Designer Unknown
WWII Ration Meters
1942

British Tomlinson-Newcome (low voltage switchgear), est. 1928, Manchester, England; and W. S. Whitehead (cables and insulators), est. 1923, Rugby, Warwickshire, England. Enameled steel, glass, bakelite. 12 × 11 × 5⅜". Collection of the author.

"WWII Ration Meters" by Jonathan Hoefler, from the Apocryphal Inventions project.

I often forget that wartime rationing in Great Britain persisted until well after the cessation of hostilities, with food rationing lasting until 1954, and coal until 1958. The wartime rationing meters pictured here embody the resourcefulness, fortitude, and indomitable resilience of the British people.

Produced by different manufacturers under license from the Ministry of Food, these ration meters gauged the volume of different foodstuffs carried to every household over municipal pipelines or by tanker truck. At the height of rationing, allotments of cooking fats were limited to as little as two ounces per week, and marmalade and preserves to eight ounces per month, quantities that were monitored and enforced through meters like these. When pectin rationing ended in 1946, and marmalade returned to the pre-war viscosity that made conveyance by pipe impossible, the National Preservative Pipeline that had served wartime Britain’s principal conurbations was closed, its resources distributed among the nation’s ten regional water authorities. These photographs were created with the generous support of the Imperial Lard Museum in Basingstoke, whose collection celebrates this exceptional episode in history.

Published January 27, 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. 47. The Dragon Lyre

Next:

No. 49. The ‘Mystical Vaults of Qiang-Shen’