Wednesday, 19 February 2025

As the Crow Flies


May 2024

Like (I presume) many people entering old age, I keep getting ambushed by sudden collapses in the internal mental timeline of my life, like a landslip or sinkhole opening up as the years accumulate into an unstable mass. This can be somewhat startling. In a recent post on Mike Johnston's Online Photographer blog he remarked in passing that the film Das Boot is over 40 years old. Forty years? What? How did that happen? I can still remember as if it were... well... not exactly yesterday, but quite recently that I was glued to my 8" portable TV when the six-part mini-series of Das Boot (far better than the film, I think) was broadcast on BBC2 in 1984 – the year I moved to Southampton from Bristol to take up a new job – sitting on the sofa in the flat I had just bought. Sure, 2025 minus 1984 equals 41 but, somehow, simple arithmetic doesn't correlate with lived, felt experience until – bang! – something triggers a collapse, and you're staring across a chasm of time, wondering, where did it all go?

So now it seems that it was exactly ten years ago – impossible! – that it was my partner's turn to make a move in the employment-and-property game: she took up a post as a professor in the University of Bristol, and bought a rather pleasant flat overlooking the Avon Gorge as a place to stay during the week. However, after a few years she became disenchanted with that job, left Bristol, and returned to work in London's University College. But she kept the flat as a handy bolthole in a city we had enjoyed together as young adults in the "punk and reggae" years of the late 1970s and early 1980s, and where we still have friends and family.

February 2025

Ever since, that flat has been something of a Happy Place for both of us. The spectacular view, especially, has been a constant source of enchantment. The best part of half a mile of airy void lies between our fourth-floor kitchen window and the matching elevation on the far side of the Gorge, a crow's flight that crosses over some woods that lie below our block of flats, then the busy Portway, the tidal rise and fall of the river Avon in its muddy bed, the Portishead railway branch line, and ends in Leigh Woods opposite. That window faces roughly SSW, so the sun passes from left to right during the day, sometimes creating spectacular lighting effects at dawn, especially if the Gorge is misty, and igniting dramatic sunsets when low in the west. Naturally, I keep a camera on the kitchen table, and open a window to take a photograph or two whenever something interesting is going on, often before getting dressed in the morning or while cooking in the evening. Most often, though, I simply sit at the table and gaze out at the sort of view you'd be happy to walk many miles to find.

October 2015

We were there last weekend, and it was very cold and very foggy most of the time. On Saturday morning I rolled up the kitchen blind and the far side of the Gorge had vanished behind a bank of impenetrable mist. At the edge of the woods below us, just across a lawn, there is a venerable oak tree that often acts as the focus of my leisurely picture-making. It, too, was barely visible. But as the mist started to thin, its gnarly, truncated shape was silhouetted against the faint background, and a crow was sitting at the very top, having just seen off two magpies from this desirable perch. Perhaps it, too, was contemplating the misty void as a perfect metaphor for the passage of time. Or, more likely, it was wondering which side of the Gorge was most likely to provide a decent breakfast on such a chilly morning. Crows are smart, opportunistic, and adaptable, but haven't yet figured out the advantages of double glazing and central heating. Although they'd probably reply that them two-legged wasters of perfectly good food would be better off figuring out the advantages of feathers, wings, and a decent beak. 'S all I need, mate. Though some pockets would be nice, it's true...

February 2025

February 2025

Friday, 14 February 2025

Night Light


Cathedral Close, Winchester

We had a family meal in Winchester's Brasserie Blanc on Sunday, in anticipation of my birthday this week (I had poulet à la moutarde, very nice, thanks!). Afterwards, we went for a stroll through the centre of town, before our dining companions had to catch their train back to London. It was a cold day, and a drizzly rain had started to fall, but passing the entrance of Winchester College – one of the country's most prominent public (i.e. private) schools, fees a mere £60K p.a. for boarders – my son noticed there was free entry to some kind of museum within the grounds, so we decided to take a look.

Winchester College was founded in 1382 by William of Wykeham, a sort of mediaeval prototype of that Tudor mover and shaker, Thomas Cromwell, with a similar c.v. but a happier outcome. William had also put his trust in princes, contrary to biblical advice (Psalm 146), but got away with it, handsomely, dying as one of the most influential and richest men in the country. Over the centuries Old Wykehamists have donated all manner of stuff to the school, which mainly seems to have ended up as teaching aids or stashed away out of sight in various lofts. So a few years ago the old Treasury building was made into a museum, open to the public, where displays of the school's treasures, curiosities, and knick-knacks can be seen. (But if you think this will justify your charitable status, chaps, think again... Come on, Starmer, FFS just do it!).

It's very professionally and tastefully done, in the universal "modern museum" style, using honey-coloured wood and plate glass. On Sunday afternoon we were the only visitors the entire time we were there. We enjoyed ourselves: it was like having our own private Wunderkammer. How often, for example, do you get the chance to get up close to a set of casts of the Parthenon frieze (a.k.a. the Elgin Marbles)? Or gaze at early editions of Paradise LostLyrical Ballads, or Blake's illustrated edition of Young's Night Thoughts? Apparently the displays are regularly refreshed, and the inevitable Jane Austen 250th birthday tribute is upcoming later in 2025. Who knows, I might even read one this year, although not ever having read any Austen probably gives me more pleasure, and is certainly easier to achieve.

For me, though, there was one truly stand-out item, lurking in a cabinet of Chinese porcelain. Which was this:


I have often fantasised about a spontaneous smash-and-grab raid in various museums and galleries, but this was particularly tempting. Apparently, it is a night light, an early ancestor of the softly illuminated bedside lamps you can get today. A candle would have been placed inside (there's a hole in the top), and the cat's eyes would glow (there are holes in the eyes surrounded by thinner, white porcelain). Allegedly such night lights had a dual purpose: to comfort children who were afraid of the dark, and to scare off rats. Hopefully not both at the same time in the same room. Never mind rats, though, I imagine the thing could be equally unsettling to any nervous child, waking up in the night to meet the unblinking gaze of this glimmering goggle-eyed guardian: miaaow! It's hardly Hello Kitty, is it?

It seems these Chinese porcelain cat night lights were once a Thing, and – disappointingly – I see actual originals go for thousands at auction. If I were the entrepreneurial type I'd immediately knock up a battery-operated prototype and join the queue outside the Dragons' Den, confident I was about to become extremely wealthy. But I'm not, and I won't, and therefore never will be. Extremely wealthy, that is. But, seriously, wouldn't you love to have one of these on your bedside table?

Sunday, 9 February 2025

Really?


Self portrait (one of many similar), by Celia Paul

I noticed this forthcoming item from MACK books, from which the dreary smeary painting above – like Anselm Kiefer's sad little sister in a hospital gown – seems fairly typical of the works collected within:

Celia Paul: Works 1975–2025. The prolific British painter’s body of work is collected in a luxurious and authoritative volume, alongside new texts by writers including Karl Ove Knausgaard, Hilton Als, Clare Carlisle, Edmund de Waal, as well as Paul herself.

Karl Ove Knausgaard's contribution to the volume was published recently in the New Yorker ("The World-Changing Gaze of Celia Paul"), an account of a couple of meetings between these two dedicated self-obsessives. It's a curious read, I have to say. The encounter of two such people has a sort of self-cancelling chemistry of tepid mutual admiration that is actually quite funny. True, I've never read any Knausgaard: there's been so much written about him that it has always seemed superfluous actually to read him talking about himself, and I'm pretty sure that Scandinavian "autofiction" is not my thing. Yeah, right, hilarious, you might say, coming from a guy who blogs; but there's one of those irregular verbs in there, isn't there? You know the sort of thing: I blog; you over-share; he navel-gazes... 

I have to say that my reaction to painting like this is one of baffled amusement. I think I will never understand the criteria by which alleged excellence in contemporary art is judged. I mean, really? I keep coming across top-rated work that – to my admittedly untutored eye – seems little better than the sort of thing you'd see at the open day of a sixth-form college: well-intended, heartfelt – full marks for sincerity, youngster! – but short of real skill and with most of its pictorial appeal deriving from the accidental effects of a slapdash lack of control. But this much-lauded stuff is not the result of juvenile enthusiasm, but the deliberately faux-naïve, calculatedly cack-handed work of successful, fully-trained and competent artists who, it seems to me, are essentially faking the "authenticity" of outsider art (now there's irony for you), presumably to evade the charge of using shallow sophistication, facility and – yuk! – "beauty" in order to con us art-rubes and civilians into... Well, I'm never sure what it is we're being shielded from by this solicitous self-censorship. But, really, guys, there's no need! We couldn't afford your stuff even if we liked it.

But MACK is a prestigious photography and art publisher, Paul is a Big Name painter – not only (?) because of her former relationship with Lucian Freud – and that's a fairly A-list roster of contributors. Although admittedly they are also fans of Alice Neel, another painter currently in vogue whose faux-naïve daubings I simply do not "get". I am sufficiently humble, however, not to mention magnanimous and open-minded – I am a saint of self-deprecation, though I do say so myself – to concede that the problem may be mine, not theirs. After all, I do enjoy the work of Pierre Bonnard and his present-day admirers, like Andrew Cranston, which might well be seen to be open to the same criticisms. Oh well, as Oscar Wilde wrote to excuse the contradiction between Whistler's written theorising and his actual painted work: consistency is the last refuge of the unimaginative...

It may be that I was irreversibly formed, aesthetically, by an early and enduring love for comics and commercial graphic art. I suppose you can't spend your impressionable years poring over the revved-up box art of plastic model kits, copies of War Picture Library, Mad, and then LP record sleeves, and not absorb something of their made-to-please values, shallow as they may be. So I tend to prefer art that takes reality, hypes it up a bit, even to the point of decorative abstraction, and makes you feel something positive on the spectrum from "Wow!" to "Interesting..." I'm not a fan of art that takes reality and distresses it, or depresses your mood, intentionally or not (apparently, Rothko's declared intention with his notorious paintings commissioned for the Seagram Building's Four Seasons restaurant was to "ruin the appetite of every son-of-a-bitch who ever eats in that room"). But, in particular, I avoid obsessively self-therapeutic work that wants me to empathise with some heroically sad or damaged individual. But then I suppose that may just be the incorrigible and annoying white male in me speaking: "Come on, sad sack, never mind all that, let's play!".

Sports Ground, Southampton

Talking of commercial graphic art, recently I came across the remarkable fact that just one man was responsible for nearly all of the most striking and memorable movie posters of the 1970s and 80s. Seriously: if you can remember it – let's see... how about Chinatown, or [deep breath] The Last Picture Show, The Last Tycoon, The Life and Times of Judge Roy Bean, McCabe & Mrs. Miller, Murder on the Orient Express, Nashville, Papillon, The Shootist, The Sting, Flash GordonRaiders of the Lost Ark? – then he most likely painted it. It seems Richard Amsel was something of a graphic-art genius, but died of AIDS at the age of just 37 in 1985. It is incalculable, really, how much creativity the worst years of AIDS will have removed from the world.

Of his own work, Amsel said:

Commercial art can be and sometimes is art, but if someone hangs a poster, it is still a poster pretending to be something it's not. My work is basically for the printed page, and not for hanging in living rooms.

Well, that's as maybe ("consistency..."), but – resale value and insurance premiums aside – between an original Celia Paul painting and a Richard Amsel poster I know which I'd rather have hanging in my living room. Apparently a feature documentary is being made about Amsel, and I'll be interested to see it. I just hope it's more about the work (wow!) rather than the life (sad...).

One of my Top Ten favourite films...

NOTE 1: I have recently updated my website. Nothing dramatic, just added some recent work and tidied up some loose ends. If you haven't visited it for a while – I confess I have rather neglected it – why not take a look? It's here. Feel free to give it a drubbing, Celia!

NOTE 2: If you have ever been a reader of Thomas McGuane, Richard Brautigan, or Jim Harrison, you'll probably enjoy this documentary video, All That Is Sacred, from the outdoorsy people at Yeti Films (as featured recently on Daniel Milnor's Shifter blog). It rather reminds me of the film about the "outlaw country" music scene around Guy Clark, Heartworn Highways, also worth a watch. What was that about "scenius"?

Tuesday, 4 February 2025

In and Around the Lake


After weeks of drab and stormy weather, we finally had one of those afternoons illuminated by low raking sunshine that start to pop up after the dark dip of the solstice is behind us and the days first start to lengthen noticeably, so I headed out for a walk on Southampton Common.

I decided to take along my Fuji X20. This is a small "compact" camera that I had formerly only really used on holidays, but I had been closely examining some comparative image files (mainly in order to decide which of my, um, several cameras really ought to be sold on) and came to the surprising conclusion that in most respects and under most conditions this camera may actually be the best all-rounder I have. Portability and its unique "fast" built-in collapsible zoom aside, and despite its small sensor and vintage processing (the camera was first marketed in 2013), there is a unique quality to the images it produces that I really enjoy.

For example, here is a 100% detail of the photo above: taken hand-held, just before 16:00 on a late January afternoon, standing behind one tree, looking towards another stand about 75 yards away. The depth of focus, detail, and contrast are just right, I think, and give the "dry", semi-graphical style I prefer. 

But what about bokeh, you say? (a.k.a. "the out-of-focus backgrounds that everyone seems to love and will pay silly money to achieve")? Sorry, that's not for me, if I can avoid it... I'm OK with a bit of softness, but my preference is for front to back focus wherever possible. That's where small sensors win, every time. [1]

Out on the Common, the warm, steeply-angled light falling on the so-called Ornamental Lake was particularly eye-catching: pale reeds, dark reflective water, blue skies... For once, it was living up to its name.




Then, at the southern end of the Common and towards the end of the usable afternoon light, I entered the Old Cemetery, an inexhaustible source of picturesque combinations of weather-worn stone, thick undergrowth, and venerable trees. Well-worn territory for photographers, it's true, but who cares? You could waste a lifetime looking for something that nobody else has photographed. Besides, it's the way I tell 'em...



But there's an underlying reason why I've picked up the X20 again, which is actually a question: what is the purpose of making these photographs? Given the end uses I make of them, is there really any advantage in carrying around a larger, theoretically "better" camera just to get a little more resolution, or a slightly bigger file? The chances are slim that I will ever have another solo exhibition, and even if I did, I'd never print larger than "A4 image on A3 paper", tops. Besides, there comes a point where you don't even need to use a camera to "take pictures". I'm doing it all the time, now, after so many years: just by looking and composing the world into satisfying, occasionally revelatory or amusing shapes and juxtapositions. [2] There are times I do regret not having a camera with me to record and share something, but the essential 80% of the work has been done in my head: look at that!

Like a musician practising scales or idly improvising, the habit of creative looking, if we can call it that, will eventually school your eyes and give you the pleasure of seeing something pretty much anywhere, any time. So when I share my photographs, either here on the blog or as prints, a calendar, or a book, it's really only to say: look at that! Isn't that something? With the hope that someone else's eyes will in turn give them at least a decent fraction of the pleasure I took in seeing that particular something, and framing it in its rectangle.

That's it; anything else is whatever you have brought to the party. Photography has other, more important uses, but that's what I am doing; nothing more, nothing less. And a little camera like the X20 – or, more often than not, these days, my phone – is perfectly matched to the task.



1. I suffer extreme gear lust whenever I look at the Hasselblad X1D – what a beauty! – but know that I'd never get on with the shallow depth of field physics imposes on such a large sensor. I also know that spending that much money on a camera is bloody ridiculous...

2. This often involves shutting one eye to get the full 2D effect, which can sometimes look rather too much like a wink. So far, this has not yet got me into any trouble. Luckily, people are not often the subject of my "creative looking"...

Friday, 31 January 2025

Loops! Loops! Loops!


Calligraphic graffiti

Handwriting – or, more specifically, the decline in the use of handwriting – has been cropping up as a subject of concern in various places lately. Apparently 23rd January was National Handwriting Day (what, you didn't know?), which may not be unconnected with a recent journalistic flurry, such as this extract from a book in the Guardian. But these pieces are really a sub-category of the perennial worry, "The internet: My God, what have we done?", itself merely a contemporary instance of that eternal lamentation, "Modern life is shit, isn't it?", which is actually what those Palaeolithic cave paintings are all about. Fire? That fire nonsense is for softies – put another skin on, lad! – and don't get me started on what your precious bows and arrows have done to the mammoth population around here... Kids today!

But many of the comments in a Language Hat post, Reading Cursive for the Archives, reminded me of the sad history of my own handwriting. Setting aside the core bewilderment that, apparently, few Young People Today in America are taught and therefore most cannot read "cursive" handwriting – can't read it? Can this really be true? – the various sorry tales of disastrous interventions into the commenter's handwriting style resulting in illegibility brought back some long-buried memories.

At my primary school (Peartree Spring Junior, Stevenage, an admirable institution that seems to come up a lot in these posts) we were taught to write in italics, a beautiful, if somewhat sterile hand when done carefully with the right pen by a budding calligrapher. Other local schools had other preferences, such as the style pioneered by the educator Marion Richardson, as well as that universal British cursive script once described to me by a colleague as "girly curly". But at Peartree it was italic, and we were all required to get a Platignum brand fountain pen (good, cheap, and made in Stevenage) with an italic nib, and a bottle of blue-black ink. 

Well, fine. Except that most 8-year-olds are neither careful nor budding calligraphers, and a few of us have the cheek to be left-handed. Even equipped with a so-called left-handed italic nib – basically one with the flat tip cut off at an angle – the lovely alternating thicks and thins achieved by a few became a cack-handed travesty when using a chisel-tipped tool clearly designed to bury itself nose-first into the page, and wet ink which was constantly smeared by the trailing edge of my hand as it passed across. Omar Khayyam could not have been more wrong:

The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit
     Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.

Yeah, right, Omar. Lucky old Moving Finger isn't left-handed! Although... Isn't Persian written right to left? So how does that work?

Somewhat cruelly, I think, from a left-hander's point of view, the use of biros and other writing implements with instantly dry ink was banned at both primary and secondary school. Biros, it seemed, lacked moral seriousness, like jeans and coloured shirts. But I learned to cope, mainly by adopting that awkward back-to-front pen grip that so many of us lefties use. Our genius lies in our adaptability.

So things were OK for a while. My writing was never a thing of beauty, but I managed to produce legible schoolwork in those ruled and red-margined exercise books we were all issued with in those days. However, the pressure of nightly homework at secondary school meant I had to speed things up a bit, and the first casualty of haste is legibility, especially when the shapes you have been taught have been designed for the leisurely pace of a monastic scriptorium.

Then disaster struck in the shape of a teacher named George Partridge. George was Old School personified. He had been a pre-war pupil at our school himself (then Alleyne's Grammar, Stevenage), and I believe his father had also taught at the school. He was the only member of staff to wear an academic gown in classes; a real remnant of a previous era in what was now a state school, with a mainly young staff who had graduated in the post-war years. He was very free with spontaneous corporal punishment – he once lined up our entire class for a painful rap on the palm with a cane for mucking about in a music lesson – but was also a talented painter and musician with a deep affection for the school and the boys who had passed through it. However...

One year we had George for our English classes, and it turned out that he had a thing about italic. Basically, he wouldn't tolerate it. He hated those open hooked ascenders and descenders, I have no idea why, and insisted on loops. He refused to mark homework unless and until it complied with his preferences, which, frankly, is insane. It became a battle of wills between us – he would annotate my unmarked work with "Loops! Loops! Loops!" and red-inked examples of what he wanted to see –  a battle I was never going to win, so my handwriting became a peculiar mashup of italic and cursive loops, went into a sulk, and gradually sank into "fuck you" illegibility. At the end of that year, nonetheless, I came top in English, and my report book had a single word summary from him: "Exemplary", with a fancy gothic E. Very George Partridge, that, the old bastard.

The next year we had a new headmaster, also rather Old School, also a gown-wearer, and a different English teacher, an accomplished linguist with a Cambridge PhD. So, early in the school calendar the head came into our classroom and went round the lines of desks, inspecting our efforts over our shoulders as we wrote, accompanied by our teacher. When he came to me, you could sense the double take. He then said, out loud, "This boy's handwriting is ... strange. He's either very bright or very stupid. Which is it, do you think, Dr. Splett?" To which the only possible reply was, "Once I've figured out how to read it myself, I'll let you know, headmaster..."

1965 (age 11)

2006 (age 52)

The use of keyboards, real or virtual, is now so universal it's hard to recall a time when pretty much every kind of communication, private or public, went through a manuscript stage, if we can dignify a page or two of semi-legible scribble that way. But, when it came to typewriters – the steam-engine phase of keyboarding – Omar Khayyam did have a point. If you tried to compose something straight onto paper with a typewriter the chances are that half of it would end up in the bin, or covered in scabs of deathly-white Tipp-Ex "correction fluid", like some horrible disease. Despite a strong family resemblance to the keyboard both you and I are using right now, there is no delete, or cut and paste facility on a typewriter; no, children, not even on an electric one. It's just tap, tap, tap, nooo! Then reach for the Tipp-Ex, or backspace and xxxxxxx over the mistype, or just start all over again... I typed out two master's dissertations myself in those years, and know the meaning of despair.

So, readable handwriting used to have an importance it has more or less lost now. Who cares today if no-one else can read your shopping lists or your self-indulgent "journalling"? But it used to matter a lot, especially if you were in the sort of job where a handwritten draft would be handed to a competent typist to "type up". True, if you were sufficiently senior to have a long-suffering personal secretary then they would probably be able to make sense of your scrawl, but most of us would have to hand off a job to a "typing pool" or, in the intermediate period that lay between fully manual operations and the advent of individual desktop computers, a "data preparation" team.

Even something as humble as a 5" x 3" card of the sort you would find in the drawers of any library catalogue cabinet would start life as a hand-written draft on the back of an old card. This draft was handed to the Data Prep people, who would type out the "body" on a fresh 5x3 card, and then – in what at the time seemed like a masterstroke of labour-saving technological wizardry – rack them into a frame that held a dozen or so, duplicate them with a photocopier onto a sheet of card as many times as required, guillotine the sheet into 5x3s, and then type onto each copy of the body the required "heading" (author, editor, etc.).  So, when I was first chained as a wage-slave into the cataloguing galley of Bristol University Library in 1977 I had to revise my writing style yet again to make it legible enough for a typist to cope with foreign languages or possible ambiguities. There were no excuses for Data Prep being unable to read my Russian transliterations, say, or to muddle "works" with "monks", "wonks", "winks", or worse. 

Initially, the "automation" of office processes brought new variations of essentially the same elaborate procedures: there was still a lot of writing out by hand, passing paper around, and data entry by a pool of skilled typists, initially onto 80-column punched cards, then "dumb" terminals. But with the advent of the networked beige plastic PC on every desk the surge in professional-class DIY – word processing! spreadsheets! databases! – inevitably led to what one of my mentors, Geoffrey Ford, called "horse-holding" jobs. This referred to a Great Teaching, a story – probably apocryphal, or possibly even made up by Geoffrey – according to which an artillery exercise was taking place, and an observer asked what the two soldiers standing idly off to one side of each gun were doing. "They are holding the horses, sir, in case they are panicked by the gunfire, sir!" But there were no longer any horses to hold – horse-drawn gun-carriages having been abandoned by the Royal Artillery decades ago – but the role of Horse Holder had simply persisted, regardless.

As a good trade union activist, I did my best to preserve the ongoing employment of those former horse holders, but with each resignation or retirement the pool of clerical specialists grew ever smaller and, seemingly in direct proportion, our handwriting grew ever more idiosyncratic: no-one else ever needed to read it, after all. As for mine... Well, it was never that legible to start with, unless I carefully printed the individual letters, so it quickly atrophied into a personal semi-shorthand, with a legibility half-life in the worst cases of about three weeks.

Now I'm no graphologist but, as you might expect, artists and writers have often paid more attention to their handwriting than is perhaps typical: not necessarily from a legibility point of view, but as an expression of identity and personality. So much so that the Smithsonian has published a book, Pen to Paper, containing facsimiles of handwritten letters from a broad selection of artists, and there is also a similar compilation by Michael Bird, Artists' Letters: Leonardo da Vinci to David Hockney. Over the years I have acquired a number of handwritten items myself, sent to me by artists and photographers of varying renown; generally seasonal greetings, or notes to accompany the purchase of a book or print. Here are three that came readily to hand which strike me as interesting:

Isn't that extraordinary? Tom Phillips couldn't help himself: even a casual postcard with a gift for a fan has been rendered into a thing of calligraphic beauty. It's intriguing, the way not just letters but entire words have been linked together; the ornamental impulse seems to have overwhelmed the boring quotidian practice of separating words with spaces. Tom's fondness for decorative work undoubtedly hampered his wider reputation as an artist, unfairly I think. For his own thoughts on the matter, see his lecture, The Nature of Ornament.

The handwriting of John Blakemore is utterly distinctive, bold, and very strange: lying somewhere between italic and a 17th century hand. It's attractive but not really what you would call beautiful – it always makes me think of a pirate's bold signature – and actually rather distracting when inked on the bottom edge of a print. Particularly strange are those looped first "legs" of the Ms and Ns – maybe John also encountered a George in his time? – and that crazy R that at first glance looks like a perfectly normal "re". This is clearly a man with a taste for the retro who insisted on going his own idiosyncratic way.

By contrast, photographer Raymond Meeks has a style that is unassuming, almost self-deprecating; if not quite a handwritten whisper, then it is certainly more intimate than declarative. There's definitely something of Emily Dickinson about his briskly minimal way with punctuation. Ray's pencilled signature on the prints I have is unusually small, faint, and almost invisible; note, too, those lower-case initials. I've never met the guy, but if I did let's say I wouldn't be expecting some extroverted loudmouth to turn up. In fact, I wouldn't be surprised if he were late, or even forgot to turn up at all: his writing shares certain characteristics with that of my very oldest friend, Bruce, who was never known to be on time for anything, and has a very uncertain grasp on the generally-agreed sequence of the days of the week.

And with that, I'll hand off this post to my secretarial team for proofreading, correction, and typing up for consumption by that destroyer of handwriting, Weird Wild Wol [Is that right? Couldn't quite read that last bit? Ed.].

Sunday, 26 January 2025

Solent Scenes




Yesterday we had a visit from two old friends who were in Southampton for the weekend: not everybody's choice of location for a couple of days away, but then we're close to plenty of places that are. So, as we were having a calm day between violent storms, we went down to Titchfield on the Solent. I don't think I have ever seen the sea there so calm, although things must have been pretty rough in the week during storm Éowyn, as the beach was littered with oyster shells, many torn up from the sea bed in compacted lumps. Apparently there has been a project to reintroduce oysters to the Solent, for various environmentally beneficial reasons, so I hope these were just fragments of a much greater and more resilient whole.


Since the power station with its landmark tall chimney was demolished a while ago the refinery seems much more prominent on the horizon on the other side of Southampton Water – four miles away, as is the Isle of Wight, although both seem much closer than that – with its suspiciously immobile puff of cloud anchored overhead. A chilly and dull January afternoon with an overcast sky and a listless sea at low tide is not the most auspicious scenario for photography, but a late afternoon glow added a picturesque touch of ruddy light to the scene as we headed back to the car for the drive home and a nice hot cup of tea.


Tuesday, 21 January 2025

Unsharp Practice


I continue to be intrigued by the Canon Zoom monocular. Somehow the combination of ultra-pocketability with a tiny sensor and a crazy zoom which result in hilariously bad JPEG files can nonetheless yield pictures that (with some artful post-processing) I, at least, find attractive. Although I've tried, I simply can't reproduce the same effect with "better" cameras and lenses. [1]  The Zoom is not for everyone, obviously – no scope for boasting about "sharpness" here! – but in the right circumstances and with a bit of work it delivers images with certain pictorial qualities that, for me, outweigh the standard metrics of photographic excellence.

Sales of this unique device must have been poor, though, otherwise I'm sure Canon would have revisited it by now, and improved it somewhat. I mean, how much work would it take the engineers at Canon to knock off the obvious rough edges? Not much, but too much, it seems. Never mind, it's fun to use and, like any good puzzle, offers the sort of stimulating challenge that is more satisfying than being handed a result on a plate. Most of the time, anyway...





Another farewell BTW: John Blakemore has died. The fullest account of his career and influence I've seen so far is here on PetaPixel, but doubtless there'll be others. Blakemore was a massively influential figure in the British art photography scene during what I think of as the "darkroom and workshop" era, alongside other practitioner-educators like Fay Godwin, Raymond Moore, and Paul Hill. If you don't know his work, check it out: there's a nice video, Seduced by Light, here. I like this quote from an interview with him:
"But at the end of the day, there’s a lot of bits of paper in boxes," Blakemore laughed, smiling broadly. "And that’s a suitable end, isn’t it?"
Yep, that's about it. The wisdom and the fun is all in the making of them. Pity the person who inherits all those boxes.

1. For example a Panasonic micro 4/3 body with a 45-200mm lens attached (90-400mm in 35mm terms), or even a Panasonic TZ70 "superzoom" compact, with its own tiny sensor and mad 30x zoom (24-720mm in 35mm terms).

Friday, 17 January 2025

Scenius


I was reading an interview with Brian Eno in the Guardian about his new book, co-authored with Bette Adriaanse, What Art Does, and two things he said struck me as noteworthy. First:

Eno says. “I had met a 15-year-old who was talking about doing her A-levels. She said, ‘Well, I really want to do art because that’s what I like, but my teacher said I was too bright for that.’ I thought: that is really the death of a culture. When we decide that stuff we’ve been doing for the whole of human history is not as important as learning about FinTech or computer programming.”

Well, that was me. Not actually me, obviously, but me in 1970, at the point of choosing my A-level subjects. Three years previously I had been required to choose between Art and German, which was a no-brainer at the time: I love languages, and wanted to learn to speak German much more than I wanted to muck about in our really rather underpowered art classes. Besides, I was enjoying myself drawing, painting, and making lino prints at home, and was even starting to show work at little local exhibitions, so: kein Problem!

Now, I had been something of an art star at my primary school, where a strong emphasis had been put on the importance of "art and craft"; my paintings were entered for national and local competitions, in which I won first prize twice. But at secondary school art was regarded as mere busywork for the non-academic kids. Nobody cared that I could draw and paint, as I had been tagged as a potential Oxbridge candidate, and nothing mattered more to small-town state grammar schools than a few Oxbridge successes every year. But I've covered this ground before in the post Life Drawing, and will simply say that when in 1970 I initially proposed one of my intended three A-Levels as Art, I might as well have suggested Masturbation, given the reaction I got. So I chose Geography instead, and have never regretted it.

But what Eno says is interesting. I don't know about now, but back then art school was the destination of choice for fashion-conscious live-wire misfits who hadn't cared for school discipline or three hours of homework every night. The connection between Britain's art schools and the inventive vitality of our rock and pop scenes is well-established, from the Beatles and the Who to Roxy Music, Blur and beyond. Eno himself, of course, was famously tutored by my man Tom Phillips at Ipswich Art School. But, TBH, I think Eno is wrong to see a zero-sum competition between Art and Academia: these are two very different forms of intelligence, and rarely possessed in equal measure by any one individual. One very good reason why conceptual art has become such a boring dead end is that it demands the application of academic intelligence from people who, in the main, are simply not cut out for it. After all, conversely, no-one expects a professor of technology also to be a design genius (have you ever seen a lab prototype?) or, for that matter, a humanities scholar to turn out a brilliantly innovative work of literature. Of course, it is undeniable that, on a personal level, for anyone with conflicting talents and desires to have to choose a path though life at age 16 can be agonising, but it is also surely true that for those with a genuine artistic "calling" and talent to match the way forward is never less than clear.

The other quote that caught my attention was this:

So I have this idea of ‘scenius’,” he elaborates. “Genius is … the brilliance of an individual. Scenius is the fertility of a whole scene of people. So much of art history doesn’t acknowledge that at all. You know, it’s like: Picasso, Kandinsky, Rembrandt, these great individuals. But look at the world that they were in. There were a lot of other great individuals around them, and there were other people who don’t even get called artists, who facilitated. Curators, dealers, critics, people who ran salons, girlfriends, mistresses, wives, children.

Now that is surely very true, and a very neat coinage. Nothing stimulates creativity like being part of a "scene", where ambitious individuals compete for attention, steal ideas off each other, and are nurtured, accommodated, and facilitated by other members of that scene endowed with different but complementary sets of gifts and ambitions. Not just anybody can become a successful dealer, for example, in – ahem – either sense of the word. There have always been "lone wolf" artists, of course, but quite often it seems that their renown came late in life or even posthumously; I suppose Van Gogh is the type specimen. Most of the artists we have heard of, though, whether visual or musical, will have emerged from some supportive creative milieu. In fact, the same scene will often have produced several major and multiple minor figures, like one of those awe-inspiring "star nurseries" identified and so beautifully photographed by the Hubble telescope.

I have very few regrets in my life, but I do sometimes wonder what might have been if I had found myself in a scene like that, where whatever latent creative abilities I have might have found a congenial testbed. I never did, though: too lazy and unfocussed to be an academic, too uninterested in "current affairs" to become a journalist or politician, I was simply in the wrong place at the wrong time at university. Much as I enjoyed myself there and treasure the lifelong friendships I made, it was not really "my scene", as we used to say. Far too many of us, I think, had our ambitions channelled and truncated by schools which had the sole aim of getting us into university... Got your A-levels, got your place? Job done... Bye! But if, at that crucial time, you have no clear game plan that extends beyond formal schooling into adult life, it's too easy to end up falling through the cracks of your own personality. Unless, that is – whether by accident or design – you are surrounded by a coterie of others who share the same aims and interests; friends, rivals, and even enemies who can hone, amplify, and boost your talent into escape velocity.

TBH I doubt I'd ever have made a success of the artistic life, anyway; so few do. In the end, I was lucky enough to land on my feet and find a satisfying role working in academic libraries; hardly a "scene", but a good-enough fit for me, with a good-enough salary and the prospect of a decent pension at the end of my working life. Result! Not everyone is that lucky, however, perhaps especially those minor characters who were once constituents of a scene but then disappeared without trace, at least as far as "art history" is concerned. I'd be surprised if Eno can recall many of them himself, or has any idea of what happened to them after fame and fortune came calling for the chosen few – the hangers on, the roadies, the dealers, the fixers, and all the various temporary friends that make up a scene like the one that produced Roxy Music back in the early 70s. How easily "scenius" will have turned into "hasbeenius" for them.

This reminds me of a book I read a few years ago, A Hero for High Times, by Ian Marchant, about a man called Bob Rowberry. Living in an immobilised bus in the woods near Presteigne in mid-Wales – one of our very own annual Easter haunts – Bob is a happy survivor of more "scenes" than you would have thought possible. He pops up everywhere in the story of the long counterculture, 1956-1994, with anecdotes too numerous and eyebrow-raising to summarise here. It's quite a story, though, and appears to be true. But characters like Bob are the exception: the improvised life can be cruel to those who choose it, as was brutally exposed by the Covid shutdown of the theatres and concert venues. There are no pensions, no incremental salaries, or even guarantees of regular work for those who take the chancer's leap of faith.

And then there are those who have simply drifted into the life of someone more driven, and destined for great things. We revere the songs of Joni Mitchell and Leonard Cohen, but who really knows or cares who Cary Raditz or Marianne Ihlen were, other than journalists looking for a fresh angle on an old story? There are worse fates, you'd think, for an artist's ex than to become famous in their own right as the discarded muse behind a wonderful painting or song. Unless, I suppose, that song is any one of hundreds of bitter and twisted break-up songs (OK, let's make do with seventy-five). Far from "dining out" on the story, you'd probably want to keep very quiet about that.


And BTW: farewell to David Lynch. I'll never forget watching Eraserhead in a tiny fleapit arts cinema in Bristol around 1978, and thinking, is this real or am I having some kind of icky flashback? Or watching Twin Peaks spellbound on my 8" portable TV, and then using its themes and characters as test entries when working on the digital conversion of the Southampton University Library catalogue ("The Owls Are Not What They Seem", and so on). Imaginary books which people actually began to request, despite the prominent note reading !!THIS IS A TEST RECORD!!; so much so that the Ref Desk people insisted I remove them (I think I did, I'd better check...). David Lynch is a sad loss: they don't / won't / can't make 'em like that any more. There is a man in a smiling bag...

Sunday, 12 January 2025

Chips vs. Chips


Morcombelake bus stop

From time to time someone publishes a book that makes a zeitgeisty splash: it seems to help if its arguments can be reduced to a simple takeaway formula by reviewers, obviating the need for anyone else actually to read the book. In fact, ideally, this formula will at least appear to be encapsulated in its title: no need even to read any reviews! I'm thinking of books like Small Is Beautiful, The Shock of the New, The Black Swan, and so on. What, you've actually read them?

For a short while recently, it seemed that a book by French political scientist Olivier Roy, The Crisis of Culture: Identity Politics and the Empire of Norms, might be the latest candidate to fit that description, but its moment has probably already passed. It's a translation of L'Aplatissement du monde: La crise de la culture et l'empire des normes, a title which actually conveys the apparent contents more accurately: roughly "The Flattening-Out of the World: the crisis of culture and the empire of norms". I assume there's some kind of sideways glance at one of Roland Barthes' more curious books going on there, too, the one on Japan, Empire of Signs. Now there's a book you'd never get from its title, much as you might presume you could.

The main bit of Roy's argument that stuck with me from the reviews was that our contemporary global pick-and-mix culture is destroying "cultures". That is, that the authenticity of long-established national and local cultures is being undermined by our constant consumerist flirtations with what, for example, used to be dismissed here – in an earlier, more robust version of British "authenticity" – as foreign muck. Today, that would be non-native food fads like kefir or kimchi, but formerly any new and deeply suspect items imported from dodgy overseas locations: quasi-pornographic ingredients like olive oil, garlic, and capsicum peppers [1]. Some stiff-necked types back then, I'm sure, will have blamed the loss of an empire on our new-found fondness for pasta and pizza.

There are reviews of Roy's book here and here, and no doubt elsewhere, too, should you want to make up your own mind about it. Whatever its merits, the "undermining local cultures" bit seems a very tired old argument to me, and despite the leftist credentials of the author the very essence of a certain brand of conservatism. But then I haven't read the book, and have no intention of doing so.

In France, however, to take a stand against a globalising food culture does make a kind of sense: the national culinary tradition is often claimed to be an essential part of what it means to be French. Unless, I suppose, you're of North African heritage and living in a run-down banlieue of Paris, or even some British expat in a refurbished farmhouse in the Dordogne, craving Marmite, proper tea, and a comforting plate of baked beans on toast. But apparently the youth of France are showing little interest in haute cuisine or spending the necessary hours in the kitchen preparing traditional staples of the French diet like boeuf bourguignon or coq au vin, and have fallen prey to le fast-food and McDo, like the youth everywhere else.

But if you are a Brit living in Britain, really? Let's have more of that foreign muck, please! Come on, guys, undermine our authentic national culture as much as you like! For anyone over sixty, memories of the British kitchen in the past are like a nightmare from which we finally began to awake somewhere in the 1980s. Does anyone truly long for the actual domestic boiled-beef-and-carrots "tradition" of fried breakfast, tinned peas, jam sandwiches, overcooked vegetables, and stodgy puddings with instant custard? For years now I have been keeping an eye on the supermarket aisles where the Fray Bentos tinned pies, bottles of Camp coffee, Bird's custard powder and other assorted relics of the pre-refrigerator British diet are racked, and have never yet seen anybody put one of those culinary curiosities into their basket. Maybe they're really there as a sort of "remember the 1950s?" museum-cum-warning: You've never had it so good. No, really! Mind you, when the Russian hackers finally cut off our electricity, those shelves will empty even faster than the ones carrying family packs of toilet roll.

Porthole view of Clevedon Pier

I don't know about you, but I do like a bit of chocolate, and my chocolate of choice is Lindt Excellence 70% (inexplicably, my partner prefers 90%): not because I'm some sort of snack snob, but simply because it's so much nicer than anything our "native" manufacturers like Cadbury's have ever come up with. There was a time, of course, when I, like all British kids, knew no better. A shilling (5p) bar of Cadbury's Whole Nut seemed pretty damned sophisticated to me. But at Easter 1965 we had a primary school trip to Switzerland (which was unusual, and I should write about that sometime), and I don't think there was one of us who didn't come home changed, and changed utterly, taste-wise, when it came to chocolate. Some kids had practically filled a suitcase with Suchard, Toblerone, and those mauve-wrapped Milka bars [2]; goodness knows what they had done with their clothes. In fact, for many years most British self-styled "chocolate" could not be marketed as such in Europe, because of its unacceptably high content of vegetable oils and milk. Frankly, at its worst, our chocolate was little more than flavoured wax – anyone remember those cheap Superba bars you used to be able to buy in Woolworth's? – compared to the ambrosial substance made by cocoa-dusted angels in Switzerland, Belgium, and other select euro-franchises of heaven.

But, thinking of the miraculous cocoa bean, you do have to wonder how quickly unfamiliar foodstuffs from overseas become incorporated as a staple of the local "traditional" culture. Never mind kimchi and kefir, what about rice and spices? Or potatoes? Tomatoes? Chillies? Peppers? Where would our national love of hot gloop be without cornflour? And what could be more traditionally British than a tin of Heinz baked beans, an American concoction marketed by an American company which incorporates not a single "native" British ingredient other than salt and a splash of vinegar.

And then there's the "tradition" of a curry or a Chinese meal after a night out. I'll never forget the night in 1971 that a friend finally persuaded me to try a crispy spring roll as a tasty alternative to a greasy pink sausage in batter as a post-pub takeaway treat. Or later that same year when our teacher took the sixth-form German group on a theatre visit to Cambridge, and treated us all to a proper "Indian" afterwards. It was my first ever experience of an Indian restaurant: I had a chicken biryani that I can still recall with pleasure over fifty years later. Of course, even the magnificent cuisine of India itself has happily incorporated "foreign" ingredients, not least some other members of that extraordinary New World vegetable diaspora, those tasty (if sometimes deadly) shape-shifters, the Solanaceae. Cooks everywhere know a good thing when they see it (or, better, taste it). Even, eventually, in Britain.

Deceptively broken chair, Southampton

In the end, all appeals to cultural purity and tradition have to be regarded with suspicion, whether from the left or the right, politically. I shared some thoughts on this in a post from 2010, The Italian Job, when a set of my photographs was being shown in a town known either as Innichen (to German speakers) or San Candido (to Italian speakers) situated in the Italian Dolomites; a territory which, before its post-WW1 annexation by Italy, was once a part of Austro-Hungary known as the "South Tyrol", and is still divided, culturally and linguistically, more than a century later. The big step from national pride to intolerance and violence against incomers and cultural "others" was all too easily taken in the hot mess created by the decline of empires and disruptive wars, a mess that has never gone away and is being dangerously over-heated again today by mass migrations away from climate change, kleptocracies, and intolerant authoritarian regimes. "Too much too soon" is never the safest way to mix things up, especially when it comes to people, and even "little and often" can become explosive after a while.

So is the world being "flattened out", culturally, as Olivier Roy and many others have suggested? Up to a point, unquestionably, yes. Setting aside McDonalds, Microsoft, and the like, the fact that our very own English language – surely not one of the easiest to master – has escaped into the wild and become international property is a symptom of this. Every day I am humbled by the confident idiomatic command of my mother tongue by politicians, journalists, scientists, writers, and public figures of every type and nationality when I hear them being interviewed on the radio. Are there British politicians today who could hold their own under interrogation on, say, Spanish or German radio? I doubt it. But do these fluent speakers of our pushy lingua franca still treasure their own language? Of course they do. Do they resent the cuckoo-like domination of English in pretty much all international discourse? Even in a Europe from which we flounced away a few years ago? Apparently not, not even in France – well, not much, anyway – a country with a long-standing language-anxiety issue that amounts to a tradition in itself. Although it is undeniable that we have our enormous and muscular American cousin standing behind us at all times, who speaks a snappier version of our language in a much louder voice, and always carries a Big Stick tucked under his arm.

It is also true that anyone's mother tongue is less and less likely to be one of the hundreds of endangered languages (list here). It is said that one of these languages will die out every 40 days, a "little and often" shift towards the more widely-spoken languages that is a bottom-up kind of flattening out. Linguists tend to regard that as a tragedy, and celebrate the fact that there are still 840 living languages on Papua New Guinea. But I doubt many PNG administrators feel the same way and, inevitably, English is the language of government and the legal and education systems there, with Tok Pisin, an English-based creole, the most widely spoken language.

Incidentally and not entirely irrelevantly, here's a real TV treat for David Attenborough fans from 1957. If you followed the link, that is very much the black-and-white world I was born into in 1954 – intrepid man in khaki shorts encounters strange "natives" in faraway places – and there is little doubt that the world has lost much of its enticing variety and strangeness since then. I mean, you can't find a proper cannibal or head-hunter anywhere, these days, can you? But – what's that? – do I hear mutterings out there (in academic English, naturally) about "orientalism" and "white privilege"? Sure, there's that, but come on... A world without even an imaginary heart of darkness would be a very flat place indeed.

The big question, of course, is does any of this matter? Is a vision of a few broadly similar world cultures speaking a handful of languages, all eating a pick and mix world-diet bought from the same few supermarket chains, and all watching the same streamed TV programmes every night a dream of a better world or a dystopian nightmare? Are those who oppose this apparently irreversible direction of travel – sometimes "by any means necessary" – the good guys or the bad guys?

These are Big Questions to which I have no answers, you won't be surprised to hear. So here's another big one for you: do you think, in time, we Brits might be compelled by linguistic force majeure to refer to "crisps" as "chips", and eat "fries" instead of "chips"? I sincerely hope not, and if we did I'd be annoyed and have a bit of moan about Young People Today, but I'd probably not be inclined to go to the barricades over it, or encourage a potato farmers' tractor blockade of Whitehall. That's much more of a French response to such provocations but, as we like to say here: vive la différence!

Although, apparently, like cul-de-sacsacré bleu, and even c'est la vie!, no-one ever does actually say vive la différence! in yer actual France. In much the same way as there are very few actual cowboys in America, and no-one in Britain has ever referred to an umbrella as a "bumbershoot". It seems bits of different cultures are prone to leak into each other in a uniquely distorted and sometimes unrecognisable fashion, in what is more like an ongoing game of international Chinese whispers than any dismal flattening out into a grey, entropic cultural pancake / tortilla / chapati / focaccia / matzo / etc. (you get the idea).

So who knows what weird series of mash-ups will eventually result? Although I'd suggest that the English language itself, this amazing linguistic car-crash – bent out of shape so many times but never written-off, now much simplified and incorporating cannibalised bits of various other contenders and, incredibly, leading the race (for now, anyway) – may give us a hint of what is yet to come. Yes, folks, here comes the Franken-future!

And well spotted, you're quite right: these four photographs have no apparent relationship whatsoever with the rambling content of this post. They just sort of leaked in.

Bristol flat kitchen

1. The only place you would find olive oil when I was a kid in small-town Britain was in a chemist's shop, sold in small corked medicine bottles, its sole known use being to soften ear wax prior to syringing. I imagine there were secret places in Soho where garlic and – crikey! – root ginger could be bought, furtively, probably as sex aids.

2. Not to be confused with Nestlé's aberration (always pronounced "nessles" here BTW, unless you're looking for trouble), the Milky Bar, an emetic confection of "white chocolate", much advertised on TV when I was young, featuring some wimpy bespectacled boy in a cowboy outfit: The Milky Bar Kid. Bizarre.