Signal A Running Record of Findings from the Internet / October 18, 2026

Ten Artists Take Up the Clay of a Cirebon Pottery Village Overshadowed by Tyre Recycling

Adam Sudewo reviews (Mem)Bangun dari Tanah at Sanggar Ikhtiar in Sitiwinangun, a village in Cirebon that has made pottery since the thirteenth century with a paddle-and-anvil method called getak winangun. Since the 1970s a used-tyre recycling industry has overshadowed the craft, and housing and industry have closed off the local clay. Ten artists from Cirebon, Bandung and Makassar worked with the village's terracotta, among them Iftikhar A. Rajwie, whose Neo Heritage is six smoke-fired earthenware sculptures. Sudewo ends by calling the craft a living language, at least in a gallery.

Read the story By Adam Sudewo · ArtReview
Ten Artists Take Up the Clay of a Cirebon Pottery Village Overshadowed by Tyre Recycling

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An Architect on What Redlined Drawing Sets Taught Him, and What AI Puts at Risk 
An Architect Redraws the Flat Above His Own in a Camberwell Georgian Terrace 
Inside the Programme of Type Paris Now 26, From One of Its Panellists 
Why Old Laptop Mainboards So Rarely Become Desktop Computers 
Tech's Hunger for Taste Meets Calder and O'Keeffe in Palo Alto 
Ryan Lanji Remembers the Night an Art Fair Afterparty Went to Electrowerkz 
A Writer's Diary of the Tamagotchi She Came to Resent 
Colin Pantall Reads Gabrielle Duplantier's Photobook PÂLE 
One of David S. Ware's Final Interviews, Published in English for the First Time 
Mannveira's Second Album Vesöld Is Lean Icelandic Black Metal 
Alan Pierson on Staging Music for 18 Musicians at Fifty 
Ian Brennan's Field Methods for Recording the Hidden Musics Series 
Helen Sunderland-Cohen on Keeping Historic Maps, Fictional Maps and Contemporary Art 
A Belgian Family Builds the Porsche Type 114 That Never Left the Drawing Board 
A Physician-Philatelist Traces the First Twelve Years of HIV Through Postage Stamps 
The Smithsonian's 1952 Topps Mickey Mantle Card and How It Became the Hobby's Grail 
The Jumping Frenchmen of Maine and the Neurologists Who Came to Watch 
Jacques Gamelin's 1779 Anatomy Book of Muscles and Dancing Skeletons 
Hundreds of Painted and Drilled Animal Bones Turn Up After a Wildfire on Crow Hill 
Edward Everett Hale and the Brick Moon That Imagined Satellite Navigation in 1869 
Matthew Rankin Built a Brian Mulroney Film From 80,000 Pieces of Archive 
Tudor Vladimir Panduru on Shooting Mungiu's Fjord Around Norway's Hjørundfjord 
How Beast Games' Editors Cut Two Petabytes From 200 Cameras 
Carol Morley's 7 Miles Out Follows a Girl Growing Up Poor in Late Seventies Stockport 
Signal A Running Record of Findings from the Internet / October 17, 2026

A Documentary Maker on Filming Rajasthan Women Who Took Their Work Fight to the Village Council

In a full question and answer transcript, Kallol Mukherjee explains how Herland began as a welfare film for the Ibtada Foundation's rural employment programme and turned into something else once the women it followed walked into the panchayat and were dismissed by the village head as illiterate. He talks about choosing not to film Bhagyashree when she broke down, about refusing to make the men into caricatures, and about the film's premiere at the DOKer documentary festival in Moscow.

Read the story By Dipankar Sarkar · Vague Visages
A Documentary Maker on Filming Rajasthan Women Who Took Their Work Fight to the Village Council

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A Salvage Firm's Rules for Building Kitchens and Bathrooms From Reclaimed Stone 
San Antonio's Mission Drive-In, From Parking Lot Theatre to Public Plaza 
A Designer Restores a 1926 Shoe Factory in Mallorca Without Making It Look New 
David Rudnick and Arsenal's Studio on Drawing Rocastle, a Blackletter Typeface 
Liz Larner on Plastics, Porcelain and a Madrone Branch 
Inside the San Francisco Salon That Buys Forgotten Artists' Estates Whole 
A Photographer Restages the Basque Witch Trials With Her Own Family 
The Black Soldier at the Head of Mantegna's Triumphs of Caesar 
A 1967 Monk Nonet Concert Finally Released, and the Case Against Splitting It in Two 
A Pianist on Improvising Alongside George Lewis's Two Machine Partners 
Tape Loops, SuperCollider and Free Jazz Across Two Nights in One Riga Hall 
The Sinatra Music Society, Down to One Branch, Meets in a Leeds Village Hall 
The Developer Building a Browsable Museum of N64 and PlayStation Models 
A Collector Has Kept a 1961 Royal Canadian Mint Box Sealed Since 1964 
A Curator Looks Back at Seventy Five Years of the Old Car Festival 
A Lions Fan Sells Thirty Six Years of Memorabilia After Losing the Friend Who Started It 
The Diary of Marsh's First Keeper, Read Among Huguenot Refugee Writing 
The Royal Society's Own Records of Its Ties to the Closing Academy of Natural Sciences 
Women in Dairying, Traced Through Inscribed Books in the MERL Library 
Four Royal Bindings at Chetham's, From Matthias Corvinus to Elizabeth I 
A Lithuanian Director Built a Soviet Lift Around the I Ching 
Meena Kumari Holds Pakeezah Together Against Its Own Director 
A Cinematographer on Lighting a Tunnel of Holographic Wallpaper on Film 
A Coyote Pelt and an Unpermitted Desert Road Went Into Making American Muscle 
Signal A Running Record of Findings from the Internet / October 16, 2026

A 1971 Album Nobody Released for Fifty Years, Explained by the Man Who Made It

Mourning Phase recorded one album at Eden Studios in August 1971 and it sat unreleased until Seelie Court put it out in 2021, half a century later. Owen Knight accounts for the gap himself, from the Lamplight Club in Wallasey to an original acetate that reportedly changed hands on Discogs, and the photographs running with it are his own.

Read the story By Klemen Breznikar · It's Psychedelic Baby Magazine
A 1971 Album Nobody Released for Fifty Years, Explained by the Man Who Made It

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A Spitalfields Synagogue That Rarely Opens, Seen From Inside on an Open Day 
A Cabinetmaker Explains What Each Board Made Him Change After He Cut It 
A Victorian Power Station in Oxford Reopens as a Business School Teaching Building 
Home Modified Citroen 2CVs at a Club Meet, Looked At One by One 
A Chicago Comics Anthology Gets a Museum Show, and a Critic Says It Stops Short 
A Furniture Maker Argues That Inches and Fractions Beat Millimetres at the Bench 
An Artist on Building a Studio and a Practice Around a Disabled Body 
An Artist Asks Galleries to Post Work to Disabled Audiences Instead of Streaming It 
How Two Montreal Street Festivals Designed Their Spatial Sound Systems 
Fifteen Years of Threadgill, Iyer and Prieto, Heard Live and on Record 
Edison's Kinetophone, and the Seven Years It Took to Fail 
Sheffield Trip Hop on RESET, Heard Track by Track 
Moto Guzzi's Archive Shows Italy's Cult of Speed Was Built Before Fascism Claimed It 
Spearhead Industries Put the Madballs Faces on Rubber Masks and Slime Balls 
Why Wartime Jefferson Nickels Peel, Read With X-Ray Fluorescence 
An 1863 Massachusetts Letter That Followed a Whaling Ship to New Zealand 
A Welsh Scholar's 438 Old Books Carry Other People's Names in the Margins 
Walking the Western Edge of London as John Rocque Drew It in 1746 
A Whitechapel Photographer's Record of Streets Demolished After the War 
Two Volumes of 1880s Press Cuttings Repaired Page by Page 
The Richard Corben Comic Miyazaki Wanted to Adapt in 1980 
A Review of the New Sense and Sensibility, Measured Against the 1995 Film 
John Wilson's Documentary About Concrete, and the Jokes He Finds in It 
A Review of the Elizabeth Holmes Documentary Shot in the Month Before Prison 
Signal A Running Record of Findings from the Internet / October 15, 2026

What British and American Mapmakers Put on the Mosquito Coast, and What They Left Off

Leonardo Santamaria Montero spent a fellowship in the British Library's collections and came out with three named shelfmarks: Samuel Field's 1740 draught of the Mosquito Shore, Jefferys' West-Indian Atlas of 1775, Faden's Yucatan sheet of 1787. The maps agree on where the coastline runs and disagree on who lives along it, and that disagreement is the part that tells you what each mapmaker was for.

Read the story By Leonardo Santamaria Montero · British Library
What British and American Mapmakers Put on the Mosquito Coast, and What They Left Off

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A Fairmount Park Sheep Barn From 1879 Is Now the Shop That Repairs the Park's Windows 
Seventy Years of Sicilian Travel Posters Keep Drawing the Same Cart and Lemon Tree 
Dutch Water Engineering Is Built to Push Water Out, and the Country Is Running Short 
A Sign Painter Researched France's Lettering Trade in Paris Libraries and Made a Book 
A 1959 Kodak Rangefinder Whose Aperture Cannot Be Set Directly, Shot With One Roll 
Photographs of the Woman Who Watched for Fires From a New Hampshire Tower in 1943 
How One Photographer Soups Film and Overlaps Frames to Get Softer Pictures 
Two Artists Fill the German Pavilion in Venice With Furniture, Glass and War Memory 
A 1962 Gibson Falcon Taken Apart to Explain Why Two Versions Sound Different 
Two Ensembles Play Bill Dixon's Music at Cafe Oto on His 101st Birthday 
An Archive Photographs the Paper Sleeves That Came With a Box of Brazilian 78s 
A Composer on the Software He Wrote Himself and the Speaker Arrays He Writes For 
A Collector Explains Twelve Years of Buying One Label's Collaboration Sneakers 
What the Die Cracks on a 1799 Silver Dollar Tell a Grader 
A Postcard Collector Corrects Who Survived an 1889 Shipwreck 
A Victorian Silver Propelling Pencil, and Why Its Lead No Longer Fits 
The Engineer Who Turned Shaft Positions Into Binary, Read From His Own Papers 
A Portland Projectionist Kept a Logbook, and the War Turns Up in the Margins 
A 1993 Typescript on How the NIH Learned to Count Its Own Trials 
A 1939 Draft Report Describes What Norwich Did for Its Unemployed 
A Director and an Organiser on Filming the Last Thirteen Years of Harry Belafonte 
A Five and a Half Hour Film About Borges That Turns Out to Be About Its Director 
William Greaves Filmed Harlem Renaissance Figures Talking in 1972, and It Is Out Now 
A Diver Swallowed by a Sperm Whale, and a Film That Counts Down His Air 
Signal A Running Record of Findings from the Internet / October 14, 2026

Two Musicians Who Had Never Met Take Apart the Record They Made in Pieces

Savannah Harris and Nicole McCabe had never been in a room together before All Together Now, and Talkhouse let them interview each other about how it got built: chord progressions and motifs handed over by Zahn, bass parts run through an octave pedal, six or seven sessions at his house, drums cut at Bunker in Brooklyn mostly in one day off rough mixes, and a chart sketched by hand for Monstera so the hits would land. Harris also says plainly what the method cost, which is the in-the-room feel, and that is the part a release could never produce.

Read the story By Savannah Harris and Nicole McCabe · Talkhouse
Two Musicians Who Had Never Met Take Apart the Record They Made in Pieces

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An Eighty Inch Cherry Cabinet, Eight Inches Deep, Built to Finish a Kitchen 
A Set of Thames Stairs in Bermondsey, Now Locked Behind a Gate 
Four London Addresses Numbered 1066, Found and Visited One by One 
What Flood Survivors in Southern Brazil Built When the Standard Shelter Did Not Fit 
Dayanita Singh on Making Her Own Archive Inside a Venice State Archive 
How Two New Mexico Santeros Carve and Paint Their Saints 
The Clark's New Curator on Taking On the Tavitian Collection 
An Intern Walks Through How the Quincy House Online Tour Got Built 
A Writer Keeps Going Back to the Chant Singer Who Made a Career Out of a Harmonium 
A Memphis Songwriter Narrates Both Sides of the Argument She Had With Herself 
Five Hours of Parsifal at Covent Garden, Written Up the Same Evening 
A Guitarist Takes Her Own Arrangement of an Old Irish Song Apart 
What Five Thousand Dollars Buys on a 2014 BMW i3, Fault by Fault 
An Unrestored 1951 Sunbeam, and the Second One Rebuilt From a Box of Parts 
The 1975 All in One Desktop Computer That Computing History Forgot 
A Barely Used 2007 MacBook Pro, Opened Up and Repasted 
A Theatre Ticket From 1769 and the Note Written on the Back of It 
An Oral History Tape, a Re-election Handbill, and the First Filipino Led Union 
Minimal Intervention on a Damp Damaged Notebook From the 1500s 
The Letter Where Alice Sheldon Told Her Agent She Was James Tiptree Jr 
In 1912 a Studio Made a Film About Itself and Left a Record of Its Own Lot 
A Festival's New Director Makes the Case for Programming It From a Resort 
The 1978 Film That Treats a Single Sound as a Lethal Weapon 
A Documentary About Skiing Everest's North Face, and the Climber Who Did Not Come Back 
Signal A Running Record of Findings from the Internet / October 13, 2026

A Four Inch Lion, Made Around 1100, Read Like a Sentence

The Metropolitan Museum asked the novelist Guadalupe Nettel to look at one small enamelled plaque of the winged lion of Saint Mark, made around 1100 for an abbey in southern France, and she gives it the kind of attention a writer gives a line she is not sure about yet. An institution writing about a single object in its own collection, by someone with no stake in the catalogue, which turns out to be the most useful kind of looking there is.

Read the story By Guadalupe Nettel · The Metropolitan Museum of Art
A Four Inch Lion, Made Around 1100, Read Like a Sentence

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Two New Los Angeles Museums Are Built to Pull Crowds, and Only One Works 
What the Official Wildfire Recovery Counts Leave Out in Altadena 
Three Car Design Chiefs on Whether You Can Set Out to Make an Icon 
The National Gallery Rebuilt the Frames Around Four Veronese Paintings 
An Artist Who Builds From Memory Explains Why He Wants It Unreliable 
Bronze Poured From Computed Forms, Seen in a Pennsylvania Studio 
A Potter Explains the Funeral Ceramics She Makes for the Dead 
An Artist Spends a Year Sorting Fifty Years of a Feminist Bookshop's Paperwork 
The Raconteurs Play Together Again on Jack White's Second Night 
Second Report From the Warsaw Autumn New Music Festival 
A Close Listen to Greg Freeman's New Album All Set the Bone 
A Producer Names Every Plugin That Got the Record to Sound Like That 
Five Pictures Made With a Leica Built in 1933 
A Blackpool Tram Is Carrying Passengers Again in Suffolk 
A Home Built 1930s Aeroplane With a Ford Car Engine, Examined Part by Part 
Repairing a Museum's Medium Wave Transmitter After a Lightning Strike 
Putting an AI Transcriber to Work on a Victorian Birdwatcher's Notebooks 
A Telephone Company Paid to Film Ohio's Only Witchcraft Trial 
Four Years of Paging, Reshelving and Building Cases in a Reading Room 
Civil War Officers Kept Writing Down the Battles That Never Happened 
A New Documentary Reopens What the Record Left Out of Terry Fox's Run 
Laika's Stop Motion Wildwood Builds a Forest Worth Getting Lost In 
Two Irish Filmmakers on Putting Online Radicalisation Inside One Front Room 
A Documentary Counts the Dead That No Government Recorded 
Signal A Running Record of Findings from the Internet / October 12, 2026

Burnished Clay, and Coral Where the Head Should Be

Maria Carolina Baulo sits down with the Argentine sculptor Daiana Ares and gets her through the whole process in her own language: how she burnishes ceramic by hand until it holds light, why paper pulp behaves differently from clay, and what happens when a figure out of classical myth is finished with a piece of coral instead of a face. A labelled transcript, published in Spanish, about objects small enough to hold.

Read the story By María Carolina Baulo · Sculpture
Burnished Clay, and Coral Where the Head Should Be

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A New Hampshire Millwork Shop Built Its Trade on PVC Instead of Wood 
MoMA Looks Again at the Public Buildings of Newly Independent West Africa 
In 1937 France's Three Biggest Carmakers Styled the Same Cheap Sedan Three Ways 
Inside the Melbourne Studio of Studio Shand 
Four Mournful Rooms in Middlesbrough, and the Best Turner Prize in Years 
Eleven Graduating Artists in a Glass Room in Leicester, Seen One Object at a Time 
An Artist on Casting a Shoe Anvil, and on the Gaps Between Her Languages 
A Photographer Argues for the Unstaged Picture, and a Reviewer Tests It 
A Conductor Argues for Neglected American Music at Jordan Hall 
A New Zealand Composer on How He Made Water Music 
Two Days of Ragtime at the Sutter Creek Festival in California 
A Pianist in Dublin Plays Bach and Rachmaninov His Own Way 
How One Box of Wedgwood Becomes a Catalogue Record 
Copper Firebox Sides Formed and Cylinders Bored for Locomotive 76077 
The Two Smallest American Buffalo Gold Coins, and Why Collectors Walk Past Them 
A Lost 1983 Atari Advert Surfaces Inside a Baseball Broadcast 
Two Free Black Virginians at Lafayette's 1824 Richmond Welcome 
A Cataloguer Cleans Up Her Records in Bulk and Hits a Size Limit 
The Liverpool Campaigner Whose Papers Trace Fifty Years of Anti-Racist Work 
Mapping What a Dress Collection Never Collected 
A First Time Director on How Antidepressants Shaped His Debut Feature 
Aaron Sorkin Goes Back to Facebook and the Subject Has Already Outrun Him 
Two French Critics on What This Year's Films Get Wrong About the Occupation 
Alex Karpovsky's First Feature in a Decade Turns a Beach Rental Into Dark Comedy 

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