I should write some tortuously reasoned screed drawing analogies with skills in cycling or some such bullshit, but really there’s no point.
HE SHOOTS A FUCKING ARROW WITH ANOTHER FUCKING ARROW. YOU WILL NEVER BE THIS GOOD AT ANYTHING.
I’m not one for childish anti-Americanism, (hey, I love your music and your cultural exports!) but there are some words best left to the British. Whenever an American says “wanker”, I get the same cringe-itch you get when a parent abbreviates “you” to “u” in a text for no goddamn reason at all.
America does lots of things well, but please, leave the wanking to us.
I missed this first time round.
Despite my mixed feelings about Campagnolo, I share most cyclists’ aesthetic appreciation of the company’s componentry. For the most part though, artistic representations of mechanical devices leave me pretty cold. The reversal of function and form offends my sensibilities, because I’ve generally held that when form follows function, beauty is inherent. Beauty of some sort, at any rate.
Photo: Charlie J
When it comes to photography, I tend to subscribe to the view espoused by Ctein and others, that nobody cares how hard you worked. You can enjoy making your process more thoughtful and inconvenient if you think it helps, but ultimately it is the results of your labours upon which you will be judged. With an object of craft like a wooden rear derailleur, I’m not so sure though. Something about the patent futility of painstakingly hewing a complex mechanism out of a material as ill-suited to the task as wood appeals to me.
I may not care that you got up at 4am and dragged your view camera up a Scottish hill because the light was looking especially post-industrial, but I will kneel before your mastery of the Dremel.