found via Kottke
“Coloney and Fairchild’s patented apparatus required that the single sheet be cut into strips, attached end-to-end, mounted on linen, and then rolled inside a wooden, metal, or paper spool (fig. 4). The resulting portability of the map was crucial because, as advertisements indicated, it was intended for business travelers, steamboat navigators, and tourists. Of this form, the Newberry Library and the Minnesota Historical Society Library hold what seems to be a first edition, while nearly a dozen archives around the U.S. hold an updated second version. With the addition of hundreds of towns, mile markers, islands, landings, landowner and plantation names, and significant Civil War locations, the Lower Mississippi appears to be a settled and thriving commercial space.”
— Nenette Luarca-Shoaf
Larger versions of the image can be found here.
Water for Maya is a hand-painted work which came into being during a film interview with Martina Kudlacek about Maya Deren. There was a sudden recognition of Maya’s intrinsic love of water and thus of all Mayan liquidity in magic conjunction, reflection, etc.
see also: Comingled Containers and Mothlight
Mothlight is a silent “collage film” that incorporates “real world elements.” Brakhage produced the film without the use of a camera, using what he then described as “a whole new film technique.” Brakhage collected moth wings, flower petals, and blades of grass, and pressed them between two strips of 16mm splicing tape. The resulting assemblage was then contact printed at a lab to allow projection in a cinema. The objects chosen were required to be thin and translucent, to permit the passage of light. Brakhage reused the technique to produce his later film, The Garden of Earthly Delights (1981). Mothlight has been described as boasting a “three-part musical structure.”
“Here is a film that I made out of a deep grief. The grief is my business in a way, but the grief was helpful in squeezing the little film out of me, that I said “these crazy moths are flying into the candelight, and burning themselves to death, and that’s what’s happening to me. I don’t have enough money to make these films, and … I’m not feeding my children properly, because of these damn films, you know. And I’m burning up here… What can I do?” I’m feeling the full horror of some kind of immolation, in a way.”
Over the lightbulbs there’s all these dead moth wings, and I … hate that. Such a sadness; there must surely be something to do with that. I tenderly picked them out and start pasting them onto a strip of film, to try to… give them life again, to animate them again, to try to put them into some sort of life through the motion picture machine.”
see also: Comingled Containers (1996)