Archive for February, 2025

American Locomotive

February 16, 2025

From Joe Transue on Facebook on 2/12, as a comment on my 2/11 posting “On the faux-Hopper watch”, about Waiting for the train (an image that was merely inspired by Edward Hopper (1892-1967), not actually by him):


(#1) JT reported that this image came up on his feed out of nowhere, with the label: Edward Hopper. Locomotive 1944; there’s a lot to be said here, but one thing is absolutely clear: it is not a painting by Hopper; there are excellent catalogs of Hopper’s paintings, and neither this image (or anything like it) or this title (or anything like it) appears in the catalogs — but then it turns out that Hopper spent years (resentfully) churning out illustrations, for magazines and for advertisements, just to pay his bills, and these haven’t been catalogued, so who knows?

More things that are absolutely clear: that this image was in fact used in an ad (in Life magazine) in 1944, for ALCO (the American Locomotive Company); that the locomotive in the ad is an ALCO DL-109 diesel engine built between late 1939 and the spring of 1944; and that this ad appeared at a time when Hopper had been recognized as a major figure in American art and was in the midst of one of his most productive periods (in the 1930s and early 1940s, he painted New York Movie (1939), Girlie Show (1941), Nighthawks (1942), Hotel Lobby (1943), and Morning in a City (1944), among others), and cannot imaginably have been resorting to commercial illustration to pay his bills in 1944.

So where does #1 come from?

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Ai, dem potent operators

February 16, 2025

Yesterday’s Zippy strip manages to combine abstract algebra (in the notion of idempotence) with linguistic behavior (in the notion of onomatomania):

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Happy happy joy joy

February 14, 2025

A report from yesterday (2/13), a day that began with painfully low barometric pressure and included deluges of cold rain, but brought two occasions for real joy: brilliant hearing and the magic clock.

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On the faux-Hopper watch

February 11, 2025

… in which I report on a genre of AI art that I hadn’t realized existed. But first, the story of how this genre came to me. I tell this story without any names attached to the people who wrangled with a piece of this art on Facebook yesterday — because all evidence of this discussion has somehow vanished from my Facebook; I did, however, save a copy of the Mystery Painting that triggered the discussion and then was able to reconstruct the gist of the exchanges from memory.

The Mystery Painting. This came to a friend labeled as a reproduction of a painting by Edward Hopper with the title The Dory. My friend was pleased to have come across a Hopper not known to him:


(#1) Atmospherically Hopperesque: a lone female figure in an urban setting (a railway station); also at night, with lights piercing the dark and the rain

Others chimed in to cast cold water on the poster’s delight. One observed that there was indeed a 1929 Hopper painting called The Dory, but it was, no surprise, a painting of a dory (‘a small flat-bottomed rowboat with a high bow and stern, of a kind originally used for fishing in New England’ (NOAD)) — nothing at all like the scene in #1. And then another volunteered that they had searched through an inventory of Hopper paintings and there was nothing like #1 in it. The consensus was that this was some sort of AI creation, masquerading as a Hopper. The disillusioned poster was dismayed.

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The two ages of Interwoven sock ads

February 10, 2025

Bubbled up recently on Facebook and elsewhere, references to two chapters in the history of American advertising: Interwoven-brand stockings as icons of male sexiness, first in the 1920s and 30s, then for Interwoven Esquire socks in the 1970s.

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The Queen of the Day’s aria

February 9, 2025

🦉 🦉 🦉 three wise owls for Superb Owl Day, an annual American Sunday holiday devoted to the relaxed enjoyment of uncrowded public places — (weather permitting) in sight-seeing, strolling on city streets, visiting parks and zoos; or (indoors) shopping in stores, exploring museums, attending concerts and theatrical performances (when I was much younger, Superb Owl Day was an excellent occasion for a visit to the gay baths; no doubt you have your own spots that can provide relaxing pleasures)

Meanwhile, back at Ramona St. …

Playing on the Apple Music in my bedroom during my 2:30 whizz break: a ravishingly joyous soprano concert aria, or (as it turned out) Lied (with a warm and playful piano trio accompaniment), with some vocal figures worthy of the Queen of the Night. I thought of it as the Queen of the Day’s Song. In some Germanic language I couldn’t quite comprehend.

Ah, obviously one of Beethoven’s folksong compositions; when I actually got up, at 3:30, I went to my computer to track the song down:

“Wann i in der Früh aufsteh” (‘When I arise in the early morning” — celebrating morning on a Tyrolean dairy farm), Beethoven WoO 158a/ 4 — that is, #4 in his 23 Lieder Verschiedener Völker (‘Songs of Different Peoples / Various Nationalities’); from a 1997 Deutsche Grammophon recording; Janice Watson is the soprano; and the language is Tyrolean, a High German variety spoken in the western Austrian state of Tyrol (where it’s the majority language) and areas of northern Italy (in any case, in a region south of Bavaria and east of the part of Switzerland where the Zwickys come from)

You can listen to this very recording here.

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The eagle’s feast

February 8, 2025

On my Pinterest feed yesterday — no doubt because of my interest in men’s bodies — this portrait of Prometheus, writhing mad-eyed in agony, shackled on a rocky ledge, as Zeus’s punitive eagle flies in to gnaw on his liver once again:


(#1) Frank Buchser, Prometheus Forged on a Rock (1855)

To come: first, notes on Prometheus and the eagle, from previous postings on this blog.

Then about the artist, who was, first of all, Swiss, from the town of Solothurn. There will be a digression on the town, which is almost impossibly picturesque.

But for the middle part of his life FB wandered from Solothurn, traveling widely around the world, including five years in the US, where he changed his personal name from Franz to Frank and painted a huge series of works depicting post-Civil War America for an European audience — three of them reproduced here.

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May I take your coat?

February 7, 2025

A Sandra Boynton turkey cartoon from 1980, showing a  (polite) offer framed as a request in the form of a question, using the formula May I VP?:


(#1) The exchange — with the offer made by a turkey who appears to be an attendant at a women’s checkroom (see the window in the background, with women’s dresses on hangers in the room behind the window) — follows the polite service script (involving an attendant and a customer, female in this case) in the first two panels, then runs off the rails in the third panel, where an ambiguity in the verb take rears up; the turkey assumes ownership of the coat and walks off with it as their own, leaving a nonplussed coatless customer

Three things here: the turkeys (who are a long-standing thing for Sandra Boynton); the polite service script (which incorporates conventionalized versions of some very indirect speech acts); and the ambiguity of take (which provides a surprise shift from the sense appropriate to the service script to an outrageous and dumbfounding larcenous sense).

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Back-accented nadir 2

February 6, 2025

A first follow-up — there will be at least one more — to my 2/3 posting “The nuh-DEER” that reported on back-accented pronunciations of nadir ‘the lowest point in the fortunes of a person or organization’ (NOAD), based on what I heard as MSNBC went past me while I was working at my computer (but then was unable to find on the MSNBC site). Now, a bit of clarification.

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What is figure, what is ground?

February 5, 2025

A remarkable John O’Brien cartoon in the 2/3/25 New Yorker, in which a cowboy whips his lariat in pursuit of a cow, with a stark desert landscape of mesas and buttes outlined behind them:


(#1) But wait! That line in the cartoon is both the lariat — the figure — and the outline of the landscape — the (back)ground — so that looking at the cartoon, you perceive the one, then the other, shifting from one to another: what is figure, what s ground?

It’s a percept-shifting visual illusion, exploiting an ambiguous image, in particular a figure-ground ambiguity. Here done as a joke in a cartoon, a visual parallel to what I’ve called sense-shifting pun jokes.

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