The vampire squid

Imagine this thing leaping on your face during a late-night skinny dip. The vampire squid is a strange, finned octopod, black with large red eyes and two luminous organs glowing on its back. It was discovered in the early 1900s and given the name Vampyroteuthis infernalis – the vampire squid from Hell...

Images courtesy of Opulent Oceans, by Melanie LJ. Stiassny, published by Sterling 

Images courtesy of Opulent Oceans, by Melanie LJ. Stiassny, published by Sterling 

Vampire squid have been found in temperate and tropical oceans, living at depths between 600 and 900 metres. We now know they're not true squid and are also not vampires – in fact, they are the only known celaphod that is not an active predator. It feeds on detritus (the remains and waste of marine organisms) that rains down from the surface waters. It collects this ‘marine snow’ in mucous produced by a pair of modified arms; and forms it into balls of food that are passed into the mouth and ingested. Just heavenly.  

You can hang a fine print of the vampire squid up in your bathroom, along with other vintage prints of marine creatures, including sea urchins, jellyfish and whales, which come with the new book Opulent Oceans, published by Stirling.  

Opulent Oceans is published by Sterling. The stunning book includes essays and accounts from early naturalists and comes with 40 frameable art prints of sea creatures. You can order a copy from easternbiological.co.uk; £38

Anatomy of a pinhole camera

The camera obscura discovery that led to the invention of the pinhole camera can be traced as far back as 5th-century China. It is the simplest form of camera; at its most basic it consists of a light-proof box with tiny hole in one side. The hole acts as the camera's lens, allowing light to enter the box and project an inverted image on the back wall.

Illustration: Aidan Meighan

Illustration: Aidan Meighan

LENS This is the pinhole, which enables a cone of light to pass into the box. The diameter of the pinhole has a direct bearing on the sharpness of the image. The smaller the hole, the sharper the image.

CAMERA BOX A dark housing in which the light rays can be trapped, and seen, most clearly. You can use any receptacle, from cardboard boxes to tin cans for this purpose.

LIGHT RAYS Rays of light travel in straight lines and pass through the pinhole. These rays are inverted upon entering the camera and project an image, if the box is dark enough.

MIRROR AND SCREEN As the light rays hit the mirror they are inverted again, so they are viewed the correct way up on the screen. 

Words by contributing editor Duncan Haskell.

Lego lost at sea

In 1997, a rogue wave hit the container ship Tokio Express 20 miles off Land’s End, sending 62 bus-sized containers overboard. One held five million pieces of Lego, many of them sea-themed. Soon, beachcombers were finding plastic dragons and octopuses washing up on the shores of Cornwall and Devon, along with tiny flippers, scuba tanks and life preservers. Oceanographers believe the Lego pieces have floated all over the world....

Devon-based Beachcomber Tracey Williams is recording the journey of the sea-bound Lego on the ‘Lego Lost At Sea’ Facebook page, where finders share pictures and memories of the epic Lego spill. We chatted to Tracey about her colourful quest and the sobering realities of marine debris...

When the spill happened in 1997, did you have any idea it would impact you personally in such a way? 

No. At the time I was just intrigued by all the Lego washing up on the beaches around our family home in south Devon. Tiny flippers, cutlasses, scuba tanks, life preservers, spear guns, seagrass and very occasionally a Lego dragon or an octopus. We knew it must be from a cargo spill. My children would go down to the beach with their tiny plastic buckets and fill them with ‘treasure’. We stored it all in my father’s garden shed, which was tethered to the clifftop by guy ropes to stop it blowing away in storms. 

How much of an impact has the spill had on the beaches? 

Nearly five million pieces of Lego is obviously a significant amount but so much debris washes up all the time – the Lego is but a drop in the ocean! Although the Lego used to wash up intact it’s gradually breaking down into smaller and smaller pieces. Maybe it will eventually be unrecognisable. Micro plastic pollution is a huge issue. 

How far and wide across the globe have these Lego pieces been found? 

We’ve had quite a few reports from the Netherlands – the Lego has been washing up there for years. A beachcomber in Texas recently found a Lego octopus and someone else in Maine, US, found one of the Lego life rafts. A beachgoer in Australia found a blue Lego flipper and we’ve spotted Lego spear guns in montages of beach finds posted online by beachcombers in California. In recent weeks we’ve also had reports from Portugal and France. Obviously it’s hard to tell from a single find whether it’s from the Tokio Express or just a random loss but oceanographers do believe that the Lego will have travelled all round the world by now. We tend to look at patterns, i.e., whether or not more than one item has washed up and if so whether they are pieces we recognize.

Do you have a favourite piece of Lego that you’ve found? 

It’s always fun to find a Lego dragon or an octopus. And I still love finding the teeny tiny cutlasses. They often wash up with the nurdles or mermaid’s tears – those tiny pellets of plastic that are the scourge of the oceans.  Because the cutlasses are so tiny they are really hard to spot.

Is there a piece you’re hoping to find? 

Yes – a green dragon. Only a few of those have been reported so far. I still remember the envy when our next door neighbour found one! 

Have you ever considered having a Bring-Your-Own Exhibition to show off the quirky pieces found ashore?  

Now that’s a really good idea! We have considered putting on a display. We’re writing a book about our project at the moment so once that’s finished we’ll think about an exhibition. 

We can see in some of the pictures posted online the amount of debris that is washed up on the beaches in the South. Do the Lego-searchers help out in clearing up the beaches? 

We’re part of a network of beach cleaners and originally set up the Lego Lost At Sea page so that between us we could record where the Lego was turning up and how much had been found. We knew other people were finding it too and thought it would be interesting to track how far it had travelled and who was finding what. After the BBC featured the page the number of followers shot up from 400 to over 50,000. We do encourage them to do a two-minute beach clean or a mini beach clean while they’re hunting. If everyone who visited the beach did the same we could make a huge difference.

What debris – aside from Lego – is being washed up onto these beaches? 

Where do I start! Discarded fishing gear, beach litter, food packaging, dirty nappies. Items from other cargo spills, such as shoes, clothes, syringes, lighters, intravenous drip bags, car parts, etc. Sewage related debris – tampon applicators, cotton bud sticks, lancets. I’m always amazed at the number of toothbrushes that wash up. Plastic bottles, bottle caps (beachcombers in Cornwall collected over 60,000 bottle tops for the Great Cornish Bottle Top Chain, an initiative organised by Rame Peninsula Beach Care). Much of the debris we pick up has come from cities and towns – dropped on the street and washed into storm drains, rivers and eventually the sea. Some of the litter we find has travelled thousands of miles – we get quite a bit from the US and Canada. Some of the marine litter is quite old. We’ve dated some of the toys we’ve found to the 1950s. 

Are there any elusive pieces that are on the ship’s manifesto that haven’t been found ashore yet? 

Yes.  As an example, we still haven’t found the dragons’ wings, arms, tails and fiery breath! Where are they? We do tend to find the same pieces time and time again but there are many more items on the inventory that we haven’t yet discovered. Not all the Lego floats though. We believe some may still be trapped in crates at the bottom of the ocean.    

Do you have any advice for would-be Lego-seekers? 

Do check the tide times before you head to the beach and wear protective gloves. We often find the Lego on the strandline, among the seaweed and micro plastic that washes up. Some of the smaller pieces, such as the Lego cutlasses and daisies are really hard to spot. We often find those when we are down on our hands and knees scooping up the nurdles. Searching by colour is another technique Lego hunters use. A friend recently found one of the elusive Lego dragons when she focused solely on picking up black plastic from the strandline. She would probably have never spotted the black dragon lurking in seaweed otherwise! 

Tracey was interviewed by Rosie Gailor.

To find out more about Lego Lost At Sea and to log your washed-up finds, visit the Lego Lost At Sea Facebook page.

This originally featured in print issue 4 of Ernest Journal, on sale now.

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Words from the woods

Overgrown by the moss of time or languishing in the deep forest of obscurity, these sylvan words deserve another chance to emerge blinking into daylight

The Way Things Were, Ruth Allen/blueeggsandtea.com

The Way Things Were, Ruth Allen/blueeggsandtea.com

nemophilist

This rather sinister-sounding word has rarely been used for over 100 years. It describes someone with a fondness for the forest; a haunter of the woods. It originates from the 19th century and derives from the Greek words nemos meaning grove and philos meaning affection.

fyrhth

A Norse word to describe a sparse area of scrubland at the edge of a forest. In its modern form it becomes frith, hence Chapel-en-le-Frith – the Chapel in the woodland. Frith developed to‘thrift’,as inThriftWood in Croydon. Frith is also the name of the Sun God in Watership Down.

shaw

From the Old English sceaga – a word for copse or thicket – it also describes a strip of woodland forming the border of a field and bears relation to the North Frisian word skage, meaning the farthest edge of cultivated land. We of course know it as a popular surname today. 

foxfire

A term to describe the luminescent green glow emitted by decaying fungi, sometimes visible at night in forests. It was described by Pliny the Elder as an ‘Agaricke (fungus) that grows on trees and shines at night.’In folklore it is said to indicate the places where fairies gather for their nightly revels.

woodwose

Depicted in medieval folklore, the woodwose is the mythical hairy wild man of the woods. It derives from the Anglo-Saxon wuduwasa (man of the wood).Ted Hughes wrote a poem entitled Wodwo about a half-man,half- animal creature musing on its existence while wandering through a forest. 

Words: Brian Chapman. Originally published in issue 4 of Ernest Journal.

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listen to Scriabin's Mysterium

Meet Russian composer Alexander Scriabin, whose week-long synthesised symphony was all set to bring about the end of the world.

Alexander Scriabin (1872--1915) / Alexander Nemtin (1936--1999), L'Acte préalable (Preparation to the Final Mystery) 00:00:00 I. Universe 00:41:46 II. Mankind 01:33:45 III. Transfiguration Alexei Lubimov, piano Thomas Trotter, organ Anna-Kristiina Kaappola, soprano Ernst Senff Chor St Peterburg Chamber Choir Deutsches Symphonie-Orchester Berlin Vladimir Ashkenazy Artwork by Jean Delville

The Mysterium: Preparation for the Final Mystery was to be Alexander Scriabin’s master work, intended to bring together all he had learnt about philosophy, synesthesia, theosophy and poetry. He thought of his music as fragments of this mystical vision – as bridges to the beyond in the tradition of composers such as Wagner and Stockhausen who wanted their music to bring about “aesthetic, social, or cosmic apocalypse”.

Scriabin delved heavily into Russian symbolism and theosophy and his notebooks are filled with fascinating passages charting his personal voyage. He believed he could attain the symbolist ideal of art having a material effect upon reality by channelling divine energy through the careful coordination of elements designed to stimulate multiple sensations.

He started working on The Mysterium in 1903, but it remained incomplete when he died in 1915. His vision comprised a seven-day-long mega work with dirigibles and bells suspended from clouds that would summon spectators from all over the world. A reflecting pool of water would complete the divinity of the half-circle stage, with spectators sat in tiers across the water and the least spiritually advanced in the balconies. Seating would radiate from the stage, where Scriabin would sit at the piano surrounded by a host of instruments, singers and dancers. The cast would include an orchestra, dancers, a choir and costumed speakers articulating rhythmic texts in processions.

The work required special people, special artists and a completely new culture. The entire group would be permeated continually with movement. Together with fellow theosophist Emile Sigogne, Scriabin worked on a new language for The Mysterium, which had Sanskritic roots but also included cries, interjections, exclamations and sounds of breath. The temple in which the event would take place would not be made of one type of stone but would continually change with the atmosphere and motion of The Mysterium.

This would be done with the aid of mists and lights, which would modify the architectural contours; sunrises would be preludes and sunsets codas; flames would erupt in shafts of light and sheets of fire and constantly changing lighting effects would pervade the cast and audience, each to number in the thousands. The choreography would include glances, eye motions, touching of hands, odours of both pleasant perfumes and acrid smokes, frankincense and myrrh from pillars of incense. Furthermore, the whole world would be invited: “Animals, insects, birds, all must be there.”

Scriabin intended that the first and only performance would be held in the Himalayan foothills in India, in a half-temple that would crumble due to the vibrations of the performance and open the ritual to the heavens. The event would annihilate space and melt reality, bringing about the end of the world and replacing humankind with nobler beings. All participants would dematerialise, allowing them to achieve spiritual unity with divine cosmos.

Fortunately for the human race, in 1915 Scriabin nicked a boil on his upper lip when shaving and died from septicaemia at the age of 43. His funeral was attended by such numbers that tickets had to be issued. Rachmaninoff went on tour, playing only Scriabin’s music. Scriabin was acknowledged as one of the essential voices of the early 20th century.

At the time of his death, he had sketched 72 pages of the prelude to The Mysterium, entitled Prefatory Action. Composer Alexander Nemtin spent 28 years reforming this sketch into a three-hour-long work, which was eventually recorded. You can hear it below:

You can read the full feature about Alexander Scriabin and The Mysterium (written by Tony Gill) in issue four of Ernest Journal, on sale now.

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