Tag Archives: Steampunk

Vintage

Dead Media- 3D

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A can of virtual reality

I’ve always been fascinated with stereo viewers. Once upon a time, when I was a wee lad, I visited my great-grandmother at her wee home in Jolly Olde England.  It turned out that she had the same regard for immersive technology as I did- she had a Victorian era stereograph viewer and a sick collection of  antique 3D stereo cards. Steampunk or what?

Victorian Stereograph ViewerYes, stereoscopy has been around for a long time. That contraption belonging to my great-grandmother was made of wood and had two glass lenses. It weighed so much I had to brace it on the floor, on top of a pillow, and lie in front, resting my head on my elbows. It was worth the effort. I could see ‘into’ the photograph and felt like I was transported into space and time. On a side note- I had this experience again decades later when I bought a heavily discounted (read: cheap) Nintendo Virtual Boy.

View-Master

This feeling of traveling outside of the body and experiencing a sense of virtual surroundings was shared by millions of kids and adults when the View-Master was first released in the late 1930’s. Here’s what Wikipedia has to say: “View-Master, since 1939, has been a device for viewing seven 3-D images (also called stereo images) on a paper disk. Although the View-Master is now considered a childrens’ toy, it was originally marketed as a way for viewers to enjoy stereograms of colourful and picturesque tourist attractions.”

Whatever the original intent was, View-Master has become synonymous with several generations of Pop Culture geeks and depending on your age, the sight of a black or red (or red and blue) View-Master conjures up images of Donald Duck, The Lone Ranger, or E.T., The Extra-Terrestrial.

Keep a bottle of eye drops nearby.
Keep a bottle of eye drops nearby.

Like most immersive technologies, educational and practical uses were developed. The U.S. Military used the View-Master as an aid in the identification of airplanes. The Gruber Company used the View-Master to develop human anatomy study guides. But for all of this, the best View-Master reels are 1960’s Batman and 3D stills from the original Tron film. Of course this is highly personal and your tastes may be different.

3D is back sort of…..although the last few years have seen North American releases of 3D blurays finally end (and no 3D televisions being manufactured), Europe continues to see new releases and these can be purchased online. This is a good thing.  Sure I can dust off the bluray 3D version of Tron (Tron: Legacy). and still enjoy it’s jaw dropping immersion but it’s nice to know that the newer releases such as Wonder Woman 1984 can still be added to the collection.

Oculus Quest 2

If 3D is dying a slow death the same can’t be said for it’s direct descendant. Virtual Reality gaming and simulation takes immersion to an entirely other level:  it provides a full 360 degrees of movement and viewing, complete with real world effects such as light and shadow movement and visual scaling.  If you haven’t already tried VR gaming then you are missing out. But that’s a story for a future article.

For the Silo, Jarrod Barker.

One of my personal fav's.
Tron 1982 ViewMaster Image
Art

Mecha Artist Simon Kotsch Predated Steampunk

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In 1968 Simon Kotsch got into the army surplus business. It was good to him, but in ways you might not expect. Something began to happen to Simon as he sorted through his bounty of obsolete engine parts and electrical fittings: he noticed that he found the pieces beautiful. An excitement took hold of him. And then he went to work, drilling and cutting and fitting metal components together to make new things. Beautiful things. He felt “caught up,” he says simply. So began a love affair with military-industrial cast-offs that continues to this day. This was the birth of a sculptor and of a mecha artist.Let us throw aside, officially and forever, the artifice of journalistic objectivity.

I like this guy’s passion and I like his work. When we visited Kotsch’s Victoria St. Studio in Simcoe, Ontario we were greeted with warm smiles that never went away.  Taking joy from your work is one thing, but when you combine joy with the sensibility of a true artist who respects, even loves his materials, the results can be magical.Some of Kotsch’s sculptures look like they could have come from the mind of Jules Verne—grand, monumental machines whose functions border on the mysterious, infused with Kotsch’s concern for symmetry and his acute sense of balance, proportion, and pattern. Others have a strong vertical momentum, like castles or rockets with many levels. But not everything has a sci-fi feel.

Kotsch uses the heft and gravity of larger pieces to create powerful and interesting earthbound sculpture. His ability to recognize, or create, striking patterns makes some of his metal works quite decorative to my eye—and that in no way infringes on their status as works of art.

Kotsch says he “savours the natural colour” of each item, whether it’s aluminum, copper, brass or porcelain (used as insulation in old electrical systems). You will not find much (any) painting here. You will also not find much welding. This, by his own admission, is because he’s not very good at it, and mediocre welding would make a sculpture look awful. He cuts and drills to make pieces fit. One technique he has developed is to take slices out of solid machine parts with a band saw, revealing patterns of copper wire within, like opening a geode.

An example of influence: years of working with Army surplus ephemera have inspired Simon’s forms

Simon Kotsch takes obsolete machinery—all of his extensive catalogue of parts predate metric—and turns it into stimulating works of art. We spent about an hour with him, and I left both  excited and energized. I, too, had been “caught up.” This is one of the miracles of art for me:  through active engagement with an artist’s work a kind of interface occurs between creator and appreciator, mediated through the work itself. I certainly appreciated the skill and imagination of Simon Kotsch, but I think I caught a bit of his love as well.  For the Silo, Chris Dowber.

A look at some of Simon’s works.

Listen To Simon Kotsch Interview

An oil fluid coolant system split in two reveals a beautiful maze structure