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The Hidden Territory: USGS’s 1950’s to 1970’s Isometric Geological Diagrams

The online archive of the United States Department of the Interior Geological Survey is a valuable resource filled with detailed three-dimensional territorial maps employing various representational techniques.

Thanks to the work of artist, designer, and developer Jill Hubleys and their dedicated ‘X’ page, we’ve uncovered numerous isometric diagrams. Handpicked here, are a selection of them, including categories such as “Isometric Fence Diagrams”, “Isometric Cross-Section Diagrams”, and “Isometric Block Diagrams”.

See more on SOCKS. https://socks-studio.com/2023/10/15/the-hidden-territory-usgss-1950s-to-1970s-isometric-geological-diagrams/

#territory, #isometric drawing, #map

leksikonyumitologije

Boris Bućan (1947-2023): plakat za HNK Split, 1982.

bedupolker

Opposable thumbs are handy

richuncledaddy

The 12 Archetypes or The 12 Faces of Humankind, Tammo De Jongh (1967), the cover of King Crimson’s In The Wake Of Poseidon (1970)

The twelve faces in the picture are as follows:

The Fool (Fire and Water): The laughing man with a wispy beard.

The Actress (Water and Fire): The Egyptian girl with long pearl earrings and many pearl necklaces around her neck, she has tears in her eyes.

The Observer (Air and Earth): A scientist type person with round spectacles pushed up above his brow, mostly bald head with white hair at the sides; his left hand is held up to his chin, he looks thoughtful.

The Old Woman (Earth and Air): A woman with much wrinkled face wrapped up against the cold.

The Warrior (Fire and Earth): A dark and powerful warrior’s face in blacks and reds. He wears a steel helmet, broad square face, open mouth with square teeth and a full black beard.

The Slave (Earth and Fire): A black African with large gold earrings and a ring through her nose; the lips are full and pink, the eyes half-closed, sultry and sensuous; the expression is warm and friendly.

The Child (Water and Air): A picture of innocence; a girl with delicate sweet smile and butterfly shaped bows at each side in her long golden hair; her eyes are large and watery and she has a delicate sweet smile on her mouth. She wears a gold chain, on the end of which is a small golden key.

The Patriarch (Air and Water): An old philosopher, with a long face and long white hair and long white beard and moustache; white bushy eyebrows; all around are shapes like flowers or snowflakes; the brow is furrowed upwards from the nose in a fan-like fashion.

The Logician (Air and Fire): A scientist or wizard type man with long face, dark hair and long dark beard; he appears to hold a long stick or wand with his right hand and his left is held aloft and surrounded by stars.

The Joker (Fire and Air): The picture in bright reds and yellows is of a smiling twinkle-eyed Harlequin with his typical gold-stuccoed, triangular hat.

The Enchantress (Water and Earth): A sad girl with watery eyes ; her long dark hair is blown sideways across her face and brow from right to left.

Mother Nature (Earth and Water): Lying asleep in the long grass; their face in silhouette is viewed from the left side and all around are the flowers and butterflies.

nemfrog

Stop Illegal Raids by Immigration Department. Downtown Los Angeles, 1940s.

nemfrog

Fig. 1. The principles of club swinging. Indian Clubs and Dumb Bells. 1901.

mindhost

Chapman’s diagram of the parries (p. 8)

French Parries

Prime (fingernails down) inside low

Seconde (fingernails down) outside low

Tierce (fingernails down) outside high

Quarte (fingernails up) inside high

Quinte (fingernails down) inside high

Sixte (fingernails up) outside high

Septime (fingernails up) inside low

Octave (fingernails up) outside low

From George Chapman’s Foil Practice, 1861

Source: SFI

nemfrog

“The last old Bunker Hill mansion on Olive Street.“ July 27, 1961.

Palmer Conner Collection of Color Slides of Los Angeles, 1950 - 1970

Huntington Library

humanoidhistory

A soldadera of the Mexican Revolution.

artisto702

We tend to forget the Soldaderas were just as down as the Men- Bad Ass Mujer!

olia-a

Thailand monk kicking police during a protest.

oldnewyorklandia

Morris Huberland, Human Ladder’, East Side, NYC, 1940s.

mopsburgfalls

marketing

nyrbclassics

Thomas Pynchon on Oakley Hall's Warlock (1965)

Tombstone, Arizona, during the 1880’s is, in ways, our national Camelot; a never-never land where American virtues are embodied in the Earps, and the opposite evils in the Clanton gang; where the confrontation at the OK Corral takes on some of the dry purity of the Arthurian joust. Oakley Hall, in his very fine novel Warlock has restored to the myth of Tombstone its full, mortal, blooded humanity. Earp is transmogrified into a gunfighter named Blaisdell who, partly because of his blown-up image in the Wild West magazines of the day, believes he is a hero. He is summoned to the embattled town of Warlock by a committee of nervous citizens expressly to be a hero, but finds that he cannot, at last, live up to his image; that there is a flaw not only in him but also, we feel, in the entire set of assumptions that have allowed the image to exist. It is Blaisdell’s private abyss, and not too different from the town’s public one. Before the agonized epic of Warlock is over with—the rebellion of the proto-Wobblies working in the mines, the struggling for political control of the area, the gunfighting, mob violence, the personal crises of those in power—the collective awareness that is Warlock must face its own inescapable Horror: that what is called society, with its law and order, is as frail, as precarious, as flesh and can be snuffed out and assimilated back into the desert a easily as a corpse can. It is the deep sensitivity to abysses that makes Warlock, I think, one of our best American novels. For we are a nation that can, many of us, toss with all aplomb our candy wrapper into the Grand Canyon itself, snap a color shot and drive away; and we need voices like Oakley Hall’s to remind us how far that piece of paper, still fluttering brightly behind us, has to fall.

—Thomas Pynchon, Holiday, 1965

Thanks to Josh Lieberman, we can peek at the books your favorite writers were recommending in 1965. The article includes Pynchon’s endorsement of Oakley Hall’s “postmodern Western”* Among the other writers in this roundup are Joseph Heller, Edward Dahlberg, Alfred Kazin, Isaac Bashevis Singer, and Harvey Swados.

Read more about Holiday.

Geoffrey O'Brien’s review of Warlock in Bookforum.

*Hall himself professed not to understand wtf this meant by this term.

sarahzust

Pueblo Clowns (sometimes called Sacred Clowns) is a generic term for jester or trickster in the Kachina religion practiced by the Pueblo Indians of the southwestern USA. There are a number of figures in the ritual practice of the Pueblo people. Each has a unique role and belongs to separate Kivas (secret societies or confraternities), and each has a name that differs from one mesa or pueblo to another.

They perform during the spring and summer fertility rites. Among the Hopi there are five figures who serve as clowns: the Payakyamu, the Koshare (or Koyaala or Hano Clown), the Tsuku, the Tatsiqto (or Koyemsi or Mudhead) and the Kwikwilyak.[1] With the exception of the Koshare, each is a kachinam or personification of a spirit. It is believed that when a member of a kiva dons the mask of a kachinam, he abandons his personality and becomes possessed by the spirit. Each figure performs a set role within the religious ceremonies; often their behavior is comic, lewd, scatological, eccentric and alarming. Among the Zuni, to enter the Ne'wekwe order, one is initiated “by a ritual of filth-eating”; “mud and excrement are smeared on the body for the clown performance, and parts of the performance may consist of sporting withexcreta, smearing and daubing it, or drinking urine and pouring it on one another”.[2][3]

Anthropologists, most notably Adolf Bandelier in his 1890 book The Delight Makers, and Elsie Clews Parsons’s Pueblo Indian Religion, have extensively studied the meaning of the Pueblo Clowns. Bandelier notes that the Tsuku were somewhat feared by the Hopi as the source of public criticism and censure of un-Hopi like behavior. Their function can also include defusing community tensions, providing their own humorous interpretation of popular culture, re-enforcing taboo and communicating tradition.