Crowolf Can Type!

Fence-A-Thon 8, the Chesapeake Fencing Club's annual fundraiser, is rapidly approaching. It will be held on October 19th and 20th at the Liberty Christian School in Owings Mills, Maryland. It is an all night fencing marathon. Yep, we try to see how long we can keep fencing. There are prizes for number of bouts fenced and number of bouts refereed. Winning or losing does not matter, which is what make it such a fun event. There is none of the stress and high strung emotion of a tournament.

The event benefits the club and the Sisters Academy of Baltimore, both worthy causes. You don't have to be a fencer to contribute. You can sponsor me or the girls for number of bouts fenced or refereed, make a lump some donation, donate door prizes or food, or buy a t-shirt.

 

Speaking of the t-shirts, I've been busy working on the graphics, t-shirt and poster designs. We've decided to do a full color graphic on a black t-shirt this year. I think it is going to look really sharp. It might be my all time favorite Fence-A-Thon shirt. We may have extras to sell after the event but if you want to reserve one, let me know before the registration deadline, October 12th. Or just go download the registration/t-shirt order form and send it in with $25. You can get extra t-shirts for $15. Just a little above our cost.

I've still got to get some posters printed up and distributed. We'll being giving some out to the media and possibly the governor. He has declared October to be CFC Fencing Month in Maryland. Ray and Dan will appear on Fox 45's morning news show on October 15th to promote the event. We are hoping the media attention will promote another record turn out.  

I spent yesterday evening down at the Chesapeake Fencing Club taking photos for Dan and Ray. They are training to set the world record for continuous fencing and I'm working on some promotional material for it.

The main concept is something along the lines of a vintage boxing poster.So I hauled out the Argus 75 and the Duaflex and did some digital "Through the Viewfinder" shots (and some straight up digital stuff too). The light is terrible but I got some interesting results. I had about 250 raw shots to work from after I threw out the obviously blurry stuff.  So I've been  messing with them all day.  I'm trying three basic directions with them. First, I did some saturated  "painterly"  versions.  Dan's blue  lame looked great against the  gold  walls at the club (I did the wall treatment too with the help of my daughter Clare. They used to be filthy white with black mold accents. The fencing club is in a basement after all.) Then I tried some faux vintage1930's looking sepia photos and finally some less distressed but still slightly sepia ones for a fifties look. I've been shamelessly raiding Kathleen's Flickr stream for vintage photos to use for the edges and textures. By this afternoon I was stir crazy from looking at them (In person Thursday and on my computer today) So I posted what I had finished so far to a Flickr set. I'm pleased with the results so far but I had to do something fun to maintain what little sanity I still possess. So I was looking at  one of the pictures whre Ray and Dan had decided to clinch their off hands (the ones not holding a weapon) into a fist. Historically you'd have a dagger or soemthing in it or at least use it to parry incoming blows but in the modern sport of fencing it is illegal to use it and you have to keep it out of the way. It cannot cover target and target is the whole torso in foil. Clenching the fist seemed a bit more combative than the usual relaxed limp wrist. But it got me thinking about what I could put in those hands (only after abandoning or at least temporarily shelving plans for grafting animal heads onto our two fencers. I started looking at monkey pictures first. Monkeys seemed like a great unconventional off hand parrying device but I did not want to stir up any C.L.I.T. (Coalition for Liberation of Itinerate Tree-dwellers) supporters. Then I thought of gnomes! Eureka! The sport of Gnomeschwertfechten was rediscovered.

"Gnomeschwertfechten was popular amongst German and Austrian fraternities for a brief time during the late 1920's. It was an offshoot of the Mensur duels that students engaged in in order to earn a dueling scar, usually on the left cheek. Gnomeshcwertfechten was popular because the gnome, held in the off hand, left a small; complimentary scar on the right cheek called a gnomerenommierschmiss."

I found some photos in one of the Colmore boxes that appear to have been taken by his younger brother Jonathan during the First World War. It seems he was a member of the famous regiment known as "The 7th Royal Jedburgh Thespian Reivers". Tragic little tableaus. The notations on the reverse indicate that this one is from their 1918 frontline production of "A Midsummer Night's Dream".

 I've got an ongoing project that is keeping me from attending to my important blogging duties. It involves  a Scottish adventurer, inventor, and photographer named Neville Colmore, who claimed to have constructed a device capable of "...parting the veil of Faery...". The device, which he called the "Spectobarathrum", produced beautiful photo graphic plates he called "fatagravures", through a now lost process. The original "Spectobarathrum" along with all of the images he claimed to have made were believed destroyed in a fire.

Because of my background in anthropology, archaeology, digital imaging, art, Scottish history and as a board member of the Traprock Society, I have been asked to examine these materials. The current caretaker of these treasures wishes to remain anonymous but has given me generous permission to share a bit of my work here and in my Flickr stream.

These astonishing images should not be confused with the later, more familiar, Cottingley garden fairy photos on which  the 1998 film "Fairy Tale - A True Story" was based.  The Cottingley photographs were published around 1918. His were first made public in the 1890's. They were presented in scientific lectures and by and large ignored. The Cottingley girls had a literary champion in Sir Arthur Conan Doyle and they were cute little English girls. He was a cantankerous Scots scientist with a thick Border accent and was consider quite mad by the majority of his peers in the United Kingdom.  Colmore was very bitter about the attention they received.

He was convinced that the Cottingley images were hoaxes and felt they received far more attention than they warranted due to the fame of A. Conan Doyle and the cloying sweetness of the girls. However, when the popularity of the Cottingley images surged, he did manage to enlist his own literary and scientific champion, the famed American explorer and author, Walter Traprock.

He was best known for the popular accounts of his scientific expeditions published in the 1920's,  Cruise of the Kawa, Sarah of the Sahara and My Northern Exposure. He is shown at right in native garb in a photo from one of his expeditions in the South Seas.

Traprock had connections with George Chappell (1877-1946) and through him the Algonquin Roundtable. Colmore had high hopes for wide exposure and lecture tours in America. Where he would not face the real or perceived snubbing that greeted his presentations in Britain. Dr. Traprock predicted that "...all New York will be mad for fairies! " They hoped to publish a book on elucidating his research and scientific theories about the existence of the world of Faery and presenting his astounding fatagravures in published form for the very first time.

Tragically the fire that was believed to have destroyed all of his materials occured before their collaboration came to any fruition. However, I believe that some of the material that I have been asked to examine may have been part of Traprock's estate that was never published due to the controversies and accusations of fakery that arose around Traprock's earlier books. Prior to his death, Colmore did not give any public indication that he knew of anything surviving the fire.

There is lots of stuff in a jumble and I'm mostly trying to concentrate on cleaning and conserving material at this point. I have been trying to clean the fatagravure plates

and digitally photograph them. I then use photoshop to invert and process the images into something discernible. After much effort, some of them are quite lovely and I have been trying to post some of the better ones. The discussions generated in the commentary on Flickr have led to further digging and some interesting findings.  I wil try to keep  you,  my legion of faithful readers, abreast of all the latest developments.

So I guess I have run out of excuses for not borging or blogging or whatever you kids on my lawn do with your computers. WSIWYG and linked to Flickr won me over. Incompatibilty with Safari almost gave me an excuse but I'm using Firefox more and more these days. I was even considering making it my primary browser of choice but I can't get Paypal to play nice with Firefox.

Kat tries to push me into the tools all the hip kids are using. I do cringe when I get the same tone from Kat that I let creep into my voice when I do unpaid Macintosh tech support for my elderly relatives. "Why is there a little yellow man next to my address in my AOL mail?"

She was all hot on Flickr awhile back and I uploaded a few pictures and got little response from anyone but her so it kinda went on the back burner. Then I had a bunch of shots from my nephew's wedding that I needed to post and share with family. So I actually learned how to use Flickr and discovered all the groups.

Now I'm hooked and not just on the ego strokes of comments, views, favorites and having pictures making it into Explore. It is finding other people with the same weird aesthetic. learning techniques I'd never thought about and being part of artistic communities. Being a stay at home Dad, for the most part, for the last 6 and a half years and moving to a totally different part of the country far from most of my freinds and family has left me pretty isolated. Flickr gives me a little glimpse of what it might have been like to be part of one of those historical tight circles of artists or be part of a movement. It feels like taking art back from the commercial world where it has lived for so long. Come see what I painted on my cave wall! Thanks Kathleen!

MY CAVE