Andromeda, Cetus, Perseus and Pegasus

This is a linocut of the Greek myth of Andromeda. Her mother, Queen Cassiopeia bragged that Andromeda was more beautiful than the Nereids, or sea nymphs, angering Poseidon, god of the sea. He sent Cetus the sea monster to ravage the coast of the kingdom as punishment. The King Cepheus and Queen Cassiopeia were advised by an oracle that they needed to sacrifice their daughter to Cetus to save their land. She was striped bare and chained to a rock by the coast. She proved a very lucky princess, because who should happen by but the hero Perseus, fresh from his successful battle with the snake-headed Gorgon Medusa (whose head was in his sack). You see, Medusa's head turned the living to stone, which made it quite the useful weapon. Further, Pegasus the flying horse was born from the stump of her neck, so really this defeating Medusa was win-win for Perseus. He, of course, fell in love, slayed the monster and married Andromeda.

In the print, the monster Cetus encircles the rock on which Andromeda is chained. Perseus is shown descending on Pegasus, his flying horse, to battle the monster. You can see a couple of snakes peeping from his sack. Some versions of the myth suggest that Perseus was invisible at this moment, since he was wearing Hades's helm (note: Harry Potter was not the first to have a cloak of invisibility), but through the magic of printmaking, Perseus and Pegasus are made visible. (Flying horses are far more interesting when you can see them. Or perhaps, this is moment before he donned the cloak.)

Most of this story is commemorated in the night sky. Cassiopeia, Cepheus, Andromeda, Perseus, Cetus and Pegasus are all constellations.

The print is in a variable edition of 6 on lovely Japanese kozo (or mulberry) paper, 11 inches or 28 cm square. The block was inked 'à la poupée', with different colours applied directly to a single block. The sea is royal blue, the sea monster deep red with yellow eyes, the hair and wings on Perseus' helmet are yellow.

(May replace this with a higher resolution scan once I get Photoshop on my early Christmas gift).

Reading is sexy LI

(image credit: Chris Silas Neal)
12. The Sea - A Cultural History by John Mack This was an very interesting book, though somehow it didn't quite keep me engaged. I would recommend this book as an interesting read, perhaps in small doses, along with some other reading. In fairness, I think I am not well disposed to reading uncorrected page proofs (like this one). I do get caught in details.* The one thing I would have preferred in fact would be more. Some of the things which interest me, like (obviously) marine science**, exploration, map making, the depths, shipwrecks, and women at sea, naval architecture and piracy are given short shrift. I think this book could easily have grown into a much larger project. As it is, it's more of an anthropological, sociological and English literature history (with a touch of art history) of the sea than a full cultural history of the sea - which is a fascinating thing, but not a complete thing. I did particularly appreciate the careful study of cultural differences in navigation. In the west (particularly the Mediterranean) we historically focus on a tradition of 'coasting' (travelling from port to port, largely within sight of shore) and we give a lot of credit to explorers' "discoveries" (of inhabited, clearly already discovered places). Too often we learn western history as world history, so the details on Ibn M jid and 15th century navigation in the Arab world were refreshing. I appreciated the contrast between (southern) European methods with the tradition of navigation in the Arab world (which largely involved knowing the monsoonal weather patterns and latitudes of all ports, finding the requisite latitude and going straight across a line of latitude). This in turn can be contrasted with the Polynesian navigation tradition, which was more about relative headings maintained with reference to astronomical cues in the presence of currents, wind and waves. In an oceanic world dotted with small islands, the sea is viewed as connecting, rather than separating people. I also enjoyed learning of societies like the Sea Gypsies of Malaya, who, as near as possible, live on the ocean.
(image: by

 *Like most people who go to sea, I admire Captain Cook and thus was stumped when I read about his contributions to "geography and hydrology". Hydrology? Cook did many things, but nothing like the work of hydrologists I know (who study the action of water in geology). Eventually I concluded that this was a typo and hydrography was intended - something more obviously paired with geography, after all. But, I wasted a lot of time puzzling over this. Also, when the Nootka people of BC are described as living on an island west of "Victoria Island" it really annoys me; there is no "Victoria" island. I know it's confusing that Vancouver is on mainland and Victoria is on Vancouver Island, but since the Nootka were mentioned when discussing Captain Vancouver, you think it might have occurred to someone. It's the largest Pacific island east of New Zealand, so it's sort of hard to miss. I don't think most people would be irked by such details (unless they happen to have lived on Vancouver Island and done marine geophysical research off Nootka Island).

**SCIENCE IS PART OF CULTURE.

{Series so far: books read, more books read, books read, books read continues, more books read, I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII,XIX, XX, XXI, XXII, XXIII XXIV, XXV, XXVI, XXVII, XXVIII, XXIX, XXX, XXXI, XXXII, XXXIII, XXXIV, XXXV, XXXVI, XXXVII, XXXVIII, XXXIX, XL,XLI, XLII, XLIII,XLIV, XLV, XLVI, XLVII, XLVIII, XLIX, L}

spectacularly ugly

The Mad Scientists of Etsy theme for June is Ichthyology. I can't even spell Ichthyology, as will come as no surprise to Reynardin. I look it up every time. Anglerfish are spectacularly ugly fish of the order Lophiiformes who use a fleshy growth from their heads (ummm... doesn't that sound appetizing?) as a lure to fish their prey. This one is a bottom-dwelling (benthic) predator with a bioluminescent lure (the esca or illicium). It's like Nature decided, well it's too dark down there to see much, let's make it as ugly as possible. If any little fishies think they see a big gaping jaw full of sharp, pointy teeth, by the eerie blue glow of the bioluminscent lure, they'll assume they must be imagining things. Nothing could be that ugly.

This is a lino block print of an anglerfish in white and blue ink on Japanese teal unryu paper, 7.35 inches by 15.5 inches (18.4 cm by 39.4 cm). It is one of a hand-pulled edition of 6.

working on the Saanich peninsula

Sunny Sidney by the Sea




Wee snake found in lab


Crows on the line


Nonchallant crow, casually eyes the unattended energy bar.


Three pirate crows dispute the booty.


Who needs dogs begging for scraps when there are roosters (at the Roost)?






This is my experiment, all packaged in an anodized aluminum pressure vessel. Inside there is a gravity meter in gimbals. I use this to measure acceleration of the seafloor, because it is easier to measure acceleration than it is to measure displacement. The seafloor moves because waves push upon it. So, I also measure tiny changes in pressure. I look at these two and their ratio and it tells me about the stiffness of the underlying sediments.* As you can see, the sun was setting. This was Sunday at 9 pm, when we finally got everything to work harmoniously. The darkness of the sky allows you to see the reflection of the room, including the triangular box which now houses the sphere.




*More technical explanations available upon request.

working on the Saanich peninsula

Sunny Sidney by the Sea




Wee snake found in lab


Crows on the line


Nonchallant crow, casually eyes the unattended energy bar.


Three pirate crows dispute the booty.


Who needs dogs begging for scraps when there are roosters (at the Roost)?






This is my experiment, all packaged in an anodized aluminum pressure vessel. Inside there is a gravity meter in gimbals. I use this to measure acceleration of the seafloor, because it is easier to measure acceleration than it is to measure displacement. The seafloor moves because waves push upon it. So, I also measure tiny changes in pressure. I look at these two and their ratio and it tells me about the stiffness of the underlying sediments.* As you can see, the sun was setting. This was Sunday at 9 pm, when we finally got everything to work harmoniously. The darkness of the sky allows you to see the reflection of the room, including the triangular box which now houses the sphere.




*More technical explanations available upon request.

Sense will always have attractions for me... and sea monsters? Why not.

I've learned from bioephemera that the sequel to Pride and Prejudice and Zombies is Sense and Sensibility and Sea Monsters. The publisher boasts, "a new Austen to monster ratio. Instead of featuring 85% of Austen's work and 15% new text as in Pride and Prejudice and Zombies, Sense and Sensibility and Sea Monsters features 60% Austen and 40% additional monster chaos!"

So, what will happen to Willoughby?