Creature tweets

Lost of animal stuff on Twitter lately, as always, with much of the stuff I liked best involving dogs.

First, a dog’s unique way of getting past a gate.

Next, a reunion.

I looked up “cats and dogs” on Twitter, to see what epic confrontations would materialise, but instead found my way to #Dogandcat, which is full of dogs and cats getting along with one another, although some of the cats seem to be getting a bit irritated. Dogs, on the other hand … There’s just nothing they won’t do to oblige their humans. They’ll even like cats, if the humans tell them to.

I also learned of Dog and Cat, which is a TV show from the seventies about two humans called that. A young Kim Basinger is involved, presumably playing Cat. This never made it to England, first time around.

Moving away from dogs, horses are reminded not to overstep boundaries.

Next, because I know you’ve always had your doubts about this, ostriches:

… do not bury their heads in sand to hide from danger. They actually dig holes to bury their eggs and the myth came about from people seeing ostriches putting their heads in the holes to turn the eggs to ensure they are evenly heated.

Final full stop added there. Twitter is great for animal videos, but is ruining punctuation.

Finally, news from a fox. Well, actually a Fox:

A Twatter pile on I can deal with.

Extremely painful upper left molar, not so much.

Oh dear god, the agony.

Lots of suggested remedies follow. I trust the agony will abate soon.

The way this silo collapses …

Here. Says Peter Caddick-Adams, PhD, FRHistS, FRGS (to whom thanks for retweeting):

Ridiculously phallic …

Watch it, and see if you agree. I don’t think phalluses (sp?) collapse like that.

FRGS, I’ve just discovered, stands for Fellow of the Royal Geographical Society. This costs, but you also have to be recommended, checked out, and everything. PC-A would have aced it, because he is an expert on battlefields, which can get very geographical.

“Every educated person in the land knew of the Eder and the Möhne dams …”

I have been reading James Holland’s book about the Dam Busters, which contains some illuminating pages concerning the history of the dams that got busted. These pages (pp. 242-247 of my paperback edition) are interesting in their own right, and they also explain why busting the dams was more than just a materially very damaging blow to the German war effort; it was also deeply demoralising for the German people:

There was another very good reason why the dams were a good target, however, one that was touched upon by Barnes Wallis during his second meeting with Gibson on 29 March. ‘The Germans,’ he said of the Möhne, ‘are very proud of this dam.’ In fact, they were proud of all their dams, although of the Möhne and Eder in particular; they were among the best-known structures in the Reich. Dams, of course, were as old as the hills. It was a German, Georg Steinfurth, who discovered the world’s oldest in 1885 – the Kafara Dam south of Cairo. In Spain, the Roman dam at Cornalvo had been standing for the best part of two millennia. However, although these were ancient structures, they had not been built on the kind of scale that the Germans began building them in the latter part of the nineteenth century.

Although Germany was a new nation, just seventy years old, there was nonetheless a tradition among the German people over the previous 200 years of transforming their landscape, or conquering nature. Germany by the beginning of the war was a quite different place from how it had been just a couple of hundred years earlier, especially its lowlands. At the beginning of the eighteenth century, it was a wild place, full of low-lying marsh and fenland. Travellers likened it to Amazonia and the New World. Wild animals like boar and wolves roamed, while the Rhine, Germany’s greatest river, snaked its way north through hundreds of separate channels, which were divided by endless little islands, sandbars and gravel banks. Along long stretches of its banks were damp forests, not lush farmland and industry. And because this river was so wild, because its flow of water so unpredictable and its depth so varied, it was for large parts completely impassable.

Yet as Prussia’s strength grew, so did its prosperity, and with it the increased need for mobility. What a difference it would make if this wild part of north-west Germany could be tamed. One German engineer, Iohann Tulla, believed he could, and so began one of the most extraordinary engineering feats the world had ever known. Quite simply, Tulla straightened the Upper Rhine. Not only was it an extraordinary achievement, it was also one of the world’s biggest engineering feats. By carving out new channels and damming up the twists and turns, the flow of water improved. The Rhine took on a completely different appearance, and was now shorter by some fifty miles. Moreover, the water now flowed deep enough and fast enough to allow large-scale navigation. The Rhine, by the early part of the nineteenth century, had become one of Germany’s most important arteries.

Now that the Rhine was properly navigable, the population along it rose rapidly. Further to the east, in the Ruhr area, coal seams were developed and through the nineteenth century the area grew with industrial plants springing up all around it. More and more water was needed: for the rising population to drink, and for the rapidly increasing industrial processes. Canals were built, and so too were railways, providing a network that enabled all this industry to be spread around the country.

Suddenly, there was no longer enough water consistently feeding into these rapidly growing areas. The natural cycle of water flow running into the Möhne, Wupper, Ruhr and Eder followed an irregular pattern – heavier in winter, less so in summer, but one that had become more extreme through deforestation and cultivation in their upper reaches.

Dams were the solution, although, as the Germans were discovering, by upsetting one of nature’s rhythms, they were being forced to alter another. Constructing large dams had begun in Alsace as a means of building up a mass of water from the inconsistent flow of rivers running down from the Vosges Mountains. These dams, comparatively small, were so effective they paved the way for the golden decade of dam building in Germany. In the 1890s, dams were the solution to the booming industrial region of Rhineland- Westphalia.

The first large dam was the Eschbach, which provided drinking water for the growing population of Remsheid. This had been designed by the greatest of German dam builders, Otto Intze, and his stamp would be all over many of those that followed: by his death in 1904, he had built no fewer than twelve.

A regular flow of water may have been needed in the rapidly growing area of Rhineland-Westphalia, but it was even more essential a little further north in the Ruhr Valley. The annual flow of water into the Ruhr was heavy, but deforestation in the Sauerland, the mountainous region east of the Ruhr, had intensified the extremes of seasonal variation. These were also exacerbated enormously by the huge amounts of water being pumped from the lower reaches. Water was needed for drinking, not just by the populations of towns on the Ruhr, but by those on the now polluted Wupper, Emscher and Lipper. Water was also needed by the mining, metallurgical and chemical industries, for cooling, cleaning and processing. The Krupps Works in Essen, alone, were responsible for using vast amounts of water both for their manufacturing processes and for their hordes of thirsty workers.

By the turn of the century, the Ruhr Valley was in crisis. In high summer, water levels were so low, it was possible to walk across the river without getting barely wet at all. Dams were clearly the only solution. Intze built two across a couple of small tributaries, but it was not enough. After long arguments about whose responsibility it was to resolve the crisis – after all, building dams was not cheap – the Ruhr Valley Reservoirs Associaton, or Ruhrtalsperrenverein – was formed in 1899. This collection of interested parties collectively funded the programme of dam building that now hurriedly got under way. Seven were built by 1906 – all by Intze – but then came a move to build substantially larger dams. The first was the Lister, which, by 1912, when it opened, had a capacity of 22 million cubic metres.

Its supremacy lasted just a year, for in 1913 a new, even bigger dam, designed by Intze’s star pupil, Ernst Link, was opened. It held a staggering 130 million cubic metres of water – more than the combined capacity of all of the dams built previously in the Ruhr and Wupper region. This vast edifice was the Möhne Dam.

But the Möhne was also about to be eclipsed. Forty-five miles to the south-east, an even taller, though not wider, dam was being built across the River Eder, one that would have the capacity to hold a mind-boggling 200 million cubic metres of water, ten times the amount of the Lister, which when it had been inaugurated had been the largest of its kind. The Eder Dam, when it was completed in that fateful month of August 1914, was the largest dam in Europe. Its waters stretched for seventeen miles, covering a lush, fertile valley where villages and many farmsteads had once stood. Its construction was considered such a profoundly incredible achievement, the Kaiser and his wife had been due to attend its inauguration. That had been planned for 15 August 1914. War had scuppered that plan, but during its construction, the Kaiser had visited the rapidly growing dam wall, as had his daughter, Princess Victoria.

It was no wonder these structures attracted so much attention. They personified the German conquest of nature and were symbols of German identity. Every educated person in the land knew of the Eder and the Möhne dams, as familiar as the Empire State Building became to Americans. They symbolized the emergence of a great and unified power. The Book of Famous Engineers was a popular book aimed as much at a youth market of aspiring young Germans as anyone, and contained a whole chapter on dam builders. Men like Otto Intze were household names in Germany, held as champions of a bright new dawn and an age of technological wonder. On no fewer than three occasions he gave private lectures to the Kaiser, who was, like most of his subjects, fascinated by technological innovations and developments.

Another popular, post-First World War tome was In the Wonderland of Technology: Masterpieces and New Achievements That Our Youth Should Know. And most of them did: radios, Zeppelins, Mercedes-Benz motor cars and the Eder and Möhne dams were all written about, feats from Germany’s proud era of technology.

The large lakes behind the dams became huge tourist attractions. Tens of thousands of visitors travelled to the Möhne, Eder and other dams every year. Hikers walked around the shores, anglers fished, sailors sailed, or rowed on pleasure dinghies, or took steamer trips. Others just stood at the foot of the vast walls of granite and masonry and marvelled at the wonder of such enormous constructions – constructions that looked so solid, so thick. So impregnable.

It is possible that there may be objections to me reproducing such a long excerpt from this book. If there are any objections, either from the author or the publisher, this posting will immediately be removed.

The Chinese government shoots itself in the social media

Glenn Reynolds, writing about the Chinese government’s handling of the Coronavirus outbreak:

The Chinese government continues to censor news and social media. This not only keeps the rest of the world from knowing what’s going on, it also makes it harder for the government itself to keep track of what’s really happening, as opposed to what underlings are reporting to their superiors.

Interesting way of looking at social media, I think. What this is saying is that the government in the world that is most keen on mass surveillance has totally crapped all over the world’s greatest ever system of mass surveillance, and rendered it useless for that purpose. Ironic, when you think about it.

KC Gandhi squeak a win

Churchy just tweeted this:

He doesn’t say where he found it.

Having got to a thousand, Dhanawade then wanted to dig in and make it a big thousand. But he was cruelly cut short, just as he was getting into his stride.

Well, no. Proper report here. Happened way back in January 2016. I vaguely heard about this, or read about it and forgot, or something. Nice to nail it down.

The artistic retreat from beauty

Like many people, I like photos like this:

Not photoed by me. I wish it had been photoed by me. But, not.

It makes me think of David Hockney, who also likes leafless trees.

I’ve said it before and I’ll say it again (ISIBAISIA): Artistic fashion often goes where it goes not because it is leading us all into some new and exciting artistic domain, but because it is retreating from an area where it can no longer make any sort of living. Example: beauty. Of the sort you see in the above photo.

Googling is good for things describable with a single word. But something like the idea that artists now hate doing beauty is a bit harder to track down. Google tends to fixate on one of the words you use and ignore all the others until it has told you everything it has on, you know, “artists”. Then, keep scrolling, and soon you will be learning of everything there is that you can read about “hate”. The closest I could get to what I wanted was a piece at the Tate Gallery website, entitled JJ CHARLESWORTH FINDS BEAUTY, ALONG WITH A SUNNY VIEW OF THE FUTURE, TO BE SOMETHING OF THE PAST.

I agree with JJ CHARLESWORTH that artists who reject beauty do this partly because they have a gloomy view of the future. But, ISIBAISIA, there’s surely also the fact that all of us now have machines on our persons which can crank out beauty on a daily basis, immortalising everything beautiful that we encounter that we wish to immortalise. Click. And if we can’t even be bothered to do that, plenty can be so bothered, and now pile their efforts into the great global photo-gallery that is the internet, that of course being where I got the photo that adorns this posting. What chance does the average artist have when up against all that? No wonder they prefer ugliness, ugliness so ugly that the Daily Mail will supply free publicity for it, “conceptual” art, painting with shit and piss, and such like. Oh, an artist can add beauty of the sort that a regular photo won’t add, but they can’t add enough extra beauty to justify all the extra bother. And especially not in the age of photo-processing software, which can also add beauty. Now, picture-making software can enable you to create beauty.

Hockney, of course, is not an average artist. He is exceptional. He is in the top one per cent. He can paint whatever he likes, and people will still pay him lavishly for it. He can even sell his photos. But for his pains, all the official art people now agree that he is very passé for still doing beauty.

So, the artists have retreated out of beauty. They call it an advance, but they’re not fooling me. And now that I’ve explained this to you, they aren’t fooling you either.

ISIBAISIA

ISIBAISIA stands for “I’ve said it before and I’ll say it again. As I get older, I find myself wanting to use this phrase more and more, hence my need for an acronym. Which, I note, other persons are already using also.

Anyway, the latest thing that I’ve said before and now find myself in the process of saying again (while linking back to the first version) is something which you will encounter if you scroll down in among this, at Samizdata, namely this:

Recently there was a comment thread here about modern art, about how ghastly it is, how badly it bodes for Western Civilisation, etc. etc. But I believe that to be as pessimistic about the future of the West as some of those pessimistic commenters were, merely because of a lot of stupid abstract paintings, is to fall into the trap of regarding artists in the way they like to regard themselves, as a vanguard of civilisation (an “avant guarde”), rather than as mostly a rearguard. You simply cannot understand Modern Art without appreciating that it takes place in a technological space first developed by, and then abandoned by, the industry of making pictorial likenesses. Abstract art is, in many ways, a rationalisation of the fact that likenesses are now no longer demanded, on the scale of former times, from “artists”. …

Old school art was a business as well as an “art”. …

Painting used to do likenesses. And the new point I am in the middle of making, in the next posting here, is that painting used to do beauty. But photography is now doing beauty also. (Expect a beautiful photo-illustration.) So painting has retreated out of that too. Art doesn’t “advance”. It merely ducks, weaves and accumulates, piggy-backing on technologies developed by more business-like businesses.

Male seahorse delivering babies

Here. Amazing. I never knew this. At all.

Far too good to wait until next Friday. (Friday being my usual day for cats and other creatures stuff.)

I Twitter-follow Steve Stewart-Williams, and strongly recommend him as a followee. (Provided only that you agree with him (and me) that evolution is real and that doubting it is foolish, in which case he might make you angry.)

Or, to put the more general point the other way, if all you get from your Twitter feed is political bile and general nastiness, you’re not doing it right.

FaceID

Back in my Alternative Bookshop days, I and my libertarian pals used to joke about things that were both compulsory and illegal. It would appear that face masks in China are pretty close to being that, because of the conflicting demands of plague protection and facial recognition.

But at least, according to this report (at the top of which appears the above photo), I have (when displaying photos like these ones here) been getting how “FaceID” does and does not work approximately right:

Most complaints are about unlocking mobile devices. Apple confirmed to Quartz that an unobstructed view of a user’s eyes, nose, and mouth is needed for FaceID to work properly. Similarly, Huawei says that its efforts to develop a feature that recognizes partially-covered faces has fallen short. “There are too few feature points for the eyes and the head so it’s impossible to ensure security,” explains Huawei vice president Bruce Lee, in a Jan 21 post on Weibo.”We gave up on facial unlock for mask or scarf wearing [users].”

Or have I? The software used by mere people, for unlocking their mobile phones, may not now work if you are wearing a face mask. But what if the governments of the world have graciously permitted themselves to use far better software, which can easily see past a face mask?

Big Things in alignment

Are you fed up with photos I photoed years ago? Well, to make a change, here’s a photo someone else photoed years ago:

That’s the dramatic photo at the top of a piece in The Independent entitled, in appropriately dramatic capital letters, SUPERMOON 2020: HOW TO SEE SNOW MOON THIS WEEKEND.

Getty Images says, about this photo of theirs

A full moon passes behind The Shard skyscraper on 9 September, 2014 in London, England

Anyway, the point is, something similar might well, weather permitting, be happening this coming Sunday.

The first supermoon of the decade will rise over the skies of the UK on Sunday, offering the brightest and biggest view of the moon in almost a year.

It will be the first of four supermoons set to take place in 2020, and the first to occur since 20 March last year. They happen when the full moon is at its closest point in its orbit of Earth, making it seem bigger and brighter than usual.

Weather permitting, people around the world will witness the spectacle on 9 February, with the exact moment where the effect appears strongest happening at 7.34am GMT. The moon will appear full for around three days, spanning from Saturday to Monday.

The time of year means this full moon has traditionally been known as the Full Snow Moon or the Full Hunger Moon, as it often coincided with heavy snowfall and difficult hunting conditions.

Personally, I’m in favour of “difficult hunting conditions”, because I’m a townie and I hate hunting, of any animals not capable of turning around and attacking and devouring their pursuers. But I digress. I am in favour of good photoing weather.

The weather today, like the weather yesterday, was perfect. Here’s to that lasting. Which our forecasters now say it won’t. Shame.