isn’t grime, but he works with a lot of grime artists, so, keeping it simple here), rough as guts and dead end and set up to fail and go down or die. So belabouring a point here, the political and social significance of someone like Giggs filling the Roundhouse and having a packed crowd go the fuck off … gives me shivers. Good, deep, world-changing shivers.
I haven’t read Charlie Jane Anders’ Six Months, Three Days, Five Others yet. But I’ll always read her. The more of my sisters in this game, the better.
Corinne Duyvis’ On the Edge of Gone I probably heard of from the usual places, io9, or someone in my Twit feed. Reasons for reading: it’s sci-fi, she’s queer, lives in Amsterdam, is autistic. I’m not sold on the ‘science’ part of the science-fiction yet, set in 2035 and interstellar generation ships are a somewhat mature technology — this might be a ruse, but still, large-scale ships for hundreds or thousands of people, able to launch from Schiphol Airport seems improbable for 17 years from now. Maybe I’m reading that part wrong. Nonetheless, an autistic main character — and you all know my love of Feersum Endjinn and Whit. (I’m not even going to tell you about my own neurofuckery and my spreadsheet which I use to remember people I’ve met.)
Obviously I bought Deji Bryce Olukotun’s Nigerians in Space for the title. I’m still kinda on the whole, “I don’t really read menz” thing, for so long it’s not even a thing, it’s more of a “I read women authors and non-binary authors on the feminine side of things,” because obviously I want to see my people represented and that means all my people and their people and their people’s people. So sometimes I read a book by a guy. I have this habit, where I read an author’s acknowledgements and count the names and divide them into male-ish, female-ish, and I dunno. Pretty reliably, male author’s female-ish names count tops out around 30%, ’cos we all know 1/3 female feels like half or more than half in the real world. It means I tend to read male authors with suspicion, it’s a question of do they really genuinely care about and practice what we currently call intersectionality, or are they fortunate enough (truly though, I mean impoverished) to not have to make it a necessary part of their lives. So far, then — I’ve only read the first dozen pages — Nigerians in Space is a hilarious sci-fi thriller of straight men making really, really bad irreversible decisions.
Lucky last, Nuraliah Norasid’s The Gatekeeper. This one via JY Yang and / or various Twit mentions (I’m taking a long pause from the Twit, ’cos it’s not good for my moodiness or neurofuckery), and / or a bunch of South-East Asian blogs in my feed. I dunno what’s happening over Singapore way, but the sci-fi fantasy spec-fic stuff I’ve been reading is on fire. This is her first novel, and reminded me of Sofia Samatar’s The Winged Histories (or maybe more A Stranger in Olondria). There’s a lot I love in this, but some poor narrative decisions that seem more about manufacturing drama leading to an uncomfortable conclusion where the main character is incarcerated and pregnant and we know her children will be taken away from her to be experimented on. Which is an ongoing reality for colonised indigenous peoples, but here it was more in the vein of the awful Joss Whedon Black Widow trauma porn backstory. There’s a much tighter, more cogent story here that doesn’t rely on weak tropes, and which finesses out the cataclysmic acts of the main character and her sister (I’m ignoring the rich boy, ’cos he could be dropped and the story would only grow). First novel though, another author I’ll read again.
Keeping things orderly here. Last week of my Naarm / Melbourne trip, Monday 26th March, I got myself along to NGV National Gallery of Victoria for the 2018 Triennial and weird European art.
- NGV Triennial: Richard Mosse — Incoming
- National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)
- NGV Triennial 2018 & 21st Century Collection
- NGV National Gallery of Victoria — Mediæval Art
- NGV National Gallery of Victoria — Baroque & Rococo Art
- NGV National Gallery of Victoria — 19th & 20th Century Art
- NGV National Gallery of Victoria — St. George Hare: The Victory of Faith
- NGV National Gallery of Victoria — Jizō Bosatsu
A few pieces of European mediæval art I saw on my very wrecked, post-season, post-bumpout afternoon in the NGV National Gallery of Victoria. Considering how long I lived in Naarm / Melbourne, and considering I spent five years across the road at Victorian College of the Arts, I’m pretty sure I went inside a total of maybe once, and that for a special exhibition which I can’t remember — the permanent collection and the building itself I never wandered through. Mainly ’cos I wasn’t into museums then.
So, mediæval European stuff, ’cos I am into it. Weird to go to Australia to see bits and pieces of back home. I was looking for Saint Mauritius (of course), because somehow I got it in my head they have a rather nice painting of him. Didn’t find it. Might not be on display. Didn’t find it on their website either, but that’s a horror to search so … Did find exactly one Biblical Magi / Heilige Drei Könige / Aanbidding der Wijzen (it’s from Antwerpen, let’s go with that last one), very buried in the bottom right corner of a retable, which I shone my phone light on to get some illumination to photograph (then butchered it in Photoshop — is not my best work).
The first room, with the wooden sculptures reminded me of Muzeum Narodowe we Wrocławiu (still one of the best mediæval collections and museums I’ve seen), but the dissonance of German next to Spanish next to Italian next to Flemish made for an odd journey. A small collection, lack of space, prioritising newer art and temporary exhibitions can justify the jumble somewhat, yet it proposes a strange, fantastical idea of the history of Europe, a Europe that is monolithic, singular, consistent. Yeah, I’m spoilt here. I can go to small cities like Magdeburg and see a thousand years of history from just that region of central, northern, Germanic Europe all in the original church, and the depth and detail imparted shapes a massively different reality for Europe’s history.
But still, they have a Hans Memling, some Dürer etchings, and a pile of other works that are pretty solid examples of what was going on in Western Europe in the 14th and 15th centuries. The German pieces are solid and heavy and dark; the French all flowing in International Gothic style; the Italian ramping up for the Renaissance. Most of the pieces aren’t brilliant, though pretty much all are solid pieces by renowned artists, and nothing is of the poor, regional copies that litter museums over here. And occasionally there’s a work I’m frankly surprised got out of Europe, which speaks of the kind of money backing the NGV.
Favourite piece? Jaume Cascalls’ St Catherine, from around 1350 in Spain. Not just because she’s my favourite saint, patron of unmarried girls, spinsters, archivists, jurists, librarians, mechanics, scholars, and fucking knife sharpeners.
Georg, with whom I worked on co-writing The Station, asked me if I’d like to do another piece of co-writing with him, this time an opera libretto. I said yes (duh!). Last Friday, we had a three-way chat with Henry Vega, the composer, about Alan Turing, neural networks, science fiction, queer stuff, and all, for a sharp hour (Georg’s good like that with his one-hour meetings).
Today I spent a couple of hours (after some dipping of toes last night) in installing TensorFlow-Char-RNN, a “a character level language model using multilayer Recurrent Neural Network,” as made wildly lovable by Janelle Shane of Letting neural networks be weird. That involved installing TensorFlow. I went for the direct MacOS approach (after toying with either a Vagrant VM or Docker container) of the Virtualenv flavour. Plus Python 3. And pip. Dependencies. We have them.
A bit of faffing around, and out is spat a ‘Shakespeare’:
t ‘vkdwsa avf
neu irot rS
, mvuaeea giCsouo aed renat rs
;iiweszteseooiiWhe thrr l st !htt :hsre
I mean, I was expecting a single, long ‘aaaaaaaaaaaaaaaaaaaaaa’, so this was progress.
More faffing, fans to 6000rpm, CPU to 500%, and some short while later, ‘Shakespeare’!
Before we proceed any further,
Or each doth now foul branch with thy preser’d up
Young to devise me him;
But in my jewities rebeeve me to this,
Your soul than daggers and breeding
some abrother Arms
What will be pronound with a husband; he’s beauty much or a slaughter,
But I’ll wring my false find than how ill.
Two more Adoration of the Magi from Gemäldegalerie’s In Neuem Licht exhibition. The first, a copy after Hugo van der Goes’ Die Anbetung der Könige vor dem Stall im Hügel from around 1500 (or maybe more like a copy of Gerard David’s early-1500s copy of van der Goes’ now lost original, though this one’s narrower and missing a couple of figues on the left — either way, done around the same time). The second, the Meister der Crispinus-Legende’s Die Anbetung der Heiligen Drei Könige panel from the Straußfurter Marienaltar, from around 1520. Van der Goes did one of my favourite works in the Gemäldegalerie, Die Anbetung der Hirten, as well, the gallery has another of his, the Monforte altarpiece Der Anbetung der Könige. Meister der Crispinus-Legende I’ve never heard of, but does remind me of some pieces in Magyar Nemzeti Galéria in Budapest, I saw on my eastern Europe jaunt a couple of winters ago.
(These photos were taken when I’ve been not so inclined to spend days editing scores of images, nor to agonise over photographing under crap light — and the lighting in In Neuem Licht is on the crap end — so they’re both not really up to my usual standard, but on the off-chance I don’t go back to photograph these pieces properly, they seem to be the only easily findable images of these on the internet.)
An afternoon at the Gemäldegalerie with one of my favourite museum partners, Robert. We spent a lot of time in front of Jean Fouquet’s Das Diptychon von Melun — which I will photograph, ’cos I have to go back for In Neuem Licht. I don’t think I can imagine the extent of their stockrooms. They’ve got 70 works on display in the central atrium, all deep blue walls and the gentle murmur of the long fountain, and any of them could easily win a fight for a hanging spot on in permanent collection (where I’m pretty sure some of them occasionally reside).
I’m fighting my urge to photograph everything in a museum at the moment. I wasn’t going to point camera at anything, but then I saw a trio of northern European mediæval Die Anbetung der Könige, and … especially when one of them is a copy of the very famous Hieronymus Bosch one, which hangs in Museo del Prado. It’s like I’ve already seen it, I know it so well. So I’m going to try blogging individually some of the pieces I like, and I have to go back anyway, ’cos it was all kinda rushed with the camera. This one, then, is a copy of Bosch’s Adoration of the Magi or The Epiphany, from around 1550, on oak, Kat.-Nr. 1223. It’s been in the Staatliche Museen zu Berlin’s collection since it was acquired in 1837 from General Otto August Rühle von Lilienstern. I’d love to go to Madrid and see the original, it’s one of my favourites, along with Pieter Bruegel de Oude’s unfinished De Aanbiddung der Wijzen.
One more from Brussels’ Koninklijke Musea voor Schone Kunsten van België / Musées royaux des Beaux-Arts de Belgique in my lazy-blogging of single paintings.
I’d already blogged this museum heavily back in 2015 (Musée Oldmasters Museum, Musée Fin-de-Siècle Museum, and the very popular Peter Paul Rubens’ Vier Studies van het Hoofd van een Moor, among others), so I wasn’t really committed this visit to much more than staring at a few Bruegels, namely De val der opstandige engelen, along with Pieter Aertsen’s De Keukenmeid, and Gustaf Wappers’ Tafereel van de Septemberdagen 1830. And seeing I just mentioned almost all my posts on this museum, I can’t not mention the sublime Pieter Bruegel de Oude’s De Aanbiddung der Wijze, which is alone worth visiting the museum for.
Another De Aanbidding der Wijzen then. This one from Peter Paul Rubens and Atelier around early-1600s — no date on the caption and it seems to be one of his lesser known Adoration of the Magis. It’s in the Rubens Room, a massive, high-ceilinged chamber with natural light pouring in from above. Really one of the few rooms in the museum capable of the dimensions to display his epic works. I always have trouble remembering how large a piece was, but the figures are larger than life, and I dredged up 384 × 280 cm from the internet. And this room had walls of the stuff.
I blame the light. When it hits the top of a painting 2 metres above me and bounces down, I don’t know what to do. Yes, post-processing, but you can still see the upper half is blown out, and has an awkward blue colour cast. So my editing skills also suck. It’s the main reason I only photographed a couple of works this time. Sure I can take hundreds of photos, but the editing takes multiples of the time I spent actually in the museum, and it’s gotten a little out of hand — one of the main reasons I didn’t go to Ghent. These photos, then, don’t do the painting any favours, but it’s Rubens and it’s the Adoration of the Magi, and it makes me smile.
Continuing my blogging of single paintings from Brussels’ Koninklijke Musea voor Schone Kunsten van België / Musées royaux des Beaux-Arts de Belgique, Gustaf Wappers’ massive Tafereel van de Septemberdagen 1830, op de Grote Markt te Brussel takes up one-third of a wall in the main atrium. It’s very Eugène Delacroix in size, composition, and themes, Romantic nationalism meets unnatural, formal arrangement.
I had thought MedievalPOC had Twitted/tumbled this recently, but it was rather John Singleton Copley’s The Death of Major Peirson at the Battle of Jersey (here on Twit, and tumblr) with the Black Scottish auctioneer’s assistant to James Christie front-and-centre doing the business with the flintlock. When I last visited the museum, I blogged Wappers’ painting, but — as is my tendency — it’s kinda under-exposed and dim, and the photos I took last week are far more detailed. As for whether under- or over-exposed or -contrasted, I dunno, this museum has some fucking abysmal lighting, both natural and artificial, and I’m only slightly competent at point-and-click.
So, seeing Twit is shite to search, and it doesn’t seem that MPOC tumbled it, I thought I’d throw this one up, for the shoeless Drummer Boy who’s at the centre of history, keeping one foot dainty on a woman’s dress. Very compositional.
One last thing. The dickwad bro with his shirt open, last person on the right in the foreground light, is totally pushing over a woman carrying a baby with a hearty face shove. No idea what this is supposed to represent or signify, but guy’s spreading all over where the women are, and the third woman (the one lending her dress to Drummer Boy) in this triangle around the other shirtless guy, who’s busy dying, is giving Mr. ’Scuse Me, Bitch, Must Spread a nasty stink eye. So obvs means something, perhaps that the women here are around a hundred years off getting the vote, slightly before Blacks in the Belgian Congo could.
One other from Koninklijke Musea voor Schone Kunsten van België / Musées royaux des Beaux-Arts de Belgique, Pieter Aertsen’s De Keukenmeid / Le Cuisinière from 1559. I think there’s a similar one in Gemäldegalerie or some other museum I’ve been to more than once — he painted the same work more than once — but I really love this one, her expression and posture; I reckon she’d be good value for post-work hanging out. I would say yes to a beer at Le Fontainas any night of the week.