← A. Inventions, No. 27
Rik van As (1791–1844)
Dutch Air Machines
1817
Hoedemaekers & Bezuidenhout Woninginrichting b.v., est. 1779, Amsterdam, Netherlands. Brass, ceramic, stamped tin with painted and gilded wildflower motif, painted and gilded elm base. 15⅞ × 15⅞ × 4". Collection of the author.
In the second century, the physician-philosopher Galen of Pergamon proposed that there were six external factors, which he called ‘non-naturals,’ that could affect human health.
The first of Galen’s non-naturals was, surprisingly, air. Even in the centuries before we understood the mechanics of viruses and contagion, or identified the causality between a chilly draft and a runny nose, there was general agreement that the qualities of the air and the state of one’s health were inextricably interlinked.
In 1816, as the result of two major volcanic eruptions in the Philippines and Indonesia, Europe experienced a profound climate abnormality known as ‘The Year Without a Summer.’ It had far-reaching consequences, from worsening crop yields that precipitated a famine, to a wave of typhus epidemics that killed more than 65,000. But many in the bourgeoisie experienced only positive effects of the lower temperatures, such as milder allergies, reduced inflammation, and fewer mosquitos, and word spread quickly about the miraculous benefits of taking in les vapeurs hollandaises. In 1817 came the first windowsill devices purporting to deliver the revitalizing effects of the so-called ‘Dutch Air,’ never mind that these machines operated on no scientific principles, had no palliative properties, and generally had no moving parts. But these ‘Galens,’ as they were called, remain a fascinating fossil, both cynical and cyanic, of a short-lived and troubled time, unbothered by the particulars of science.
Published January 2, 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. 26. Polyharmonia and Orchestralon
Next:
No. 28. TX-8 Audio Processor