← A. Inventions, No. 55
Elbert Spence (1877–1943)
Dehomogenization Machines
1936
The American Genuine and Faithful Foods Company, est. 1896, Provo, Utah. Enameled tinplate and zinc-aluminum alloy. 9⅞ × 9⅛ × 5⅛". Collection of the author.
The humble glass of milk — fresh from the fridge, beaded with condensation — is an evocative symbol of twentieth-century attitudes toward food, health, and nature.
To many people in the industrialized world, those eight ounces of opaque homogenous white make non-homogenized milk — also known as ‘milk’ — look somehow unsafe, barny and unsavory, with its morbid yellow fats floating uncannily close to the lips. Natural milk has of course returned to popularity, thanks to the total Brooklynization of our present century, with its artisanal sourcing, responsible and sustainable farming, and farm-to-table practices, not to mention its tattersall shirts, sleeve garters, muttonchops, sleeve tats, Edison bulbs, live-edge wooden tabletops, leather aprons, chalkboards, family-style share plates, lack of advance reservations, and offers to explain the menu. But before the hipsters, there were the Anti-Gaulinites.
Standing in opposition to August Gaulin, who in 1899 patented the first process for homogenizing milk, the Anti-Gaulinites had unsuccessfully agitated against homogenization at the dairy, so instead turned to re-heterogenization at the breakfast table. These attractive countertop centrifuges were designed to accomodate four servings of milk, and spin it at such velocity as to separate its contents back into liquids and solids — a force of 10000g, ten thousand times the power of the earth’s gravity. Ultimately, the critique of homogenized milk faded, as people’s nutritional and gustatory concerns were answered by both science and custom. But these handsome food centrifuges remain useful kitchen appliances — at least for homes wired with direct current, as the Anti-Gaulinites also inveighed against the evils of alternating current.
Published February 8, 2023. Copyright © 2023 Jonathan Hoefler.
About
The objects in the Apocryphal Inventions series are technical chimeras, intentional misdirections coaxed from the generative AI platform Midjourney. Instead of iterating on the system’s early drafts to create ever more accurate renderings of real-world objects, creator Jonathan Hoefler subverted the system to refine and intensify its most intriguing misunderstandings, pushing the software to create beguiling, aestheticized nonsense. Some images have been retouched to make them more plausible; others have been left intact, appearing exactly as generated by the software. The accompanying descriptions, written by the author, offer fictitious backstories rooted in historical fact, which suggest how each of these inventions might have come to be.
These images represent some of AI’s most intriguing answers to confounding questions, an inversion of the more pressing debate in which it is humanity that must confront the difficult and existential questions posed by artificial intelligence.
Previously:
No. 54. Viola Della Cooperazione
Next:
No. 56. Eschatons