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R. & J. Beck (British, founded 1865, dissolved 1891)
Stereoscope (reversible in box), after 1865, Wood, brass, glass
8.3 × 17.8 × 17.1 cm (3 1/4 × 7 × 6 3/4 in.), 2008.89.26
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader
AND
Unknown
A Drawing Room Scene., about 1860, Photomechanical print
84.XC.979.10119
The J. Paul Getty Museum, Los Angeles, Gift of Weston J. and Mary M. Naef

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'The result he had obtained, then, was this'

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'The result he had obtained, then, was this'

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Passages read from:
Kate Chopin, The Awakening, 1899
Anton Chekov, The Duel, 1891
Anton Chekov, The Album, 1885
Thomas Hardy, Desperate Remedies, 1871
Image Courtesy of Ulster University Special Collections

If, as Elizabeth Edwards comments, the photograph album both "retemporalizes" and "respatializes" then here that agency for the  album is refracted and displayed, situating the album as a device in a fictive space, in a reconstruction of narratives of intimate histories, to diverge from the claims of the archive - indexicality and historical
documentation - and hijacking the fictional worlds of selected texts to act in the place of ‘indexicality’ and the ‘document’.  Elizabeth Edwards comments "Crucially the album retemporalizes, it constructs a narrative of history, not merely in the juxtaposition of separate images but in the way the viewer activates the temporality and narrative through the physical action of holding the object and turning the pages. The viewer is in control of the temporal relationship with those images.

The album also respatializes: disconnected points offer glimpses of possible pasts. they are transformed not into an experienced spatiality but with an imaginative and ambiguous space which the past inhabits, collected and co-located, they transform history into space."
(Elizabeth Edwards,  ‘Photographs as Objects of Memory’ Material Memories ed. by Marius Kwint, Christopher Breward, Jeremy Aynsley, (Oxford: Berg, 1999) 221-236: 230)

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a man beside himself beside a man beside himself recurring

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a man beside himself beside a man beside himself recurring

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In 'A small album, with a dark tooled leather cover', held at the museum archives of  Sentry Hill Museum, two facing pages feature these examples of duplex or ploypose photography. One example features an anonymous figure, annotated by hand as "A man beside himself", the other examples features a figure who is  identified, annotated by hand as "J McMillan beside himself". At the centre of the polypose or duplex photograph, one of the most common and popular examples of trick photography in the discourse of early popular photography (see Fineman, Mia, Faking it: Manipulated Photography Before Photoshop, National Gallery of Art (U.S.A): 117-124 ), there is the trope of the double, and a series of specific theoretical arguments that this trope of the double will prompt; that the ‘image in a double exposure is at its core already multiple, calling into question the idea of originality and authenticity even more dramatically than in the traditional negative process’  (Susan Cook,  Victorian negatives : literary culture and the dark side of photography in the nineteenth century, Albany, State University of New York Press, [2019]: xxxiii).  These photographs are displayed in an album of diverse images, from those featuring the homeplace of Sentry Hill itself, to collected photographs 'documenting'  regionally known figures such as preachers or massively circulated  photographs 'documenting' international figures such as Emperor Napoleon III.
What can these duplex or polypose photographs, with their innate questioning of the registers of originality and authenticity in photographic image, do to the communication and reading of such adjacent and companion images in this album?

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Audio from La Curée, Émile Zola (1872) (Chapter Three, passage in translation copied below)
Image Courtesy of Ulster University Special Collections
"Maxime also brought these ladies’ photographs. He had actresses’ photographs in all his pockets, and even in his cigar-case. From time to time he cleared them out and placed these ladies in the album that lay about on the furniture in the drawing room, and already contained the photographs of Renée’s friends. There were men’s photographs there too, Monsieur de Rozan, Simpson, de Chibray, and de Mussy, as well as actors, writers, and deputies, who had come somehow to swell the collection. A strangely mixed society, a symbol of the jumble of people and ideas that moved through Renée’s and Maxime’s lives. Whenever it rained or they felt bored, this album was their great subject of conversation. They always ended up looking at it. Renée opened it with a yawn, for the hundredth time perhaps. Then her curiosity would reawaken, the young man came and leant behind her, and there followed long discussions about The Crayfish’s hair, Madame de Meinhold’s double chin, Madame de Lauwerens’ eyes, and Blanche Muller’s bust; about the Marquise’s nose, which was a little on one side, and little Sylvia’s mouth, which was renowned for the thickness of its lips. They compared the women with each other. ‘If I were a man,’ said Renée, ‘I’d choose Adeline.’ ‘That’s because you don’t know Sylvia,’ replied Maxime. ‘She’s so funny! I must say I prefer Sylvia.’ The pages were turned over; sometimes the Duc de Rozan appeared, or Mr Simpson, or the Comte de Chibray, and he added, laughing at her: ‘Besides, your taste is perverted, everybody knows that... Can you imagine anything more stupid than the faces of those men! Rozan and Chibray are both like Gustave, my hairdresser.’  Renée shrugged, as if to say that she was immune to sarcasm. She was again lost in contemplation of the pale, smiling, or impassive faces in the album; she lingered longest over the portraits of the courtesans, studying the exact microscopic details of the photographs, the minute wrinkles, the tiny hairs. One day she even sent for a powerful magnifying glass, fancying she had spotted a hair on The Crayfish’s nose. In fact the glass did reveal a thin golden thread, which had strayed from the eyebrows down to the middle of the nose. This hair kept them amused for a long time. For a whole week the ladies who called were made to verify for themselves the presence of this hair. From then on the magnifying glass served to pick the women’s faces to pieces. Renée made astonishing discoveries: she found unknown wrinkles, coarse skin, cavities imperfectly filled with rice-powder, until Maxime finally hid the glass, declaring that it was not right to become so disgusted with the human face. The truth was that she scrutinized too closely the thick lips of Sylvia, for whom he had rather a soft spot. They invented a new game. They asked the question: ‘Whom would I like to spend a night with?’ and they looked for an answer in the album. This produced some hilarious couplings. They played this game for several evenings. Renée was in this way married successively to the Archbishop of Paris, Baron Gouraud, Monsieur de Chibray, which caused much laughter, and her own husband, which distressed her greatly. As to Maxime, either by chance or by the mischievous design of Renée, who opened the album, he always fell to the Marquise. But they never laughed as much as when fate coupled two men or two women together."
Chapter Three,  La Curée (The Kill), Emile Zola, 1872

John Berger commented in an interview that photographs ‘are both authentic and not authentic: whether the authentic side of photographs can be used authentically or not depends on how you use them.’ (Berger, 1979). A family in a shared look at photograph album (and sometimes an individual posed looking at a photograph locket) was a scene that was posed often for family portraits by early portrait photographers using the props of their studio (see Geoffrey Batchen, Forget Me Not, 2010). Here is that pose from the studio of James Glass, Derry. And if  the ‘very format of the album itself, with its multiple contributions’ (Grace Seiberling, Amateurs, Photgraphy and the Mid-Victorian Imagination, 1986:104-105) reinforced the centrality of the family as a visual trope in Victorian culture, as the album was commonly ‘looked at in the company of friends and family members’ as ‘a means of communicating values and taste’ (ibid) then what happens to this display of taste here,  when it is displayed with an account of an album as a central device in a  passage transgressive of such respectability, from Emile Zola's novel 1872 La Curée (The Kill), a passage copied above.

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The function of performativity and ‘theatre’ within the photographic studio apparatus can be indicated in the contemporaneous circulation and communication of the photographic practice of James Glass, with Glass’s advertisements and reports that mention his studio specifically delineating his studio props and backdrops in theatrical terms:  ‘SEASON 1880. MR. J. GLASS desires respectfully to tender his sincere Thanks to his numerous Patrons for the liberal support they have favoured him ... and as is now equipped with the recent and improved Appliances, is in a position to execute Portraits in the highest style Art. ... Children Photographed in the favourite Boat Scene and Swinging Apparatus.’ (Derry Journal - Wednesday 21 July 1880 Page 1);  and here with a record of Glass contributing his screens (studio backdrops) to an event ‘dressing’ a venue for a public function: ‘CITY OF DERRY BOATING CLUB BALL. The subscription ball in connection with the City of Derry Boating Club was held in the Guildhall Friday night, and was eminently successful. The large hall was gaily decorated, and served a ballroom, the decorations being suggestive of boating and aquatic exercises. ... Under the gallery a retiring-room was formed by screens, and the floor was nobly carpeted and supplied with lounges, while large palms and tree ferns contributed to heighten the effect. ... The bunting was lent by the Belfast Steamship Company, ... furniture by Mr. D. Campbell, the carpets by Messrs J. J. Pollook A Co., the screens by Mr. James Glass …' (Londonderry Sentinel - Monday 13 February 1893, page 8)  In her discussion of photography, space and power within a nineteenth-century archival photography collection, Edwards uses the term ‘theatre’ to discuss how selected archival photographic images have been constructed (Edwards, E. 2003). Edwards’s specific meaning for that term theatre in this context is most significant here: “a representation, heightening, containment and projection, a presentation which constitutes a performative or persuasive act directed towards a conscious beholder.” (Edwards, E. 2003:262).  The mechanisms of meaning in photography are ‘complex’ and ‘ambiguously dynamic” (Edwards 2003:261). We can indicate the overt visibility of faux studio scenography, the overt fictional character of studio props and the overt register of inauthenticity and performance in the central trope of the family within Victorian lives.  The case that an apparent representation of family status, for example that of a family posed as a unit viewing their lineage as it is represented in a faux family domestic  album laid out before them on a studio prop against a studio backdrop, being so visibly faked and staged by the scenography of the photography studio, can itself be communicated as a prerogative to interrogate and recognize how the registers of authenticity and fakeness, fragmentation and reconfiguration, and the paradoxes of public and private oscillate across all elements of early domestic photography.
Digital copies of the photographs from the studio of James Glass courtesy of the Ulster University Special Collections.

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"BACKGROUNDS— HOW TO PAINT AND ARRANGE THEM.FURNITURE, &C.Any old kitchen chair may, for a few pence, be made to do service in place of an elaborately carved and expensive one by straining thick coarse brown paper over the back and front, and pasting the same to the chair. When it has drieditself thoroughly tight, mark the pattern out with vandykebrown ; put the projecting ornaments on with pieces of cut-out mill- board ; stuff a large, broad-patterned, red and white cotton pocket handkerchief for a cushion ; sew two tassels to thesame, and place on the seat— when, for a few pence, and alittle ingenuity, you will have a chair as sketch A, transformed into a chair as sketch B. High-backed chairs, lowbacked chairs, or any style of chair, may, by the addition of profile pieces of millboard, and the dexterous use of vandyke brown and the brush, be transformed into serviceable andornamental pieces of photographic furniture. Ottomans, foot-stools, and similar appendages to the chair may be constructed in the rudest manner of pieces of rough wood,or of old boxes, covered with any figured stuff, as calico, chintz. If a suitable contrast of colours is secured, a pleasing variety of pattern will be obtained." A series of articles on 'BACKGROUNDS - HOW TO PAINT AND ARRANGE THEM'  like the one above appeared in The Photographic News across late 1859 and early 1860. The series instructed on the creation of both fictional interiors and exteriors:  for example, "A rustic background for ladies in walking dress, with dark foliage at the side for light-haired children, may be constructed with great artistic effect ..." (issue of Jan 20, 1860). Marien (1998) and Steve Edwards (2006) are two of the several authors who indicate how an interrogation of the nineteenth-century printed literature of photography can be central to an understanding of the discourse of early domestic photography,  in their analysis of a a plethora of the early trade journals of photography. This analysis indicates that the visual economy of the Victorian era developed within and through the social and cultural capital of photography as an emerging profession, situating what Edwards describes as the ‘ideological space of the studio’ as central to the making of meaning in nineteenth century photography (Edwards, S. 2006: 251), with Edge (2017) noting that ‘Gender- and class-based codes’ were ‘communicated via the inclusion of backdrops and props’ (Edge 2017:40) in practices of high-street photographers. Central to how this ideological space of the studio operated is the potential challenge to and fracture of the defined positions of social capital and its representation - through potentially common sequences of display within a domestic photo album, or display in an on-street public window of a photographer’s studio, in which a photographic portrait of a commoner could be displayed adjacent to the (commercially published) photographic portrait of their superiors (Edwards 2006:247-248; Plunkett 2003). And allied to this argument, Edwards (2006) and Plunket (2003) indicate a reading of the early photographic studio as a threatening arena wherein a subaltern may adopt within their pose and selected studio backdrop the visual registers of their superiors. In early studio photographic portraiture this unregulated fluidity in the representational tropes of social status was made overtly possible, with for example the potential for a ‘commoner’ to choose to be photographed against a studio painted backdrop and constructed studio ‘set’ of a country estate, as one of the many common options from the range of various painted backgrounds adopted in studio portraiture. Following arguments delineated by Edwards (2006), my research indicates the complexity and paradoxes of early domestic photography by reading the domestic photograph albums of William McKinney through the prism of the professional photographic portrait studio practice of James Glass.

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Elizabeth Edwards, PHOTOGRAPHS AS OBJECTS OF MEMORY, in The Object Reader, Edited By Fiona Candlin, Raiford Guins, Routledge 2009: 331-342: extract p 336-337

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Elizabeth Edwards, PHOTOGRAPHS AS OBJECTS OF MEMORY, in The Object Reader, Edited By Fiona Candlin, Raiford Guins, Routledge 2009: 331-342: extract p 336-337

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"Consider the photographic album. The album is more than a sum of its parts in that its significance lies multiplied in the massing of individual images: narrative structure and related texts formed through its materiality. Crucially, the album retemporalizes, it constructs a narrative of history, not merely in the juxtaposition of separate images but in the way that the viewer activates the temporality and narrative through the physical action of holding the object and turning the pages. The viewer is in control of the temporal relationship with those images. Each viewer will have his or her own track through the physical album, those pages lingered over, those skipped over, investing the object with narrative and memory, interwoven with private fantasy, fragmented readings and public history. One might argue here that there is a temporal aspect to touch where, as Susan Stewart argues, sensing touch relates directly to visualising. The album also respatializes: disconnected points offer glimpses of possible pasts. They are transformed not into an experienced spatiality but with an imaginative and ambiguous space which the past inhabits, collected and co-located, they transform history into space. Blank spaces in an album suggest memory lost—photographs that escaped or were destroyed, leaving material traces of their absence (glue and torn paper) and opening the object further to the imaginative projection of making histories."

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Looking and Seeing: the visual literacy textbooks of Kurt Rowland

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Looking and Seeing: the visual literacy textbooks of Kurt Rowland

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Andrew Demetrius (2018)

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Agrandir

FIGEAC-MONTHUS MARGUERITE -ED-

La culture matérielle de l'école, en tant que témoignage et marque du rapport de l'homme à l'objet, constitue pour l'historien un matériau permettant de mieux appréhender le passé. Dans le milieu de l'éducation, elle est à la fois un moyen d'apprentissage et une composante de l'acte pédagogique et devient la trace nécessaire à sa compréhension et à sa contextualisation. Ce livre vise à souligner les similitudes mais aussi les particularités apparaissant, à travers les objets éducatifs, dans les différents États européens, et ce, sur la longue durée, du XVI e à nos jours. La culture matérielle est donc à la fois " un fait " régional, national et européen, administratif et politique, économique et culturel, et elle appartient en cela, à l'instar du patrimoine et de la mémoire, à la fois au passé et au présent.

Marguerite Figeac-Monthus, professeur d'histoire moderne à l'université de Bordeaux, est également membre du Centre d'Études des Mondes Moderne et Contemporain CEMMC (EA 2958)/Université de Bordeaux-Montaigne. Elle est spécialiste des questions portant sur le patrimoine éducatif et la culture matérielle de l'école et essaie depuis plusieurs années, à travers le site Patrival ( https://www.msha.fr/patrival/), de valoriser les fonds aquitains sur l'éducation. Elle a par ailleurs travaillé sur les plans et traités d'éducation français des XVIII e-XIX e siècles et a essayé d'y mesurer l'influence des idées de Rousseau.

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ÉDUCATION ET CULTURE MATÉRIELLE EN FRANCE ET EN EUROPE DU XVIE SIÈCLE À NOS JOURS - HONORE CHAMPION

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Agrandir La culture matérielle de l'école, en tant que témoignage et marque du rapport de l'homme à l'objet, constitue pour l'historien un matériau permettant de mieux appréhender le passé. Dans le milieu de l'éducation, elle est à la fois un moyen d'apprentissage et une composante de l'acte pédagogique et devient la trace nécessaire à sa compréhension et à sa contextualisation.

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Hal Foster, An Archival Impulse, October, Vol. 110 (Autumn, 2004), pp. 3-22

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Spring in The Dollhouse - Press Release.

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Spring in The Dollhouse - Press Release.

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A 2 day journey to re-wild a folk song at its human and avian source.

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BBC Radio 4 - The Turtle Dove Pilgrimage

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A pilgrimage across Sussex tracing the origins of the iconic song The Turtle Dove.

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Archive Fever book. Read 52 reviews from the world's largest community for readers. In Archive Fever, Jacques Derrida deftly guides us through an extende...

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An Introduction to Birdsong

Published By: Short Books
Publication Date: November 3, 2011
Learning birdsong is not just a way to become a better bird-spotter. It is tuning in: a way of hearing the soundtrack of the planet earth...
Why do birds sing? What are they trying to say?

Birdsong is not just about natural history. It is also about our history. We got melody from the birds as we got rhythm from the womb. Birds are our music: they teach us to express emotion and beauty in sound. The first instruments ever made were bird-flutes.

This vital book - with a free podcast - takes you from winter into deepest spring, teaching you to how recognise song after song as the chorus swells. You start with robin, and end up listening to nightingales.

Along the way, you will learn something of the science of birdsong - the difference between song and call, the physiology of songbirds, what birdsong tells us about evolution, and indeed the very beginnings of life itself. The aim is to give you a flying start in birdsong so that, after reading this book, you'll be listening to order, not chaos, to Bach, not white noise. You will be more aware of the wild world, and better able to understand it.
Simon Barnes' Birdwatching with your Eyes Closed Podcast: You can also download the podcast from iTunes
Reviews

Most of us can see, but not everyone looks. Most of us can hear, but not everyone listens. This book will help you do both. And, above all, it will tell you how to enjoy.
- Bill Oddie

A gem... All day, I've been fighting the urge to drop everything so I can devour this eloquent book in one siting... exquisite.
- The Guardian

He'll tune your ears to winter's lonely voices - robins, wrens, long-tailed tits - before preparing you for the exultant sounds of spring .
- The Times

A beguiling love song to our feathered friends. Brilliant.
- Rosemary Goring, Glasgow Herald

He'll tune your ears to winter's lonely voices - robins, wrens, long-tailed tits - before preparing you for the exultant sounds of spring.
- The Times

Do you struggle with identifying birds by song? Yes? Good! Then there's a delightful journey, just waiting for you thanks to this book... This spring should be a special one for you.
- Birds Magazine

This is very good indeed. Barnes's approach is humorous, chatty and pragmatic... He can't do the listening for you, but boy, does he help you sharpen your ears.
- Irish Times

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Birdwatching With Your Eyes Closed | Simon Barnes

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Learning birdsong is not just a way to become a better bird-spotter. It is tuning in: a way of hearing the soundtrack of the planet earth... Why do birds sing? What are they trying to say? Birdsong is not just about natural history. It is also about our history.

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Coming soon to Boekhandel Blokker, 138 Binneweg Heemstede...THE DOLLHOUSE IN THE BOOKSTORE!! Don't miss it!! www.thedollhouse.space www.https://www.libris.nl/blokker/

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A fairy tree that depends on the life and death of the owner of the land on which it stands.

Mike Murphy reports for 'The Live Mike' from a fairy tree in Ardagh, Longford. The tree is on land owned by Jim Sweeney. Legend has it that when the tree falls, the last of the Sweeneys will die.

He is convinced that when that tree falls, he will have less than one week to live.

As Jim is the last of the Sweeneys, he is doing everything in his power to keep it alive. Jim spends a lot of time propping up the tree for fear that it might fall during a storm. Bachelor Jim is still hopeful of finding a wife to produce another Sweeney and thereby save himself from the spell of the fairy tree.

This episode of 'The Live Mike' was broadcast on 18 February 1983.

'The Live Mike' first aired on RTÉ 1 on 9 November, 1979 and was billed as an hourly, Friday night programme of comment, entertainment and surprises. The programme also contained a candid-camera slot in which Mike Murphy and his team took on many disguises.

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A fairy tree that depends on the life and death of the owner of the land on which it stands. Mike Murphy reports for 'The Live Mike' from a fairy tree in Ardagh, Longford. The tree is on land owned by Jim Sweeney.

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How does birdsong help us understand our own art?

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How does birdsong help us understand our own art?

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Can Science Tell Us What Beauty Is?

Neuroscientist Anjan Chatterjee takes us into the neurology of creativity
Nautilus Magazine

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How does birdsong help us understand our own art?

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Traditional Irish folk tune. Lyrics Sir Samuel Ferguson (1810-1886)

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First bird field guide in the modern tradition. The book (1890) describes 70 common species and is directed at women and young people.

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Birds through an opera-glass : Bailey, Florence Merriam, b. 1863 : Free Download, Borrow, and Streaming : Internet Archive

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texts All Texts latest This Just In Smithsonian Libraries FEDLINK (US) Genealogy Lincoln Collection Additional Collections

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7 hour Dawn Chorus broadcast from across the world with interviews and commentary.

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BBC Radio Scotland - Dawn Chorus, Dawn Chorus

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Radio stations across the world join together to broadcast the dawn chorus in real time.

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Buy Bird Watching (1901) by Edmund Selous from Amazon's Fiction Books Store. Everyday low prices on a huge range of new releases and classic fiction.

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A History of Birdwatching in 100 Objects

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This book looks at 100 items that have profoundly shaped how people watched, studied and engaged with the avian world. Each item contains around 500 words on a double-page spread and include an illustration of the object in question. The book includes the objects listed below as well as many more.The range of items is international and cross-cultural.

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An Unfinished Encyclopedia of Scale Figures without Architecture

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An Unfinished Encyclopedia of Scale Figures without Architecture

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Edited by Michael Meredith, Hilary Sample and MOS

More than 1,000 representations of the human figure in architectural drawings by architects ranging from Aalto to Zumthor, removed from their architectural context.

A wave of excitement may rush over the reader while surveying the 1000+ scale figures in the book's collection.

Michael Meredith, Hilary Sample, and MOS present their rich findings on the human presence in architectural drawings not in any chronological or other linear order, but based on the convention of the encyclopedia, thus presenting (and perhaps deliberately condoning) surprise encounters made possible by the contingency created by alphabetical order..... From the contemporary perspective of a pluralistic world, the form of the encyclopedia may be particularly apt to represent such a vast body of material as is presented here: defying any linear historical account or master narrative, it invites the reader to construct his or her own readings of the material by establishing relationships between individual drawings.

From the foreword by Martino Stierli

ARCHINECT

Overview Author(s) Praise

Summary

More than 1,000 representations of the human figure in architectural drawings by architects ranging from Aalto to Zumthor, removed from their architectural context.

Michael Meredith, Hilary Sample, and MOS present their rich findings on the human presence in architectural drawings not in any chronological or other linear order, but based on the convention of the encyclopedia, thus presenting (and perhaps deliberately condoning) surprise encounters made possible by the contingency created by alphabetical order..... From the contemporary perspective of a pluralistic world, the form of the encyclopedia may be particularly apt to represent such a vast body of material as is presented here: defying any linear historical account or master narrative, it invites the reader to construct his or her own readings of the material by establishing relationships between individual drawings.-From the foreword by Martino Stierli

Throughout history, across radically different movements in Western culture, the human figure appears and reappears, in multiple guises, to remind us, the observers, of architectural purpose and of our mutual position in the world....This encyclopedia has enlarged or reduced all figures to the same approximate scale. Meredith, Sample, and MOS have gathered them here in an unprecedented, intoxicating way, like being at a fabulous party.-From the afterword by Raymund Ryan

Architects draw buildings, and the buildings they draw are usually populated by representations of the human figure-drawn, copied, collaged, or inserted-most often to suggest scale. It is impossible to represent architecture without representing the human form. This book collects more than 1,000 scale figures by 250 architects but presents them in a completely unexpected way: it removes them from their architectural context, displaying them on the page, buildingless, giving them lives of their own. They are presented not thematically or chronologically but encyclopedically, alphabetically by architect (Aalto to Zumthor). In serendipitous juxtapositions, the autonomous human figures appear and reappear, displaying endless variations of architecturally rendered human forms.

Some architects' figures are casually srcawled; others are drawn carefully by hand or manipulated by Photoshop; some are collaged and pasted, others rendered in charcoal or watercolors. Leon Battista Alberti presents a trident-bearing god; the Ant Farm architecture group provides a naked John and Yoko; Archigram supplies its Air Hab Village with a photograph of a happy family. Without their architectural surroundings, the scale figures present themselves as architecture's refugees. They are the necessary but often overlooked reference points that give character to spaces imagined for but not yet occupied by humans. Here, they constitute a unique sourcebook and an architectural citizenry of their own.

Hardcover

$85.00 T | £66.00 ISBN: 9780262038676 1256 pp. | 8.25 in x 11 in 1248 illus.

Editors

Michael Meredith

Michael Meredith is a Principal at MOS, an internationally recognized architectural practice based in New York. His writing has appeared in Artforum, LOG, Perspecta, Harvard Design Magazine, and other publications.

Hilary Sample

Hilary Sample is a Principal at MOS, Associate Professor at Columbia University's Graduate School of Architecture Planning, and Preservation, and author of Maintenance Architecture (MIT Press).

MOS

MOS, cofounded by Meredith and Sample in 2003, was the recipient of the 2015 Cooper Hewitt, Smithsonian Design Museum National Design Award in Architecture, the 2010 American Academy of Arts and Letters Architecture Award, and the 2008 Architectural League of New York Emerging Voices Award.

Reviews

A wave of excitement may rush over the reader while surveying the 1000+ scale figures in the book's collection.

ARCHINECT

Endorsements

Michael Meredith, Hilary Sample, and MOS present their rich findings on the human presence in architectural drawings not in any chronological or other linear order, but based on the convention of the encyclopedia, thus presenting (and perhaps deliberately condoning) surprise encounters made possible by the contingency created by alphabetical order..... From the contemporary perspective of a pluralistic world, the form of the encyclopedia may be particularly apt to represent such a vast body of material as is presented here: defying any linear historical account or master narrative, it invites the reader to construct his or her own readings of the material by establishing relationships between individual drawings.

From the foreword by Martino Stierli

Throughout history, across radically different movements in Western culture, the human figure appears and reappears, in multiple guises, to remind us, the observers, of architectural purpose and of our mutual position in the world....This encyclopedia has enlarged or reduced all figures to the same approximate scale. Meredith, Sample, and MOS have gathered them here in an unprecedented, intoxicating way, like being at a fabulous party.

From the afterword by Raymund Ryan

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An Unfinished Encyclopedia of Scale Figures without Architecture

# data[].attributes.attachment_link.description
More than 1,000 representations of the human figure in architectural drawings by architects ranging from Aalto to Zumthor, removed from their architectural context. Michael Meredith, Hilary Sample, and MOS present their rich findings on the human presence in architectural drawings not in any chronological or other linear order, but based on the convention of the encyclopedia, thus presenting (and perhaps deliberately condoning) surprise encounters made possible by the contingency created by alphabetical order.....

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Let your imagination take flight as this season's edition of Art in the Bedroom (2), follows bees from Limerick to Leiden...

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Featuring the work of botanical artists, Gesine Beermann-Kielhöffer and Margriet Honingh, find out how to give your (painted) garden a colourful Autumn floor treatment or a Baroque Winter touch.

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Glossy Living Magazine (Winter Edition: 1970s)

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Glossy Living Magazine (Winter Edition: 1970s)

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Glossy Living Magazine profiles Record Collector , Mr --- offering a unique, privileged insight into his vast, eclectic vinyl collection.
Also!! Find out how to wire your home for the ultimate 1970s, high-fidelity audio experience!

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Modern Kitchen Ecologies (Winter Edition)

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Modern Kitchen Ecologies (Winter Edition)

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Storm in a tea-cup? Bee in your bonnet? Get your teeth into this season's issue of Modern Kitchen Ecologies to find out more!

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The Clutius Botanical Watercolours by Claudia Swan

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The Clutius Botanical Watercolours by Claudia Swan

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https://www.amazon.com/Clutius-Botanical-Watercolors-Claudia-Swan/dp/0810940957

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Maurice Maeterlinck

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The Life of the Bee by Maurice Maeterlinck

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Free kindle book and epub digitized and proofread by Project Gutenberg.

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Art in the Bedroom (2) - Special Edition: Justine McDonnell 

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Art in the Bedroom (2) - Special Edition: Justine McDonnell 

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Belfast-based, Justine McDonnell, is the first artist invited artist  to co-occupy a room in The Dollhouse under the 'Artist Sleep-Over' terms.

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Uploaded by The Dollhouse on 2018-11-05.

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BBC 4 Documentary  "Wondrous Obsessions" on The Cabinets of Curiosities (Part )

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BBC 4 Documentary  "Wondrous Obsessions" on The Cabinets of Curiosities (Part )

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2/2 Wondrous Obsessions: The Cabinet of Curiosities - Secret Knowledge

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First broadcast: Jul 2015. Episode 14/18 The story behind a collecting craze that began in Renaissance Europe. As the popularity of collecting fairs and Pinterest would attest, we are a nation of magpie obsessions.

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BBC 4 Documentary  "Wondrous Obsessions" on The Cabinets of Curiosities (Part 1)

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BBC 4 Documentary  "Wondrous Obsessions" on The Cabinets of Curiosities (Part 1)

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1/2 Wondrous Obsessions: The Cabinet of Curiosities - Secret Knowledge

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https://www.youtube.com/watch?v=_NDTSe4Y5JE&list=PLM4S2hGZDSE7MzkkjRO4cfHyU31gg5tKN&index=27 First broadcast: Jul 2015. Episode 14/18 The story behind a collecting craze that began in Renaissance Europe. As the popularity of collecting fairs and Pinterest would attest, we are a nation of magpie obsessions.

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BBC 4 Documentary - Secret Knowledge - The Private Life of a Doll's House (Part 1)

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BBC 4 Documentary - Secret Knowledge - The Private Life of a Doll's House (Part 1)

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1/2 The Private Life of a Dolls' House - Secret Knowledge

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https://www.youtube.com/watch?v=y9q1TZa53Ns&index=19&list=PLM4S2hGZDSE7MzkkjRO4cfHyU31gg5tKN First broadcast: Mar 2015. Episode 15/15 Lauren Child, author, illustrator and creator of Charlie & Lola, has a secret passion - dolls' houses. She's been working on her own dolls' house for the past 30 years and her lifelong obsession continues to inspire her ideas and shape her work.

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BBC 4 Documentary - Secret Knowledge - The Private Life of a Doll's House (Part 2)

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BBC 4 Documentary - Secret Knowledge - The Private Life of a Doll's House (Part 2)

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2/2 The Private Life of a Dolls' House - Secret Knowledge

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First broadcast: Mar 2015. Episode 15/15 Lauren Child, author, illustrator and creator of Charlie & Lola, has a secret passion - dolls' houses. She's been working on her own dolls' house for the past 30 years and her lifelong obsession continues to inspire her ideas and shape her work.

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Leontia Flynn

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Established in 1975 by Professor Dillon Johnston, with the support of Provost Edwin Wilson and the university administration, Wake Forest University Press is the premier publisher of Irish poetry in North America.

© 2016 Wake Forest University Press. All Rights Reserved.

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The Radio by Leontia Flynn | Wake Forest University Press

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Established in 1975 by Professor Dillon Johnston, with the support of Provost Edwin Wilson and the university administration, Wake Forest University Press is the premier publisher of Irish poetry in North America. © 2016 Wake Forest University Press. All Rights Reserved.

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Find out who is reading what in this month's GL free supplement:

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Glossy Living Magazine     October Issue (with free pull-out supplement "Billy"!)

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Glossy Living Magazine     October Issue (with free pull-out supplement "Billy"!)

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Brian McAvera reads aloud two self-composed monologues in verse .

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Uploaded by The Dollhouse on 2018-10-15.

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Paul Veronica Kettlebell Snatching

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Uploaded by The Dollhouse on 2018-10-15.

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Alistair Wilson makes a crepe, upon invitation of Peter Richards.

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Peter Richards invites Alistair Wilson to make a crêpe in his studio as part of Richards' occupancy of Bedroom 2, The Dollhouse.

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Forbidden love: the original Dorian Gray revealed, direct from Oscar Wilde's pen

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Published for the first time, the handwritten manuscript of the 1891 novel shows a writer struggling with Victorian morality

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Claire Bishop on The Shed Artforum

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IT'S HARD THESE DAYS to stand out as a performance space in New York. Every arts venue in the city seems to be developing a hybrid visual art and performance program: the Whitney Museum of American Art, the New Museum, the Museum of Modern Art and MoMA PS1, the Park Avenue Armory, Performance Space New York. Even the Metropolitan Museum of Art has a performing arts series. So what's a new cultural venue to do? One idea is to make it really, really big—say, two hundred thousand square feet. Another might be to hire Diller Scofidio + Renfro to design an eye-catching structure with some kind of unusual architectural feature—like a telescoping glass outer shell that can extend to cover the nearby plaza and provide another seventeen thousand square feet of climate-controlled performance space. Welcome to the Shed, due to open next spring in Hudson Yards on the west side of Manhattan.

A third strategy for making an entrance into this already saturated field is to commission a manifesto that provides a historical rationale for your presence. To this end, German art historian Dorothea von Hantelmann has penned the essay "What Is the New Ritual Space for the 21st Century?" Published in May as a booklet to accompany the venue's two-week preopening program, von Hantelmann's text, a reflection on communal spaces since antiquity, serves as intellectual justification for the Shed's existence and technological gimmickry.

Von Hantelmann's writing has long been devoted to the conjunction of exhibitions, public space, and performativity. In this latest essay, she asks: If theater was the ritual space par excellence of antiquity, the church was the ritual space of medieval Europe, and the museum was the ritual space of industrial societies, what is the paradigmatic one for today? Von Hantelmann understands ritual space to be an arena in which society communicates, enacts, and maintains its cosmology. Theater is organized by what she calls "the appointment" (an implicit social contract that the audience will show up at a specified time and place to attend a performance, a church service, a political event, etc.); the term museum, by contrast, designates experiences structured around "opening hours" (the agora, the shopping mall, the museum itself). The former is collective but, as a social space, too rigidly conformist; it is "the one (or the few) who speaks to the many." The latter is individualized, but lacks social cohesion; in the museum, "the many communicate with the many." As such, it corresponds to the fundamental values of modern Western society: "the individual, the object, the market, progress, pluralism." The problem today, she argues, is that this ideology of atomization and discreteness (the autonomy of works of art, taxonomies of display, the privileging of the visual, etc.) is not conducive to long-term social connections.

The architecture of a space matters less than how it is used-this should be obvious to anyone.

The ideal new ritual space, then, will rework exhibition conventions in three key ways. First, it will overcome the primacy of the visual to accommodate what von Hantelmann calls an "interplay of gatherings"—in other words, the institution will also present music, poetry, dance, theater, and so on. Second, its organizers won't choose between the appointment and opening hours, but rather will offer a combination of both. Third, the space will have a protean topology—a movable, transformable structure that can be architecturally adjusted to accommodate different formats over the course of the day.

What real-world institution could possibly realize this vision of the paradigmatic twenty-first-century ritual space? Obviously, the Shed. Yet von Hantelmann coyly avoids such an explicit claim. Instead, she looks backward, suggesting that the archetype of the twenty-first-century's ritual space is, in fact, Cedric Price's Fun Palace, designed in the mid-1960s but never built. It has been cited by architect Liz Diller as an inspiration for the Shed, and it's a frequent touchstone for curator Hans Ulrich Obrist, the fledgling institution's senior program adviser. 1

THE FUN PALACE has become the art world's go-to example for utopian architecture. Viewed simply as an architectural plan, the Fun Palace seems like an appropriate model for this kind of space: It was designed as a multidisciplinary venue(its consultants included Buckminster Fuller and Yehudi Menuhin) and has a flexible, modular structure that could be adapted by its users to their needs. Its numerous ambitious features—including a moving catwalk, gantry crane, inflatable conference hall, ventilation tracks, sewage purification, and gigantic adjustable blind shading a rally platform—nevertheless proved too expensive and impractical to realize. 2 But the Fun Palace wasn't just a physical shell: Conceived with progressive theater director Joan Littlewood, it was intended to be an interactive environment with a social agenda, retraining working-class East Londoners to engage with new technology in a fusion of entertainment and education. 3 "Learn how to handle tools, paint, babies, machinery, or just listen to your favorite tune," Littlewood suggested. "Try starting a riot or beginning a painting—or just lie back and stare at the sky." 4 Von Hantelmann's characterization of the Fun Palace substantially reorients it away from the agit-prop street-theater context of '60s London to better fit our current society: in her words, "large, concentrated groups of people, individualization, flexibilization, constant change, and the increasing involvement of consumers." 5 It's a staggering rhetorical shift that takes up what is most proto-neoliberal in Price (the mantra of flexibility) and rebrands it as prosumerism.

Again and again, von Hantelmann emphasizes adaptability as if it were a goal in its own right. Collectivity is rejected as too homogenizing (perhaps too socialist?), while individualism is jettisoned in favor of smaller "groups of people" (like-minded customers of a similar income bracket?). As Ben Davis of Artnet points out in his own critique of the Shed, von Hantelmann seems to have a historical blind spot when it comes to the long and loving relationship between the bourgeoisie and the kind of cultural space she is describing. Her rhetoric is drained of any class consciousness: Social friction and inequality are smoothed over to facilitate a neo-Habermasian public sphere to which everyone has equal access through the democratic miracle of opening hours. There is no capitalist superstructure to be challenged; the goal is simply to forge moments of benign togetherness and conversation—perhaps along the lines of clusters of people in a park, as in the last image of the visual essay that opens her booklet, or the events in the preopening program, "Prelude to The Shed."

The same ideological gloss can be seen in the architects' reinterpretation of user-generated flexibility as an enormous tectonic foreskin. As described in the Financial Times, "With the press of a button, a beautiful steel skein resting on the body of the 8-story building glides forward on 6 feet tall wheels to increase the size of the auditorium to Grand Central Terminal proportions. The seating can go every which way, or disappear for standing crowds." 6 This is clearly a very different type of operation than Littlewood's progressive "laboratory of fun" and "university of the streets." Influenced by cybernetic theory, Price conceived the Fun Palace as a self-regulating environment in which visitors would adapt the spaces and walls to their own needs, forming an architectural feedback loop. The Shed, by contrast, will be programmed by a team headed by impresario Alex Poots, formerly of Manchester International Festival and the Park Avenue Armory, where he became known for pricey, high-end spectacle. He proudly refers to the Shed as "the most flexible space ever made." 7

HUDSON YARDS, where the Shed is situated, is a huge rezoning and redevelopment site in the windswept former rail yards between Thirtieth and Thirty-Fourth Streets in Manhattan. It's an area that has already been "improved" by the High Line, a former railroad track turned privately funded strip of elevated walkway that has its own relentless program of visual and performance art events. The site epitomizes luxury real-estate development: It's a sprouting conglomeration of high-rise steel and glass skyscrapers containing offices, retail space, hotels, and, of course, exquisitely expensive apartments. The folly adorning the center of this redevelopment, the Vessel, is a ludicrous $200 million hybrid of architecture and sculpture by the British designer Thomas Heatherwick. The Wall Street Journal refers to Hudson Yards' investors as "a who's-who list of big-name global financial institutions."

"Prelude to The Shed" occupied an empty lot across Tenth Avenue, between Thirtieth and Thirty-First Streets. The performances took place in and around another flexible structure, this one by Nigerian architect Kunlé Adeyemi. Perhaps unsurprisingly, the centerpiece of the program was Tino Sehgal, who uses many of von Hantelmann's arguments to explain the production of social space in his "situations," while she, in turn, positions his work as the culmination of her 2010 book How to Do Things with Art. Adeyemi's walls, which doubled as seats, could be pushed together to create a dark room in which Sehgal's This Variation, 2012, was performed, or sporadically opened for the staging of a William Forsythe duet on the plaza outside or for dance battles by the D.R.E.A.M. Ring dancers. In the mornings, Schema for a School —an experiment in "new models for teaching and learning" run by artist Asad Raza and Princeton academics D. Graham Burnett and Jeff Dolven—was held for a preselected group of students. In the evenings, the structure was used for music performances, lectures, and panel discussions with participants ranging from Azealia Banks to Richard Sennett. Meanwhile, on the plaza, three assistants wheeled trolleys containing facsimiles of Price's architectural drawings, including a proposal for a "wind sleeve" at Hudson Yards in the late 1990s; interested members of the public could engage the trolley-pushers in limited conversation about the drawings.

"Prelude to The Shed" was exactly the kind of hybrid performance-space-as-exhibition that von Hantelmann takes as the starting point in her essay. Some elements of the program were continuous, some events were held at given times, with everything merging in a flux of different genres of dance, performance, contemporary art, and popular culture. On the afternoon I attended, the program scrolled smoothly through four or five elements within thirty minutes. While these transitions were well done, the total impression was less of a new ritual space than of quality decoration for an area where a cozy pied-à-terre will set you back $12 million. In this context, the Price trolleys offered the memory of participatory architecture in the register of defanged ancient history, rather than as a way to put critical pressure on actual real estate. A Schema for a School is one thing; the more radical proposition would be a cultural institution that includes within its architecture crucial services like a public school, day care, or a branch of the New York Public Library.

The construction of yet another enormous venue for culture feels like the harbinger of a horrible new world in which all public services are drained of resources but every High Net Worth Individual can evade taxes by pouring a fraction of their profits into a cultural project that enhances their social status. The über-wealthy once gave a percentage of their riches to the church; today they give them to flexible and adaptable visual art/performance spaces. Before leaving office in 2013, New York City Mayor Michael Bloomberg earmarked $75 million for the Shed. But taxpayers' money shouldn't be used to bolster supersize spectacle (underwritten by wealthy corporations seeking their own tax breaks) at a cultural institution that plans to gain revenue by renting out its space to New York Fashion Week. This structure-and its superstructure-isn't going to yield the kind of social gathering described by von Hantelmann. (For that, we should look to more socially oriented projects, like the magnificent SESC Pompéia in São Paulo, which offers leisure facilities for workers: theaters, an exhibition space, gymnasiums, a swimming pool, a library, cafés, and workshops all buzz with convivial activity.)

Historically, ritual spaces have served to paper over class differences, subsuming them in the name of a higher unity (religion, nation, culture, etc.). Ritual spaces are carefully curated, and the FAQ page on the website for "Prelude to The Shed" gives a taste of the social control behind it: no outside food or beverages, no chairs or blankets, no flags or signs, no pets, no selfie sticks, no umbrellas, refreshments available for purchase only with a credit or debit card (no cash transactions). It's the familiar jargon of POPS-privately owned public spaces. The space might ostensibly be open to all, but participation is invitation-only. One can only imagine the security response if a group of street dancers descended on the Shed's plaza unannounced and a crowd of spectators grew around them.

The sheer scale of the Shed-both physical and financial-means that the problem of its social role is accordingly magnified, even though it's no singular aberration, but the new normal. The same forces that birthed this monster (supply-side predation, accelerated gentrification, speculative construction) have of course also spurred expansion fever and the development of hybrid programming at other venues in the city-and across the whole country. In 2019, MoMA will relaunch itself as an expanded museum with 30 percent more gallery space, including "a state-of-the-art studio and performance center" to "support a broad range of experimental programming." This is ironic, given that the museum's current show is dedicated to Judson Dance Theater, which reshaped the history of choreography from the basement gymnasium of a late-nineteenth-century church. New York produced much of its best art when the city was a bankrupt ruin. This is not a romanticization of poverty, just an acknowledgment that radical experimentation doesn't need seventeen thousand square feet of high-tech retractable pavilion.

The architecture of a space matters less than how it is used-this should be obvious to anyone. The Shed's fine line between culture and control underscores that spaces today don't need to be curated, but occupied. The surge of occupations that have taken place since 2011 have something in common with von Hantelmann's performance exhibitions, at least formally: They are not governed by the appointment or opening hours, and are durational and provisional. Yet food, chairs, blankets, selfie sticks, and protest signs are welcome. And unlike a cultural event, embodied assembly has the capacity to constitute a people, as Judith Butler reminds us: Occupations are not window dressing for real-estate investment, but the forging of alliances among disparate groups who enact and oppose precarity. 8 New York doesn't need another curated cultural venue. We need to reclaim public assembly.
Claire Bishop is a professor in the PH.D. program in Art History at the CUNY Graduate Center, New York. NOTES
1. Among the many Obrist references to Cedric Price, I could cite his Swiss Pavilion at the 2014 Venice Architecture Biennale, "A stroll through a fun palace."

2. The Fun Palace became a point of reference for the Centre Pompidou (1977), designed as a multiarts space with a flexible architecture that also turned out to be far too expensive to fully realize. In 1976, a smaller, cheaper version of the Fun Palace was constructed as a community center in North London. The InterAction Centre in Kentish Town had a ludic architecture based around a long structural truss that supported temporary configurations of containers and cabins. It was demolished in 2003.

3. As Stanley Mathews recounts, "The working class population of East London could use cranes and prefabricated modules to assemble learning and leisure environments, creating spaces where they might escape everyday routine and embark on a journey of creativity and personal development." Stanley Mathews, "Cedric Price-From 'Brain Drain' to the 'Knowledge Economy,'" Architectural Design, January-February 2006.

4. Joan Littlewood, cited in Ian Youngs, "Joan Littlewood's 'Fun Palace' Idea Realized 50 Years On," BBC News, October 4, 2014.

5. Dorothea von Hantelmann, What Is the New Ritual Space for the 21st Century? (New York: The Shed, 2018), 50.

6. Apollinaire Scherr, "A Prelude to The Shed, Hudson Yards, New York-'An Impressive Roster,'" Financial Times, May 4, 2018.

7. Poots, cited in Calvin Tomkins, "Alex Poots: Performance-Art Impresario," New Yorker, December 5, 2016.

8. Judith Butler, Notes Toward a Performative Theory of Assembly (Cambridge, MA: Harvard University Press, 2015).

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IT'S HARD THESE DAYS to stand out as a performance space in New York. Every arts venue in the city seems to be developing a hybrid visual art and performance program: the Whitney Museum of American Art, the New Museum, the Museum of Modern Art and MoMA PS1, the Park Avenue Armory, Performance Space New York.

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Susan MacWilliam
2009

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Through the use of video, photography and sculptural installation, Susan MacWilliam has created pieces of work on wide scoping aspects of the paranormal including accounts of materializing mediums and clairvoyants, optograms, trance, x-ray vision and dermo-optical perception, exploring specific m...

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Small is Beautiful - A study of economics as if people mattered

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Small is Beautiful - A study of economics as if people mattered

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E.F. Schumacher

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"Embracing what Schumacher stood for--above all the idea of sensible scale--is the task for our time. Small is Beautiful could not be more relevant. It was first published in 1973, but it was written for our time." (Bill McKibben, from the Foreword)

"An eco-bible" (Time magazine)

" Small Is Beautiful changed the way many people think about bigness and its human costs." (New York Times)

"Nothing less than a full-scale assault on conventional economic wisdom. . . . Schumacher believes economists need a new set of values, to obtain maximum well-being with minimum consumption." (Newsweek)

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small is beautiful: economics as if people mattered (harper perennial modern thought)

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business & economics / development / sustainable development

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business & economics / economics / general

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business & economics / economics / microeconomics

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business & economics / economics / theory

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business & economics/economics - microeconomics

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Small Is Beautiful: Economics as if People Mattered (Harper Perennial Modern Thought)

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Small Is Beautiful: Economics as if People Mattered (Harper Perennial Modern Thought) [E. F. Schumacher] on Amazon.com. *FREE* shipping on qualifying offers. Small Is Beautiful is Oxford-trained economist E. F. Schumacher's classic call for the end of excessive consumption. Schumacher inspired such movements as "Buy Locally" and "Fair Trade

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Kristin Lucas

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"On October 5, 2007, Kristin Lucas became the most current version of herself when she succeeded in legally changing her name from Kristin Sue Lucas to Kristin Sue Lucas in a Superior Court of California courtroom. On the name change petition that she submitted, she wrote 'Refresh' as the reason for the change."

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Michael Wilson

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Susan MacWilliam

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The shop includes all Gall Editions, and collaborations with Gerard Byrne, David Donohoe, Pádraic E. Moore and Susan MacWilliam amongst others.

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An article on Peter Richards' solo exhibition: Intuitive Actions, Common Attributes and Isolated Incidents
MCAC Portadown, Northern Ireland, September-November 2014