Month: May 2006

Categories
Nature

Adela reaumurella

How did we ever get along without the internet to help us scratch those little itches of curiosity? Admittedly, most of them seem to be along the lines of “What have I seen that bloke in before? Oh, I see, he was in [embarrassingly awful sitcom I couldn’t possibly admit to watching]”, but still.

Anyway, in the woods the other day I saw a curious-looking insect, and I just got round to looking it up. Starting by googling ‘day-flying moths uk’ and going from there I came up with Adela reaumurella:

(photo from the fabulous UKMoths website and © Charles Baker)

Like a lot of insects, no-one has bothered to give it an English name, but apparently there are a couple of families of moths with these characteristic antennae, and they’re generally referred to as ‘longhorn moths’. You can see the peculiar antennae above, but the picture doesn’t give the full effect, because when I saw them they were flying all around each other in a little swarm in the sun above a hornbeam, holding their antennae up in a V shape for maximum visibility.

I’m guessing the lady moths like a male with a long horn; that it was, in fact, a moth lek. A lek is where lots of males congregate to compete for female attention, either directly (i.e. by fighting for the best spot), or indirectly (displaying their plumage) or some combination. Insert your own Essex nightclub joke here.

It’s not quite as exciting as having lekking Black Grouse, Ruff, or even hermits (check out the video!), but I was pleased.

One example of lekking behaviour is actually very familiar, although people don’t generally realise what’s happening. On a summer evening, you’ll frequently encounter a swarm of midges flying round and round above a prominent object like a bush. If you walk past them, they often follow you and swarm above your head instead. They are in fact lekking. The males find a convenient landmark and form a swarm, waiting for the females to find them. I assume that in some situations it’s just more efficient to attract the females to one place and then compete directly with other males than it is to expend the energy finding the females individually. I have no idea how the female midges decide which males are the attractive ones.

Categories
Napowrimo

#23 – Orphosis

Orphosis

Some body hair and a deeper speaking voice
seem poor reward
for thirteen years of dutiful
eating and shitting.

Boys should pupate,
and claw their way from the chrysalis
transformed into kaleidoscopic manhood.
Or at the least should
slough their skins,
peel off their old selves
and step out sleek and bright.

Categories
Culture Nature Other

The ternness of terns

George Szirtes discusses people’s need to identify things – flowers, birds – something he doesn’t share. Indeed he sets up (but slightly backs away from), an opposition between the botanist’s way of looking and the artists’s way. He ends like this:

Yet all the time I am aware that even an urban citoyen of the imagination should be able to tell a kingfisher by its silhouette as it flashes across a narrow stream or be able to name at least a hundred stars. One should be able to do that really, as well as trying to render the flashing sensation in language and learning to define the starness of stars.

I can’t help feeling that those people – the vast majority – who can’t distinguish a gull from a tern, a swallow from a swift, or a bee from a wasp or a hoverfly, are completely failing to appreciate the ternness of terns.

Being able to recognise something and distinguish it from superficially similar things seems absolutely central to any attempt to learn something about its thingness. The ability to attach a name is secondary to the process of coming to know a thing the way you know a familiar place or a friend.

Conversely, any birdwatcher could tell you that gaining some sense of a bird’s thingness, its inscape, is a key part of learning to identify it. Of course, being a prosaic bunch, they don’t call it ‘inscape’, they call it ‘jizz’. But if there’s a distinction between saying ‘I knew it was a tern because of its tern-like jizz’ and ‘I knew it was a tern because it had ternness’, it would take a better philosopher than me to elucidate it.

Categories
Other

Menu drollery

An Indian takeaway menu put through my door had this:

Biryanis
This elaborate form of cooking involves baking layers of meat or vegetables such that the flavours and aromas enthuse the rice; enhanced with saffron and spices.

Which reminded me of a couple of phonetic attempts at English from a menu in Spain. Since I can speak, read or write no languages other than my own, I always feel a bit embarrassed finding amusement in other people’s broken English, but these are just fabulous:

Fraid in bredcams praws

Could mits

Categories
Nature Other

Brilliant BBC fact-checking

BBC London, reporting on some building developments which are being held up by protests from English Nature, announced that the three key bird species were ‘Dartmouth Warbler’ (actually Dartford Warbler), Woodlark and Nightjar. But the really amusing bit was that the Nightjar was illustrated with film of some Wigeons. It’s always slightly unnerving when journalists report on a subject which you know something about; it makes you realise how much crap they must be talking the rest of the time.

Categories
Culture Other

‘Gothic Nightmares’ at the Tate

I went to Tate Britain at the weekend to see Gothic Nightmares – Fuseli, Blake and the Romantic Imagination (which finished yesterday). It was mainly an exhibition of Henry Fuseli, with a few pictures by his imitators and contemporaries, including William Blake. I don’t think I’ve ever seen such a large exhibition devoted to such a bad painter. This one, the snappily-titled Percival Delivering Belisane from the Enchantment of Urma, from 1783, gives you the idea; contorted, rather inaccurately drawn figures, overwrought, melodramatic treatment, and obscure medieval subject matter (another of his paintings has the title Wolfram Introducing Bertrand of Navarre to the Place where he had Confined his Wife with the Skeleton of her Lover).

It’s not just that the subject matter and mood aren’t to my taste; the actual painting is clumsy. To be fair, he did do some that were both technically better and more sophisticated than that. The Shepherd’s Dream, for example. But even at the time, his reputation was based on his imagination and sensationalism rather than technical excellence, and while I can believe that the work was exciting at the time, it looks pretty tame now.

I found the most interesting thing was the context it provided for Blake’s work. The painting above may not look particularly Blake-y, but the exhibition made the connection obvious. For that matter, we know that Blake was a great admirer of Fuseli’s work. I preferred Blake’s pictures, on the whole. He wasn’t a great painter, any more than Fuseli, but he had a couple of things going for him, I think. The first is sincerity. Fuseli, you feel, relished the strange and sensational in the same way people relish a horror movie; Blake was a full-on visionary who believed in some kind of truth to his paintings and prints of angels and spirits. The fact that Blake’s work is much more stylised is also a help. Fuseli’s work is fundamentally representaional and narrative, and if the subject matter doesn’t do much for you, there isn’t much left. Blake’s work is just more visually interesting, on the whole. I was particularly struck by a couple of densely painted works in tempera I haven’t seen before. This is one of them, The Spiritual Form of Nelson Guiding Leviathan:

Make of that what you will.

The other appealing thing was the Gillray cartoons that used imagery drawn from the paintings. Gillray is always good value, of course. Check out the portrayal of Charles Fox in The Covent Garden Night Mare on this page.

Having been rather negative about the exhibition, I do think it was interesting and I’m glad I went. It shed some light on a particularly moment of British artistic history, which is a good thing for Tate Britain to be doing; I just didn’t rate most of the work very highly.