voussoirs: BROCHS: MORE PONDERINGS ON FRAGMENTS

Friday, 10 February 2017

BROCHS: MORE PONDERINGS ON FRAGMENTS

The subject is addictive. Once one has begun, one is constantly thinking about brochs: what they might be; what they might mean; and jotting down thoughts and possibilities, occasionally scribbling out likely solutions to various haunting problems. What really happened inside? Was there something cosmic here? The idea arises: how are brochs orientated? Might there be something relevant in this question? Could brochs be specifically directed like cathedrals that are religiously symbolically positioned east-west? So one starts searching and discovers a paper: Shedding Light on the Matter: An Exploration into the Regional Orientation Patterns of the Brochs and Duns of Iron Age Scotland by Thomas Crowther – see: http://www.assemblage.group.shef.ac.uk/pdfs/issue11/Crowther_-_Shedding_Light_on_the_Matter.pdf What more might one want? The result is that there is nothing obviously definitive in this idea, such is the scope of variations in orientation in brochs and duns across Scotland. It seems that there is no overall rule, just, perhaps, regional and other variations. One observation is interesting: that the broch entrance had been positioned to make the approach an awkward turn. The author concludes:

It is by conducting the above analysis that this paper has attempted to shed new light on Scottish orientation research, and by which it is suggested that instead of a uniform E/SE orientation majority that spread throughout Iron Age Scottish society, there was actually wide spread variation that was in accordance with architectural distinctions. The author hopes to instigate further scholarly research into the orientation patterns of Iron Age Scotland.

Entry to Mousa broch - facing west, requiring an awkward turn

Then one asks: exactly what might be the rationale in the siting of the brochs? There has been a lot of fuzzy talk about this. Might brochs all see one other, even if they all orientated differently for whatever reasons? Could this relationship perhaps be the contrary possibility – that they do ‘see’ each other only because this allows each to supervise overlapping perspectives for defensive purposes? Or might their prominence be for navigation, that the brochs were landmarks for fishermen and traders? A detailed map of all brochs in Shetland is needed to peruse and test these possibilities. The idea lingers and one starts looking. Most of the maps are too general to be useful; too loosely diagrammatic with their information. After a frustrating beginning, one discovers Towards a geography of Shetland Brochs by Noel Fojut – see: http://www.euppublishing.com/doi/pdfplus/10.3366/gas.1982.9.9.38 The paper not only has a map clearly showing the 75 broch sites in Shetland, but also comes with a detailed analysis of broch sitings in general: their ‘geography.’

Mousa broch looking north

This study is interesting in its seemingly rigorous and all-encompassing overview, but becomes a concern. It looks comprehensively at the 'geography' of brochs, their locations, relationships and inter-relationships, and analyses these juxtapositions and their unique contexts with mathematical precision; but this, it turns out, is a study based on a very limited scope of understanding. The study appears to assume that the broch was used for the community, well some of the community, to live in without offering any reason or reference for this supposition:

The minimum population which could have constructed a broch, and carried on the daily work of subsistence agriculture, is probably around 40 individuals (25 able-bodied adults), while there is obviously a maximum set by the size of the territory, the quality of the land and other resources, and the amount of living space provided by a broch and any contemporary outbuildings. Extreme examples of population maxima in Shetland may range from 50 at more remote sites to 200 at sites such as Eastshore. The mean figure is just over 80. Given 100 brochs, this gives a broch-period population of about 4000-8000, plus a small figure for isolated groups not participating in broch-building and use.

Carloway broch, Lewis

The critical line is: and the amount of living space provided by a broch. Even though this ‘living space’ also includes the possibility of any contemporary outbuildings, the assumption is there that brochs were lived in. This seems a big jump because Fojut makes no statement on what the broch actually might be as a place or a space. It is simply a word that refers to a particular building type of a defined era. It seems that Fojut is happy to accept that it is a building for folk to live in without knowing much about this. How? What numbers? It does not seem possible to have 50 – perhaps 80 (mean) or more people living in a broch. Surely it did not accommodate everyone? Simple figures outlined in blog on brochs, ( http://voussoirs.blogspot.com.au/2017/01/on-brochs-enigma-of-meaning-form.html), raises questions on this issue, and notes, by way of example, the number of animals that might be part of this group if indeed animals were brought into the broch space too, as some have speculated. A broch could not accommodate any great number of people or animals: so what is its role?

Later in the study there is a greater concern that makes one wonder why the study is given any credence, sense or relevance at all:

The whole of this complex process of selection can be structured into a 'model', or generalised framework, using the data obtained from the various analyses described in this paper. The model is of flow-diagram form and attempts a description of the portion of the prehistoric decisionmaking process which was founded upon economic, and therefore environmental, considerations, where such considerations had a spatial dimension. The model must remain partial, for it cannot deal with those factors affecting decisions which did not have a direct spatial expression. Superstition, religious belief, historical accident, tradition, social structure and prehistoric politics must all be largely excluded. These, perhaps the most fascinating aspects of the society under study, remain largely inaccessible. The location model, presented as fig. 7, depends upon four vital assumptions, all of which might well have been open to disturbance from the 'non-spatial' factors cited above.

True to academic rationalisation and its innate sureness in its process, its demanding formal approach to research, the study defines its limitations, but continues to declare its results as though these might be sensible, suggesting that something tangible can come from this PhD research in spite of the huge void it is working around. How can critical unknowns simply be ignored? The words are clear: Superstition, religious belief, historical accident, tradition, social structure and prehistoric politics must all be largely excluded even though These (are) perhaps the most fascinating aspects of the society under study. It is simply astonishing that this work is presented without any apology or cringe; that its self-confidence and certainty is declared in its own expression, as if it might make reasonable sense to say that if we have 1, (but we do not know this), and assuming that we have 2, (and we do not know this either), then the total is exactly 3, all when 1 and 2 might prove to be anything, or some unknown number, or nothing at all. Yet there seems to be silent applause and latent praise for the outcome; and some self-satisfaction. It is a little like Douglas Adams’ comic science fiction novel, The Hitchhiker’s Guide to the Galaxy, where the supercomputer named Deep Thought determined the ultimate answer to life, the universe, and everything to be the number 42.

The major concern is that brochs might only exist because of these 'unknowns’ that might play a critical, a crucial role in their ‘geography.’ Still Fojut pushes ahead regardless to present his visions of how settlement and broch building can become a formal flow chart. Knowing that these ‘fascinating’ matters might be all intertwined in all other matters in the Iron Age that Fojut explores so rationally with such depth and intrigue, leaves one truly worried about such specialisation and formally fragmented formats framing research results.

Intramural stairs, Carloway broch

Might the broch be: a store for important cultural things; a food store; a trading post; a chapel; a lookout; a landmark; a defensive retreat; a burial ground; a charnel house; a meeting hall; a guest's house; etc. ? Might it be all of these in one? Can one really talk about broch locations without knowing what brochs were, or hypothesising on what brochs might be, both physically and functionally, politically and spiritually? What sense might there be in any location beyond guessing that it is important for a broch to be positioned close to arable ground, a coastline and/or a defensive location?

Carloway broch

Fotul's study, within its limits, is academically proper, thorough and of abstract interest. He does look specifically at the relationships between brochs and, as he calls it, their ‘intervisibility,’ which was the question that began this search. He points out that not all brochs relate visually to others – assuming a 10m maximum height limit. He has walked Shetland and looked at each site. He has seen his subject and its scope. One has to wonder: why is it that Brian Smith, as late as 2016 – see New Shetlander No 276, 2016:

The 2016 Simmer edition of the New Shetlander offers plenty of interesting reading material. Brian Smith’s recent intriguing and popular lecture ‘Did Mousa Broch have a roof? - and why not!’ is published here in full, complete with 17 illustrations.

still chooses to argue that brochs were large so that they could be seen from a distance from other brochs; and that they were so positioned for communication between brochs, for ‘intervisibility’ – possibly using fire? As noted in the first blog, http://voussoirs.blogspot.com.au/2017/01/on-brochs-enigma-of-meaning-form.html, he does not say what might have been said in any communication. What is one to make of his 'no roof' proposition? Why is it that broch studies never seem to lock into firm evidence, agree, and move on to other matters with this concordance, but rather choose to continually start new and provocatively differing strands of study, research and interpretation? Is it to distract with 'false news,' like President Trump, so the paper can be published and catch attention as endless debate continues? Surely ‘intervisibilty’ is a black and white issue? If this cannot be agreed, what can be? Is Smith going to argue for a piecemeal connection between a few sets of brochs?

View south from Mousa broch

Smith’s talk (also a published paper in New Shetlander) made a big point of his preference, drawing lines to prove his theory, but only between a few brochs near Mousa. Fojut’s diagram confirms that there are three adjacent brochs that share visual contact with Mousa. The map seems definitive – assuming, as Fojut did, a 10 metre height for brochs. Maybe he has a problem here? Mousa broch stands thirteen metres high. No one really knows how tall other brochs – well, any broch – might have been. Still, the diagram is worth perusing because it appears to be certainly not a given, not a fact, that (all?) brochs were located to create a visual linkage for communication. This surprising claim (was it for all brochs?) makes one begin doubting Smith’s other declaration: that Mousa, (and all brochs?), had no roof; that the scarcement was there to support scaffolding: see previous analysis suggesting otherwise in http://voussoirs.blogspot.com.au/2017/01/on-brochs-enigma-of-meaning-form.html

Interior of Mousa broch

So the mishmash of broch research continues, as do one’s ponderings. How can broch research begin to incorporate such fascinating aspects of the society under study as superstition, religious belief, historical accident, tradition, social structure and prehistoric politics? Surely this is as critical as the other factors argued for previously: the incorporation into broch research of the factual world or engineers and architects that can assist in decoding the remnants, the pieces of brochs left to us.

Carloway broch

What superstitions did the Iron Age have? What religion? What burial practices? The latter question has already been asked. A few papers have been noted (see below). An overview has revealed in one text the observation that the sacred and the profane were very much intertwined in this period:

In contrast, Iron Age mythology appears to have focused on subterranean or water dwelling (Chthonic) deities and to have been completely integrated with domesticity. Some roundhouses appear to have been deliberately built into chambered cairns, using the burial chambers for ritual purposes within, rather than separate from the home. The deliberate deposition of human and animal body parts within the walls and under the floors of dwellings is also known and further strengthens the view that the secular and sacred were indivisible in Iron Age Scotland.

from http://www.yarrowsheritagetrust.co.uk/iron_age_2.html

This statement must surely leave a cold shiver of doubt running through research that currently seems content to smugly rationalise positions into a qualified certainty while not knowing much about what is surely an important, core aspect of the era.

This apparently acceptable neglect might fit in with our fragmented and specialised understanding of our own world, but, as was pointed out previously, we must never gauge other societies from our perspective, experience, hopes or understandings (Ananda Coomaraswamy). One might add that we should also look at other times as an integral whole, not piecemeal or in part, for this specialisation can only offer poor guidance to our revelations, and perceptions.

One is left wondering what the research on Iron Age burials might suggest.

SOME TEXTS ON IRON AGE BURIALS

http://www.academia.edu/1743090/handlist_of_Iron_Age_burials_from_Scotland

http://www.yarrowsheritagetrust.co.uk/iron_age_2.html

http://www.heritagecouncil.ie/unpublished_excavations/section9.html

http://www.ancient-origins.net/news-history-archaeology/iron-age-burial-ground-yorkshire-yields-valuable-grave-goods-005548

http://www.nhm.ac.uk/our-science/science-news/2016/march/macabre-burial-practices-of-iron-age-britons-revealed.html

https://global.oup.com/academic/product/death-and-burial-in-iron-age-britain-9780199687565?cc=au&lang=en&

http://www.spoilheap.co.uk/burial.htm

https://www.theguardian.com/science/2016/mar/17/warrior-king-uncovered-yorkshire-iron-age-settlement

http://intarch.ac.uk/journal/issue19/4/3.3.3.html

27 APRIL 2019

For more on building brochs see:

https://voussoirs.blogspot.com/2019/04/building-brochs.html

and

https://voussoirs.blogspot.com/2019/04/more-on-building-brochs-thinking-doodles.html

No comments:

ON GARDENING

I am strongly of the opinion that the possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention. Merely having them, or having them planted unassorted in garden spaces, is only like having a box of paints from the best colourman, or, to go one step further, it is like having portions of these paints set out upon a palette. This does not constitute a picture; and it seems to me that the duty we owe our gardens and to our own bettering in our gardens is so to use plants that they shall form beautiful pictures; that, while delighting our eyes, they should be always training those eyes to a more exulted criticism; to a state of mind and artistic conscience that will not tolerate bad or careless combination or any sort of misuse of plants, but in which it becomes a point of honour to be always striving for the best. Gertrude Jekyll Colour in the Flower Garden Mitchell Beazley London 1998 – Introduction (first published 1908)

MORE IS LESS

Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation: whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. Now more is less. And in some cases, less than nothing. Deliberate manipulation and unintentional accidents have become indistinguishable.

Paul Virilio Strategy of Deception Verso 2007 p.48

(first published Editions Galilee 1999)

‘That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. p.76

As Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. As they saw it,

insofar as the battlefield presented itself to the bare eyesight of men, it had no entirety, no length, no breadth, no size, no shape and was made up of nothing . . . In such conditions, each separate gathering . . . went on fighting its own little battle in happy and advantageous ignorance of the general state of the action; nay, even very often in ignorance of the fact that any great conflict was raging.

As Albert Camus asserted: ‘When we are all guilty, that will be true democracy.’ p.78

ENCOUNTERING CONRAD

Ryszard Kapuściński The Other Verso London 2018, p. 92

At the end of his book, Kapuściński asks whether, in our encounters with others in the future:

Will we jointly wish to refer to what – as Conrad puts it - ‘speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation – and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity of dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity – the dead to the living and the living to the unborn.’?*

* J. Conrad, Preface to The Nigger of the ‘Narcissus’: A Tale of the Sea, New York: W.W.Norton, 1979.

Architecture stands in between of all of these circumstances of encounter, but how does it explain itself beyond being a bespoke ‘grand design’ of a potential genius?

ON THE CULTURE OF OTHERS

Herodotus . . . wanted to know them because he understood that to know ourselves we have to know Others, who act as a mirror in which we see ourselves reflected; he knew that to understand ourselves better we have to understand Others, to compare ourselves with them, to measure ourselves against them. As a citizen of the world, he did not believe that we should isolate ourselves from Others, or slam the gates in their faces. Xenophobia, Herodotus implied, is a sickness of people who are scared, suffering an inferiority complex, terrified by the prospect of seeing themselves in the mirror of the culture of Others.

Ryszard Kapuściński The Other Verso London 2018, p. 19

CLEVER PEOPLE SELF-DOUBT

I last met him when Philomena came out back in 2013. Back then, Coogan was a bracing, combative interviewee. He saw every question as a potential ambush and moved to thwart any perceived journalistic angle. Today, though, he seems more comfortable with the process, more at ease with himself. It used to be that he felt he always had to have his guard up. Now he accepts that he can sometimes afford to let it drop. He’s middle aged and a mass of insecurity and contradictions. He suspects that, on balance, that’s not such a terrible thing to be.

“And actually I think acknowledging your own fallibility makes you a better artist and a better person,” he says in a rush. “It’s fairly obvious to me that the real wisdom lies in seeing people’s failings and trying to understand them. Because the alternative is that very childlike, Donald Trump thing of believing that admitting any weakness is fatal. What was it Bukowski said? All the clever people are full of self-doubt and all the stupid people are very confident. That’s the era we’re living in now. That’s the era I don’t want to be a part of. So all you can do is try to go about things differently. Do interesting work and don’t be a cunt.”

Coogan gulps for breath. His eyes widen and then he rocks with laughter. “There you go, that’s my big artistic statement,” he says. “Do interesting work and don’t be a cunt. Took me the best part of an hour. Got there in the end.”

https://www.theguardian.com/film/2019/jan/04/steve-coogan-interview-stan-and-ollie

HILLS

The hills bespeak a healing power and closeness to unseen help now lost in the security of modern welfare. Those who befriend the silent peaks in a lifetime's work know well their embracing strength. (p.91)

For only once is it given to man to lie in the arms of the eternal forces which give all matter form. (p.98)

Iain R Thomson Isolation Shepherd Birlinn, Edinburgh, 2007

I will lift up mine eyes unto the hills, from whence cometh my help.

My help cometh from the Lord, which made heaven and earth.

Psalm 121 King James Version (KJV)

SPAN

17 August 2012

This blog began as a co-operative concept. While the idea and the stimulus was generated through discussion, the blog has turned out to be an individual enterprise. SPAN stands for ‘Spence and’ in the context of others. As a word, it fitted in nicely with the idea of voussoirs - parts and pieces, complete with keystones, that could ‘span’ the gaps in understanding and communication. The word SPAN also allowed for a shared input into a blog.

Spence Jamieson is an architect and the author of these articles. The blogs show the scope of his interests.

THE IDEA

chapters and verses as architectural commentary:

the wedge to isolate, array and shape ideas; the keystone to highlight core, supporting issues. voussoirs is a concept to start an architectural discussion to span the large gap in the debate on things architectural; a bridging of the void in architectural issues by exploring considered bits and pieces. The state of the profession today is highlighted by silence and self. It is introvert and protective. Educational centres remain isolated within their own constructs, being run primarily as businesses. They put very little back into the community. They indulge themselves in their own interests and exclude contrary and different ideas and ideals. They constantly avoid any challenge on concepts or strategies that might change the plotted course. Rarely does comment ever come from this academic world into the public or any arena. Very few publications help direct the public interest. Rarely do newspapers grasp the issues and explore them. One aspect may be given space in the popular press, but architectural debates and concerns are rarely given attention. The professional institutes are doing much the same as the educational institutions. Private practice is doing likewise, offering, if anything, only its own pushy propaganda to the public. Yet there is a discussion and debate in these silences that needs a larger and more open platform. Discussion is alive and well amongst a few in at least one curry house, but the debate needs to be a broadened. voussoirs is the place for this discussion. It is a site for ideas, comment, articles, and critiques on things architectural and associated issues. It is here that matters can be aired and ideas discussed and debated without fear of the neglect and disdain that institutions and private groups and publishers give to open speaking and differing ideas.

There can be no true understanding of any idea if discussion and debate are curtailed in favour of a preferred position.

ON COMMUNICATION

. . . there has been a growing feeling of concern to solve what is now commonly called “the problem of communication.” But if one observes efforts to solve this problem, he will notice that different groups who are trying to do this are not actually able to listen to each other. As a result, the very attempt to improve communication leads frequently to yet more confusion, and the consequent sense of frustration inclines people ever further toward aggression and violence, rather than toward mutual understanding and trust.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.2

ON ART & METHOD

Even in relationships with inanimate objects and with nature in general, something very like communication is involved. Consider, for example, the work of an artist. Can it be properly said that the artist is expressing himself, i.e., literally “pushing outward” something that is already formed inside him? Such a description is not in fact generally accurate or adequate. Rather, what usually happens is that the first thing the artist does is only similar in certain ways to what he may have in mind. As in a conversation between two people, he sees the similarity and the difference, and from this perception something further emerges in his next action. Thus, something new is continually created that is common to the artist and the material on which he is working.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.4

THE NECESSITY OF THE INCOMPLETE

The early 50's and 60's is a period that is gaining interest in architectural ideas. Perhaps this is why Princeton chose to republish The Tao of Architecture. It is a beautiful little book that discusses the implications of traditional wisdom in architecture. Given the astonishing lack of direction in current architectural theory, the publication is very timely.

Amos Ih Tiao Chang, The Tao of Architecture, Princeton University Press, Princeton, 1956, reprinted 2017.

p.26

Laotzu's idea of formation is heavily concerned with emptiness or non-existence. To him who regards nothing as persistent, what is essentially important in things is the possibility of becoming something, not the opportunity of remaining as something confronting deterioration. Consequently, meaningful incompletion is taken as the most desirable state of tangible being.

p.22

. . . the full meaning of existence is beyond the power of any manifestation. What appears tangible, architectural or natural, is only a means to suggest that which is lacking in appearance and existing in man's intangible understanding and aesthetic feeling.

LIVING IN IMPERMANENCE

Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts – serious, sad thoughts – and not to dreams. It is better to live in a state of impermanence than in one of finality.

Gaston Bachelard The Poetics of Space

see: THE NECESSITY OF THE INCOMPLETE in the sidebar

THE REAL AND THE IMAGINARY

I prefer, by far, real islands to imaginary islands, just as I prefer prime documents to novelistic remakes. That's because the real is richer than the imagination. The real demands investigation and is an invitation to sensitive knowledge, whereas the imaginary is more often than not just a collection of stereotypes, a soup of clichés offering an infantile kind of satisfaction. Then, a relationship to the real and its resistance requires changes in thought, in ways of being, in ways of saying, it leads to a transformation of the self. Whereas imagination is nothing but compensation. There's even something horribly autistic about sitting in one spot and spinning out invention by the yard. How much more interesting an open and poetic process involving contemplation, study, movement, meditation and composition.

Kenneth White Across The Territories Travels from Orkney to Rangiroa Polygon Edinburgh 2004 p.86

VISION, CIVILIZATION & SPIRIT

The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time - - - is he who shall create poems in stone.

When you look on one of your contemporary 'good copies' of historical remains, ask yourself the question: Not what style, but what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

It cannot for a moment be doubted that an art work to be alive, to awaken us to life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

Louis Sullivan

AN UNCHANGING PROFESSION

ARCHITECTURAL PRACTICE

. . . no one can relieve (the architect) from the need to rely on his own discretion, for that discretion is linked to a responsibility which belongs to no one but (the architect). It is the exercise of discretion hampered by considerations of cost, of risk, of exact justice, of conflicting interests, of uncertainty as to facts, of misunderstandings and of diverse individualities and dishonest or incapable agents, which is the chief care and preoccupation of architectural practice. To design a building, to draw and specify every part of it, and to direct its construction and see it completed with no other anxieties and dilemmas than belong to the exercise of those duties, is unknown.

H.B.Creswell The Honeywood Settlement Faber and Faber Limited London 1967 (fourth edition: first edition 1930 Architectural Press) p.128

MENDING WALL

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

Robert Frost

CATHEDRALS and SYMBOLISM

Everything is the symbolical representation of an idea. p.28

The same artists, who had to follow a strict rule when treating the history of God, could use all of their imagination when treating the ornamental: whence the blossoming of the grotesque and the original. p.38

In those days religion, drama, and art had the same aim and sought to provoke the same thoughts. They did not pretend to amuse the people; they endeavoured to teach them. p.51

This way of thinking and reasoning takes sometimes a very subtle turn. p.53

Hélène Fouré The French Cathedrals Their Symbolic Significance Bruce Humphries Inc. Publishers, Boston, 1931

THE COMPLIMENT & THE CRITIC 2

ON DEMOLISHING BUILDINGS

Nothing appears to me much more wonderful, than the remorseless way in which the educated ignorance, even of the present day, will sweep away an ancient monument, if its preservation be not absolutely consistent with immediate convenience or economy. Putting aside all antiquarian considerations, and all artistical ones, I wish that people would only consider the steps, and the weight of the following very simple argument. You allow that it is wrong to waste time, that is, your own time; but then it must be still more wrong to waste other people’s; for you have some right to your own time, but none to their’s. Well, then, if it is thus wrong to waste the time of the living, it must be still more wrong to waste the time of the dead; for the living can redeem their time, the dead cannot. But you waste the best of the time of the dead when you destroy the works they have left you; for those works they gave the best of their time, intending them for immortality.

John Ruskin Lectures on Architecture George Routledge & Sons Limited, London p.109

THE COMPLIMENT & THE CRITIC 1

How to avoid insult

But how much of nature have you in your Greek buildings? I will show you, taking for an example the best you have lately built; and, in doing so, I trust that nothing that I say will be thought to have any personal purpose, and that the architect of the building in question will forgive me; for it is just because it is a good example of the style that I think it more fair to use it for an example. If the building were a bad one of the kind, it would not be a fair instance; and I hope, therefore, that in speaking of the institution on the mound, just in progress, I shall be understood as meaning rather a compliment to its architect than otherwise. It is not his fault that we force him to build in the Greek manner.

John Ruskin Lectures on Architecture and Painting George Routledge & Sons Limited; New York: F.P.Dutton & CO - p.64-65

ON EDUCATION

'. . those who are responsible for giving instruction in the theory of architecture should be practising architects. The warning is necessary because, strange though it may seem, English schools of architecture to-day tend to be run by men who either do not practise at all, or whose practices are for them a very subsidiary spare-time occupation. Often a teaching appointment is a means by which a clever student avoids the humiliation of entering an office as a junior assistant, thus depriving himself of the only opportunity he will ever have of learning something of the practical side of his profession from the bottom upwards. There can be no doubt whatever that the teaching of theory has suffered severely as a result of this habit: and this leads me to the conclusion that no man should be permitted to teach until he is recognized by his Faculty as a Master of Theory and Practice. In other words, he should be not only a practising architect but also, what is unfortunately a much rarer specimen, a good architect.'

W.A. Eden, The Process of Architectural Tradition, Macmillian & Co. Ltd, London, 1942, p.p. 86-87

ETHICS

Thus Pugin laid the foundation stones of that strange system which dominates the nineteenth-century art criticism and is immortalised in the Seven Lamps of Architecture: the value of a building depends on the moral worth of its creator; and a building has a moral value independent of, and more important than, its esthetic value. We must not consider this emphasis on morality peculiarly Victorian. Whenever esthetic standards are lost, ethical standards rush in to fill the vacuum; for the interest in esthetics dwindles and vanishes, but the interest in ethics is eternal.

Kenneth Clark The Gothic Revival - An Essay in the History of Taste, (1^st edition Constable 1928); third edition John Murray 1962, reprinted 1974, p.149.

MODERNITY

The everyday is covered by a surface: that of modernity. News stories and the turbulent affectations of art, fashion, and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up to its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover.

Henri Lefebvre, The Everyday and Everydayness, in Stephen Harris and Deborah Berke, Architecture of the Everyday, Princeton Architectural Press, New York, 1997, p.37.

NAMING

The simplest act of substitution is to put the name of a maker in the place of his or her work, which amounts to a paraphrase in itself. . . . All paraphrase sets aside the original: To put the name in place of the painting is to remove it from immediate consciousness; to narrate the life of an individual is an act profoundly different from looking into a painting and one that cannot be conducted simultaneously with it. To substitute a temporal narrative, already present in a name, for the physical work of art is to give up those features of the thing that were transient and unrepeatable, bound to a moment that is irrevocably ended; the unique insistence is, for the moment at least, sacrificed on the altar of continuity.

Thomas Crow, The Intelligence of Art, The University of North Carolina Press, 1999, p.1.

ON BRANDING

Branding is now the art of getting people to think what something might be rather than what it necessarily is. It's about the manipulation of the virtual reality in which so many live. The manipulators include anyone with an interest in what we might think of them - not just big companies with products to sell but political parties with votes to win, design gurus with clients to attract - anyone, in other words, acting in some kind of market. They all have an interest in controlling their appearance to make us believe it is the reality.

John Humphrys Beyond Words How Language Reveals The Way We Live Now Hodder and Stoughton. Great Britain 2006, p. 86-87

see:

http://voussoirs.blogspot.com.au/2015/10/faking-provenance-misuse-of-meaning.html

PRECONCEPTION

Leone Huntsman Sand in Our Souls The Beach in Australian History Melbourne University Press 2001, p.16:

Thus first impressions were filtered through existing preconceptions, starkly revealed in Sir Joseph Banks's description of the people seen from Captain James Cook's Endeavour when it first touched on the Australian continent in 1770:

In the morn we . . . [discerned] 5 people who appeared through our glasses to be enormously black: so far did the prejudices which we had built on Dampier's account influence us that we fancied we could see their Colour when we could scarce distinguish whether or not they were men.

Here Banks refers to William Dampier's unfavourable accounts of the West Australian aboriginal people in published accounts of his landings in 1688 and 1699, and reveals his own awareness of the extent to which perception was influenced by expectation.

see: http://voussoirs.blogspot.com.au/2014/04/seeing-what-we-believe-idyllic-visions.html

THE MUSE - GETTING IT RIGHT

"It can be in the morning, any old time, I wake up with an idea and it starts following you around.

"You go, 'Ah that's good' because you know when it's going to work, it's going to be fruitful.

"Other times you'll get the edge of an idea and maybe it fades away or there's just no way it can be made to serve, you know?

"Then you just, it takes its time and you work on it and if necessary you work on it more than once. I'm known to work on it two or three times before you get it right."

Les Murray

http://www.abc.net.au/news/2015-10-02/les-murray-latest-volume-reflects-on-bunyah/6816714

http://www.lesmurray.org/

JARGON

The world seems to find it necessary to use more and more jargon in general reporting and conversation. It is especially noticed in accounts and discussions on the arts. The ABC TV arts programme presented on 7 January 2017 at 6:15pm had more jargon than usual; indeed, had more unusual expressions than previously encountered, ones that had not been heard before:

"unpicking the tapestry" of one's life;

and

looking at "the fan deck of what you do."

These reminded one of other popular fashionable expressions:

“to unpack an issue,” meaning to analyse it in some detail;

and

“to segue,” meaning to shift to a new topic or activity.

This last term is a favourite of radio announcers. The Italian word is often misspelt as ‘segway’ because of the similar phonetic sounding that is more commonly understood as Segway, the brand of a human transporter.

The parallel is interesting, as the idea of being ‘transported’ is common to both words, but it seems to hold little interest to the radio voices that appear just too cleverly happy with the use of this different, interesting expression.

Friday, 10 February 2017

BROCHS: MORE PONDERINGS ON FRAGMENTS

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