Thursday, 30 September 2010
D. O. M.
SEDENTE BENEDICTO XIII
L U D O V I C O X V
IN GALLIIS REGNANTE
EIVSQ. APVD SANCTAM SEDEM
MELCHIORE S. R. ECCLESIÆ
CARDINALI DE POLIGNAC
AD SACRÆ ÆDIS ALMÆQVE VRBIS
O R N A M E N T V M
AC CIVIVM COMMODVM
DIGNO TANTIS AVSPICIIS OPERE
ANNO DOMINI MDCCXXV
Benedict XIII sitting in the papal chair as Pontifex Maximus; Louis XV reigning in France; Melchior de Polignac, Cardinal of the Holy Roman Church, and Archbishop of Aquitaine, being his minister at the sacred see; these marble steps, in a manner worthy of such auspices, for the ornamentation of the sacred temple (the church above) and the beloved city, and for the convenience of the citizens, were completed in the year of our Lord, 1725.
skid row / consort road / gordon road
Camberwell became a Poor Law Parish on 28 October 1835, overseen by an elected Board of Guardians. In 1878 the Camberwell Board of Guardians constructed a new workhouse on Gordon Road. It was intended to house 743 able bodied inmates. Males chopped wood or broke stones; while females were employed in laundry work.
In 1930 the Gordon Road Workhouse was taken over by the London County Council and became the Camberwell Reception Centre for homeless men. The building has now been converted to flats.
1 The Alcohol Impact Project, Institute of Psychiatry, Maudsley Hospital, London, S.E.5
1. The history of Reception Centres is briefly reviewed. A 100-item structured questionnaire was administered to 279 men entering the Camberwell Reception Centre, London, on the night in April 1965.
2. Demographic data are presented, information on incidences of some physical illnesses, on mental hospital admissions, and on criminal involvement.
3. Aspects of drinking behaviour are examined: about 25 per cent. of men are chemically dependent on alcohol.
4. A correlation analysis shows the considerable interrelatedness of different symptoms of pathological drinking, explores the relation of demographic and social facts, etc., to drink being a problem, and to some extent differentiates London-born from non-London-born and early from late comers to the Reception Centre.
5. The heterogeneity of the Centre's population is noted and an attempt made to delineate subgroups. Future planning should be for smaller hostels in which the special requirements of particular subgroups can be met. A Hostel Service is needed.Submitted on August 18, 1967
Don McCullin in conversation
Monday, 27 September 2010
armstrong/ reticulations 322
Sunday, 26 September 2010
Saturday, 25 September 2010
Where, you might wonder, does such a history start? What are its objects? Where did the sleep of the bourgeoisie take place? in many odd parts of the city, Benjamin thought, but above all in the arcades. The 19th century had been extraordinarily rich, almost prodigal, in its production of 'dream houses of the collective'; at one point Benjamin draws up a list of 'winter gardens, panoramas, factories, wax museums, casinos, railway stations', and one could easily add to this from other sections of the book: the Crystal Palace [ground zero of the bourgeois imagination], the Eiffel Tower, the unearthly reading rooms done by Henri Labrouste for the Biblioteque Nationale and the Biblioteque Sainte Genevieve, maybe Hector Guimard's Metro entrances, certainly the lost Galerie des Machines. But the arcades are central for him, because he senses that only in them are the true silliness and sublimity of the new [old] society expressed to the full. The arcades are thoroughgoing failures and abiding triumphs. They were old-fashioned almost as soon as they declared themselves the latest thing. Their use of iron and glass was premature, naive, a mixture of the pompous and fantastic. they were stuffy, dingy and monotonous; dead dioramas; perspectives etouffees; phantasmagoria of the dull, the flat, the cluttered. 'The light that fell from above, through the panes … was dirty and sad.' 'Only here,' De Chirico said, 'is it possible to paint. The streets have such gradations of grey.' They were always 'close' [to recall a word that seemed to dominate my childhood], there was sure to be thunder by the end of the afternoon. Drizzle was their natural element. They did not keep out the rain so much as allow the splenetic consumer to wallow in rain publicly, his breath condensing drearily on the one-way glass. [In this climate glass roofs could never be kept clean.] 'Nothing is more characteristic than that precisely this most intimate and most mysterious affair, the working of the weather on humans, should have become the theme of their emptiest chatter. Nothing bores the ordinary man more than the cosmos.' Rain was the guarantee of boredom, thank God, since it meant that one could not 'go out'. The arcades allowed a whole century to be housebound and a t loose ends in the company of strangers. They were waiting rooms, caves containing fossils of the primitive consumer, mirror worlds in which out-of-date gadgets exchanged winks, front rooms on endless Sunday afternoons with dust motes circulating in the half-light. Odilon Redon was their painter - his very name sounded like a ringlet on a cheap black wig in the back of the shop. They were waxworks of the New. Arcs de Triomphe [commemorating victories in the class struggle].
For all these reasons they were wonderful. They were a dream and a travesty of dreaming - in the golden age of capital, all worthwhile utopias were both at the same time. ……
T.J. Clark's great review of The Arcades Project
London Review of Books Vol 22 No 12 22 June 2000
Friday, 24 September 2010
Sunday, 19 September 2010
Tuesday, 14 September 2010
'There are the Alps,' Basil Bunting is supposed to have scribbled on his copy of the Cantos. 'What is there to say about them?' Mainly this, in the brief poem that follows:
They don't make sense. fatal glaciers, crags cranks climb,
jumbled boulder and weed, pasture and boulder, scree…
It takes some getting used to. there are the Alps,
fools! Sit down and wait for them to crumble!
[T.J. Clark Reservations of the Marvellous, The Arcades Project 1999]
Sunday, 12 September 2010
Saturday, 11 September 2010
Friday, 10 September 2010
Thursday, 9 September 2010
"The chief purpose of printing was not yet to make literature more accesible to the masses, but rather to authenticate the text. For more than a century after Feng Tao--up to the year 1064—the private printing of the Classics was forbidden. All printing must be done by the government and must give the orthodox accepted text."
Wednesday, 8 September 2010
… we were forc'd to season our indian Corn… with little Frogs that the Natives gather'd in the Meadows…
… we lived on wild garlick, which we were obliged to grub up from under the snow.
… the entrails of deer, full of blood and half-putrefied excrement, boiled fungus, decayed oysters…
Apalache/ Paul Metcalf
Monday, 6 September 2010
Saturday, 4 September 2010
Thursday, 2 September 2010
there! All right for one mystery, but not two! Who was singing? The beach was deserted. But the voice was there... Now near. Now far. Then it seemed to come from the sea, an inlet among the rocks, many rocks that... she had never realized, looked like flesh. And the voice at that point was so sweet.
Who was singing?
[Jan Niklas Howe, 'Familiarity and no Pleasure. The Uncanny as an Aesthetic Emotion', Image and Narrative, 11.3, 2010, p. 58]