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Victorian Art in the Walker Art Gallery

Although I didn’t get the chance last year to attend any events during Liverpool’s residency as a European capital of culture of 2008, I travelled to Liverpool just a week before Christmas for a meeting. And there I finally got to visit Walker Art Gallery, just in time to catch a retrospective exhibition dedicated to John Moores Prize winners of the past years, as well as the John Moores 25 Contemporary Painting Prize.

Before then, in September-October 2008 I was researching into Art and Poverty when I had to deeply delve once again into the 19th c. European painting, and particularly, the works of Pre-Raphaelites. Earlier in December 2008 I visited the Birmingham Museum and Art Gallery that had the stunning Holy Grail Tapestries on display, as well as an exhibition of work of Ford Madox Brown. And between November 2008 and January 2009 I went to the exhibition of work of William Holman Hunt at Manchester Art Gallery. Not exactly because I loved it too much, but because twice I went with friends.

(I didn’t have to fill any photography permission forms at the Walker, but this was a requirement in Birmingham. On my Flickr, you can view the Walker set and the BMAG set).

I am posting this photo from one of the Victorian halls at the Walker also with the view to introduce a great blog about Pre-Raphaelites that I found recently: Pre Raphaelite Art. The blog is updated very, very often (something I’d love to do here and elsewhere) and is a wonderful treat to all who love Pre-Raphaelite painting. If you haven’t found it yet, I hope you do now. As for me, I’m grateful to the blog’s author for using a LinkWithin widget; I didn’t know about it.

And to round it off, a cast of William Holman Hunt’s hand from the Walker:

Liverpool - Walker Art Gallery, The Cast of Hand of William Holman Hunt

Can You Feel It? We Were Hit By Michael Jackson

I only heard the news this morning. I felt very tired last night, I had a headache, slept through the night, and when I turned my phone on, there was an sms from my friend:

Michael Jackson has died“.

There will be a lot of talk about whether the phrase “music has died” is justified; how Google and Bing are catching up on the real-time reporting; and many more things. It could be the day of remembering a Charlie’s Angels star, Farrah Fawcett, who passed away on June 25, after a long battle with cancer. Instead, it will be a long string of rememberances of the King of Pop who suffered a cardiac arrest and couldn’t be saved.

Back in Moscow, I’ve got one of his albums/tours in a video cassette. When I watched “Thriller” first few times, I was quite scared (although all horror films scared me back in the day). I was amused by the feminists who accused HIStory of mysogyny or at the very least of sexism. There was this controversial obsession with Elizabeth Taylor that saw Jackson doing plastic surgery time after time. There were marriages, kids, and then a widely publicised court affair over alleged child molestation. Robin Gibb has reportedly compared Jackson’s treatment to that of Oscar Wilde’s, and many already find it ridiculous, and are unforgivable of Jackson.

Well, you know me… I almost always know too much to stand firmly on one side of the fence – which is why it’s hard for me to belong to a group: a group is always on the side on some fence. It was in about 2005 when I had to research for one paper about juvenile delinquency that I noted that according to the UK laws a child could receive a sentence at the age of 8. Consider now that children cannot work until they are 14, and a legal age for sex is 16. Isn’t it strange that you can be classed as a young criminal even before you get to earn your first dosh and have sex?

But let’s look back in time. Today we are horrified by the custom of arranged marriages in the East – but we have forgotten completely about our own, European and English, arranged marriages that were sometimes concluded even before the future man and wife were born. We probably don’t realise that when Romeo and Juliet conducted their affair they were not of “legal” age for sex. As with boy-kings, when we focus on “boy” and forget that he was of the royal stock and hence was well-educated, so do we forget that it was 19th and 20th centuries that imposed on our conscience a concept of a “child”, as we use it today. Underneath those lofty ideas runs the “long duree”, and in this “long time” children are still no different from adults. So, when we try and “save”or “protect” children, we’re doing so against the logic of time, against the deeply embedded pattern that still has the power.

I don’t think that Jackson knew this or thought the same. To quote Chesterton, the beauty of an open mind is that you can close it on something. With the child molestation case, I choose to close my mind on jury’s verdict. But I would hope the above would be a sound proof of the ambiguity of our attitudes, particularly to children. And if anything else, those quick points certainly prove that Nabokov’s Lolita, for all its “indecency”, is not the fruit of a perverted mind.

Below are two videos: Smooth Criminal has been playing in my head since this morning; and Can You Feel It is Jacksons 5’s song I really love.

The Mobile Art of David Hockney

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It is always interesting to observe how the media presents the “news”. When independent artists, especially not well-known, turn to Social Media and mobile technologies, journalists and pundits use them for case-studies. They profile the use of social networks, various online or mobile tools that enable artists to make, publish and broadcast their art to a wide audience, at a potentially low cost. At certain point this even stops being “unthinkable” and becomes something that we almost expect an artist to do: to have a website and some online “profiles”.

Then David Hockney takes to draw a painting on his iPhone and emails it to friends – and this instantly becomes the case of one of the celebrated British artists still being “at the cutting edge of art“.

To think about it, Hockney is not the only “old master” who explores the new media. Already three years ago I briefly mentioned that both Peter Greenaway and David Lynch proclaimed the decline of “traditional” cinema and turned to the new technology. In this regard Hockney isn’t doing anything remotely novel – but it is the conclusion he draws that counts:

One morning recently, I made a drawing on my iPhone while I was still in bed, of flowers through the window, and the sunrise, which I could then [email] to 12 people, without it ever having been photographed or printed, and that’s very new.

We are very aware of the instantaneous quality of online publishing, yet what seems hard to register with us is that it’s still very new in comparison to centuries of traditions based first on handwriting and then on printing press. And yet it is new, and what this means for the artist like Hockney is that his work could be projected straight on the gallery screen or posted to the website immediately as it was finished. For a writer who posts straight to the blog online publishing also creates the precedent of making the work available for a larger or smaller circle of readers immediately as it was composed. Musicians, actors, dancers, even sculptors can use live streaming to show their work in process and in progress. Arguably, the more this is done in the way that Wollheim and Hockney appeared to do it, the better we understand “how art is made”.

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The article in The Daily Telegraph introducing Bruno Wollheim’s documentary about David Hockney is thought-provoking. Like Henri Cartier-Bresson earlier, Hockney turns away from photography to painting. But he does this with a twist, the reaction to which I find amusing:

He’s still obsessed by Secret Knowledge, to which he devoted two years of his life in the aftermath of his mother’s death in 1999. The book and film were controversial, arguing that, for the past 500 years, artists in the West had used lenses and mirrors to aid their work, so presenting the world in photographic terms. Most art historians poured scorn on his researches, but fellow artists tended to agree with him.

I’ve just written about how oblivious the historians can be to their own faults, and it seems that art historians follow in their footsteps. I never studied painting, and I cannot draw, but I will argue in Hockney’s favour, which will certainly prove that he is more right than wrong. This is the story of Filippo Brunelleschi introducing the perspective as early as 1425:

…Brunelleschi secretly painted a small, highly realistic image of the Baptistery of San Giovanni as it would have appeared in a mirror-reversed perspective when seen from a single point of view located just inside the portal of Santa Maria del Fiore. […] For purposes of his demonstration, Brunelleschi also drilled a small hole in the painting of the Baptistery at the point that would have been exactly opposite the point within the portal of the Duomo from which the perspective of the Baptistery had been constructed. […] Brunelleschi then set up his painting between the Baptistery and the entry to Santa Maria del Fiore, and called for volunteers to look through the peephole from behind the surface of the painting with one eye, while holding a mirror at a mathematically correct distance in front of the painting. […] The effect of the mirror was to minimize the viewer’s awareness of the presence of the painted surface and to intensify the sense of depth of the painting. […] By thus demonstrating to the public the breathtaking realism of his newly discovered system of linear geometric perspective, it seemed to Brunelleschi’s contemporaries that he had discovered how to re-create the world through the power of an art that precisely reflected physical reality as it is seen by the detached observer.

William Scrots, Anamorphic Portrait of Edward VI Tudor

To carry on, why not remember the Renaissance admiration for anamorphic images? Their popularity had to do with the advances in the optical research, apart from the sheer amusement they provided. This famous portrait of King Edward VI Tudor even has a special slot on one side for a narrow tube through which the painting could be seen “properly”. Hans Holbein the Younger didn’t resist the call of fashion in the famous Ambassadors. Anamorphosis made its way into Michelangelo’s The Last Judgement; and in the whimsical arrangements of Arcimboldo’s works it probably played a moralistic, as well as entertaining, role.

Hans Holbein, Ambassadors
Michelangelo, The Last Judgement(detail)
Ludovico Archimboldo, The Cook

 

Parmigianino,
A Self-Portrait in Convex Mirror
Jan van Eyck,
The Arnolfini Family

There are many examples of mirrors appearing in paintings. The more “traditional” approach would ascribe their presence to some ethical argument on the part of the artist, but what if in truth those artists who included mirrors in compositions simply gave away their “trade secret”, while also indicating that artists and people and objects in their paintings inhabited a three-dimensional, rather than two-dimensional, space? Here is Parmigianino’s self-portrait that he made while looking at himself in a convex mirror. But what if mirrors were introduced to revert, or elucidate, but either way to “personalise” the story in the painting? We may start with the famous Arnolfini portrait where the mirror in the background reveals the “other side” of the story we are watching. And then, to skip through several generations of painters, we could cite Velazquez’s Las Meninas, or better what Kenneth Clark wrote about this painting:

Diego Velazquez, Las Meninas

 

With these speculations in mind I return to the Meninas and it occurs to me what an extraordinarily personal selection of the facts Velasquez has made. That he has chosen to present this selection as a normal optical impression may have misled his contemporaries, but should not mislead us. […] It is true that the Infanta dominates the scene, both by her dignity_for she has already the air of one who is habitually obeyed_and by the exquisite beauty of her pale gold hair. But after looking at her, one’s eye passes immediately to the square, sullen countenance of her dwarf, Maribarbola, and to her dog, brooding and detached, like some saturnine philosopher. These are in the first plane of reality. And who are in the last? The King and Queen, reduced to reflections in a shadowy mirror. To his royal master this may have seemed no more than the record of a scene which had taken his fancy. But must we suppose that Velasquez was unconscious of what he was doing when he so drastically reversed the accepted scale of values?

Here the celebrated photographer Manuel Alvarez Bravo – who took much of his inspiration from paintings – would most likely remind us that “this phenomenon of instantaneous choosing is exactly the same thing that happens when I am taking photographs”. Isn’t Las Meninas a potent enough example of making a selection for a painting, akin to capturing the Bressonian “decisive moment” on camera?

Lastly, there will be the artwork by Philip Scott Johnson that stunned millions of viewers around the globe with a precocious arrangement of female portraits from the last 500 years. But I noted specifically that the video (which is a morphic art, as a matter of fact) somehow revealed that artists were painting their models from the more or less same angles for 500 years. Not only did this quality of female portraiture made Johnson’s own work possible – it also potently questioned the originality of form in Western art.

I am not aware of examples Hockney cited; neither do I know exactly why art historians found it hard to agree with the idea that the world was indeed presented in photographic terms throughout the last 500 years. It is quite clear even from the given examples that lenses and mirrors not only were an important part of a creative process (i.e. in the case of a self-portrait) but also affected the techniques, compositions, and “stories”. This may explain perhaps why already Turner’s contemporaries found it hard to “understand” his paintings: because they represented the world as a mixture of elements, untouched by an optical, geometrical arrangement. And the same elementary chaos is what apparently attracts Hockney today:

He is radically re-working his methods, going for speed and directness, using Rembrandt drawings and Van Gogh as his guides. This is his way to make painting escape the stranglehold of the camera.

While his painting may be escaping the stranglehold of the camera, his life in art has finally been caught with the very medium Hockney has abandoned. Whether this is paradoxical or ironic, time will tell; and in the meantime David Hockney: A Bigger Picture is to be broadcast on BBC1 on 30 June.

Illustrations:

William Scrots, The Anamorphic Portrait of Edward VI, 1546
Hans Holbein the Younger, The Ambassadors, 1533
Michelangelo, The Last Judgement, 1534-1541
Guiseppe Arcimboldo, The Cook, 1570
Jan van Eyck, The Arnolfini Portrait, 1434
Parmigianino, A Self-Portrait in a Convex Mirror, 1524
Diego Velazquez, Las Meninas, 1656

I am very grateful to a reader in Australia who introduced me to the figure of Adi Da Samraj in 2008 and shared several articles, one of which, by Gary J. Coates, I used in this post.

Pairing Journalism with Occult


What a Coincidence…, originally uploaded by loscuadernosdejulia.

The photo you see was taken in May 2008 during my visit to Manchester Central Library. It so happened that I didn’t visit that very part of library where this photo was taken, so for all we know things may have changed. But a year ago the bookshelves in the main reading room on the first floor saw this precise pair of catalogue subjects: Journalism and Occult. I am tempted to recall how the storm shifted the signboards in Andersen’s time, for this should surely be the way to explain such a peculiar coincidence.

Russian Summer

In September it will have been six years since I came to Britain. In all this time the majority of people I met never thought I came from Russia. When we spoke, they appeared to be very knowledgeable, especially as far as the weather was concerned. They thought Russia was cold and snowy. But as you can see below this couldn’t be further from the truth. I took these photos in September 2001 with a “soapbox” camera, at the place called Dubrovsky. It could be reached by bus from where I lived, it would only take 20 minutes to get there. At the destination there were a few houses, a horticultural institute, a village, and a sanatorium for pneumonia patients, all scattered across a vast territory.

My mother and I went there often when I was a child, and one day when I was 11 or 12 I went there with a friend of mine, a girl we went to school together. I knew that my family wouldn’t be keen, so I planned everything in secret. My ideal plan would see me going “for a walk”, which my parents allowed me to do on my own. My grandma intercepted the plan at the last minute, but she couldn’t stop me, and I don’t remember now, why. My friend and I went to Dubrovsky and spent a day by the river in the sun, eating tomatoes and boiled eggs, watching other people sunbathing and swimming.

http://www.flickr.com/apps/slideshow/show.swf?v=71649

Living Under the Radiance of the Snows

The imperial road to Italy goes from Munich across the Tyrol, through Innsbruck and Bozen to Verona, over the mountains. Here the great processions passed as the emperors went South, or came home again from rosy Italy to their own Germany.

And how much has that old imperial vanity clung to the German soul? Did not the German kings inherit the empire of bygone Rome? It was not a very real empire, perhaps, but the sound was high and splendid.

Maybe a certain Groessenwahn is inherent in the German nature. If only nations would realise that they have certain natural characteristics, if only they could understand and agree to each other’s particular nature, how much simpler it would all be.

The imperial procession no longer crosses the mountains, going South. That is almost forgotten, the road has almost passed out of mind. But still it is there, and its signs are standing.

The crucifixes are there, not mere attributes of the road, yet still having something to do with it. The imperial processions, blessed by the Pope and accompanied by the great bishops, must have planted the holy idol like a new plant among the mountains, there where it multiplied and grew according to the soil, and the race that received it.

As one goes among the Bavarian uplands and foothills, soon one realises here is another land, a strange religion. It is a strange country, remote, out of contact. Perhaps it belongs to the forgotten, imperial processions.

Coming along the clear, open roads that lead to the mountains, one scarcely notices the crucifixes and the shrines. Perhaps, one’s interest is dead. The crucifix itself is nothing, a factory-made piece of sentimentalism. The soul ignores it.

[…] It is this, this endless heat and rousedness of physical sensation which keeps the body full and potent, and flushes the mind with a blood heat, a blood sleep. And this sleep, this heat of physical experience becomes at length a bondage, at last a crucifixion. It is the life and the fulfilment of the peasant, this flow of sensuous experience. But at last it drives him almost mad, because he cannot escape.

For overhead there is always the strange radiance of the mountains, there is the mystery of the icy river rushing through its pinky shoals into the darkness of the pine-woods, there is always the faint tang of ice on the air, and the rush of hoarse-sounding water.

And the ice and the upper radiance of the snow is brilliant with timeless immunity from the flux and the warmth of life. Overhead they transcend all life, all the soft, moist fire of the blood. So that a man must needs live under the radiance of his own negation.

There is a strange, clear beauty of form about the men of the Bavarian highlands, about both men and women. They are large and clear and handsome in form, with blue eyes very keen, the pupil small, tightened, the iris keen, like sharp lights shining on blue ice. Their large, full-moulded limbs and erect bodies are distinct, separate, as if they were perfectly chiselled out of the stuff of life, static, cut off. Where they are everything is set back, as in a clear frosty air.

Their beauty is almost this, this strange, clean-cut isolation, as if each one of them would isolate himself still further and for ever from the rest of his fellows.

Yet they are convivial, they are almost the only race with the souls of artists. Still they act the mystery plays with instinctive fulness of interpretation, they sing strangely in the mountain fields, they love make-belief and mummery, their processions and religious festivals are profoundly impressive, solemn, and rapt.

It is a race that moves on the poles of mystic sensual delight. Every gesture is a gesture from the blood, every expression is a symbolic utterance.

For learning there is sensuous experience, for thought there is myth and drama and dancing and singing. Everything is of the blood, of the senses. There is no mind. The mind is a suffusion of physical heat, it is not separated, it is kept submerged.

D. H. Lawrence, Twilight in Italy

Keeping a Smile on Your Face


Stockport 6, originally uploaded by loscuadernosdejulia.

When economic crisis struck at the end of 2008, in Russia people were collecting jokes and comic sketches in the attempt to laugh off the looming doom. I wrote about it in November.

And then at the end of January I went to Stockport where I had a nice walk and took some photos – including the one you’re looking at now. The sign was adorning a closed eatery, but the owners did their best to keep up the good spirits.

Dons and Students: Examination Practices

I was reading The Times, the article by Mary Beard on examining the Cambridge essays. I am aware of this fundamental difference between the Russian and British education systems (although the Russian one is currently evolving): in Russia, exams are oral; in Britain, they are written. I have rather fond memories of my student life in Moscow, so I thought I would narrate them here.

What do students do?

When I was a History student at the Lomonosov Moscow State University between 1997 and 2002, doing my BA and MA there, we had the following structure: during the year, we’d have lectures in certain subjects, some of which were accompanied by seminars. In a seminar, we discussed different topics, and wrote an essay. There were usually two-three “main” essays per year, on the topics of a seminar, marked. At the end of each semester we had ORAL exams, either with a “pass”/”no pass” mark, or “excellent/good/satisfactory/fail” mark.

My History programme at the MSU saw me attending courses in Archaeology, Ethnography, Palaeography, Latin, Modern Languages, Prehistoric Societies, World and Russian History (Ancient to Contemporary), Philosophy, Art History, Methodology of History, Source Criticism, Quantitative Methods in History, and Computing. Once I started specialising in Medieval and Early Modern History, I had to read not only in my “specialisation proper” (i.e. Tudor History), but also in Source Criticism, Methodology, Heraldry and Numismatics, Onomastics (Onomatology), and Historical (i.e. Medieval and Early Modern) European Geography. On top of that there were “special courses” of my choice: The Bible in the Medieval West; Irish Folklore; Reformation in Germany; The English Reformation.

Just to give you an example, in my 2nd year exam in Early Modern History I had to come to the oral examination with the knowledge of: a textbook (405 pages); lectures (about 50 pages of my A4 notepad); a selection of primary sources (printed in various books and collections, amounting to another 100-150 pages); and a selection of literary works (think of volumes by Rabelais and Servantes). Add to this the compulsory knowledge of Art History for the period, as well as maps…

… and the fact that each of us had to choose an exam ticket with two questions, one usually fairly generic, another more focused. We’d have about 40 minutes to prepare. The exam itself could last anything between 40 minutes and 1 hour, including questions. The duration would depend on both examiner and student. Additional questions could focus on discussing a literary work.

A wonderful writer or a terrible speaker – what to choose?

The oral exams demand that you possess the full knowledge of a subject and can “swim” in it freely. What I personally like about oral exams is that they allow the examiner and student to look each other in the eye – precisely the lack of which Mary Beard as a don seems to be struggling with, when assessing written papers. I also think that oral exams, as well as the focus on developing conversation on a topic, make the very “school of life” that the high education institutions supposedly represent. Why? Consider the following.

When I came to do an MA at the University of Manchester in 2003, in the first semester we sat through the Presentation Skills module, secretly deemed by many students as useless. We were taught “team skills” by predicting how long a paperchain we could make as a team in 10 minutes, and then trying to execute the plan. A lot of groups in that exercise actually cheated. But what stayed with me was the phrase uttered by one of the course leaders in a lecture. She said: “Our academics are known for writing wonderful texts, but when they start talking they are appalling“.

When I was asked for feedback at my department, with my usual honesty I responded that there was no opportunity for students to get involved in oral presentations and debates, other than seminars. Why not organise a student conference? Funnily enough, the conference was indeed organised, and I even took part. But, unlike at the Moscow State Uni, here it was open to MA and PhD students only, who were already involved in research to some degree.

Presentation Skills module was designed in a hope to give us, Humanities folks, the chance to survive in the business world, should we come to realise that it was too hard to get a job at the academy and that an art clerk position in a local archive didn’t pay well. I’m uttering things, but the module in question tried to teach 20-something (and older) students the skill that I was developing “naturally” in the course of seminars, conference papers and oral exams since I was 16.

It’s not just about skills…

Many fond memories of “strange” answers visit me when I think of my life as a student in Moscow. In a short preliminary exam in Archaeology in the first year I was asked why Upper and Lower Paleolithic Period (anthropology) were called so. It was the very last additional question and wouldn’t have any bearing on the mark, and yet… Before then I, a person who never camped in her entire life (this still stands true), managed to explain how to best choose a place to lay out a camp: close to the water stream, not too windy, etc. But “Upper Paleolithic” vs. “Lower Paleolithic” was so simple that it got me stuck. My examiner, himself an MA student, came to the rescue: “Well, think about how archaeologists dig..?

Another example was with the history of the World War One in which Italy was “a defeated one among the victors“. I managed to change that into “a victor among the defeated“. This came out naturally because my actual question was about social and economic history of Italy in between the Wars, and I wanted to skip to it quickly, but the remark about Italy’s status at the end of the WWI was important. Strangely enough, as you may see yourself, my mistake wasn’t altogether wrong: Italy swapped sides shortly before the end of WWI, and thus Italy became indeed a victor among the defeated by virtue of defecting from the German alliance.

Yet it wouldn’t be wrong to say that the best exam stories happened to other people rather than me. I told you the story of Discobolus that was reportedly sculpted by Homer; and when I was once an examiner I was told that the German Reformation was begun by Martin Luther King. Oh, and I was told that some students called the Habsburg dynasty “the Hamburgers”.

Another story, exactly on Mary Beard’s subject of Ancient History, says that the Professor of Ancient Greek History asked a girl whose exam performance was far from good or satisfactory to tell him the difference between a prostitute and a hetaira (ancient Greek courtesan) in Ancient Greece. As a matter of fact, he made a point about this during his lecture on Greek culture. The girl mumbled helplessly. Eventually, Professor interrupted her and quickly recapped on the difference, concluding: “With hetaira, it was a high-cultured sex“.

And yet another story saw a student explaining the examiner how Monsieur Convent was fighting for the progress of the French Revolution… with his faithful spouse, Mme Convent, of course.

…but, actually, it is about skills

These experiences, however, only look non-sensical or funny. In hindsight, they teach many a valuable lesson. They teach resilience: OK, so I misworded something – what do I do? They teach “working under pressure”: imagine reading through all the hundreds of pages I mentioned above – and that is only for one (!) exam, there could be another three or four. They make your reaction sharp and quick: an enviable skill to make one able to work in different routines, professions, and environments. They teach you to structure your answer by making a plan, and to speak coherently. They teach you to come back to where you were interrupted without making a mess of your presentation. An oral exam can develop a wide array of qualities, provided you take your studies seriously.

And the last thing I like about oral exams is that the student stands the chance of proving the examiner that she or he knows the subject they are discussing. Likewise, the examiner stands the chance of seeing how well the student “swims” in the subject’s “sea”.

Who was the “real” Cicero?

And now I looked again at Mary Beard’s article, and I see exam questions like “Why did some Roman emperors punish Christians?” The question sounds almost school-like to me, especially because of “punish”. I would rather have it reworded altogether, so that it pointed to the “problem”. And the problem, of course, is that Christianity was a new religion that challenged the Old Order – among other things.

The question “do Cicero letters help us understand his “real” feelings and motivations?” runs strongly against Barthes’s essay. But I doubt that the examiner would take in nicely a remark from the student that, since Cicero had long been dead, we cannot use his works to “understand” the “real” Cicero.

Most importantly, though, I’m asking: why would a British examiner compare answers to questions one by one, and then student by student? The way I see it, an examiner has already read all Platos, Ciceros and Senecas, to understand their “real” feelings and motivations. They already know why emperors punished Christians. Surely, when they read an answer to the question, they can quickly spot logical flops and the lack of knowledge. Why would they compare the answer of a student A to the answer of a student B? Do they themselves have no clue about what they are marking?

Image is courtesy of CPD Test.

Blackpool – The Walk of Faith

One of my Flickr contacts asked me if I felt dizzy, when making this photo. I didn’t in 2009, and neither did I in 2002 when I stood on it for the first time ever. To this day it is an interesting experience, especially because there are always a few people (usually ladies) who are mortified by the thought of taking to the Walk of Faith.

Taking a Walk of Faith

What they do not know, of course, is that this 2-inch glass is capable of withstanding the weights of 5 baby elephants. Therefore, I had no fear standing on the glass, and one of the visitors to the Tower this May has actuallty lied down on the glass.

In fact, do visit this page, to experience the Hitchcock-style, Vertigo-like, Flash version of the view down the glass when you “click if you dare”. But if you do come to Blackpool and climb to the very top of the tower, this is one of the views you are likely to see:

Blackpool - The Irish Sea from the Tower

1000 Things to Do Before You Pop Your Clogs

I‘m sitting in the living room with a laptop on my knees, listening to Rachmaninov’s Adagio Sostenuto from the Piano Concerto no. 2. There is a bookcase in front of me (which I assembled myself, incidentally), and on one of the shelves there is this volume: 1001 Movies You Must See Before You Die (general editor – Steven Jay Schneider). I bought it for a friend, but in the end gave a different book as a present.

Back in January 2009, The Guardian initiated a project in the realm of Literature: 1000 Novels You Must Read.

TimeOut published two guides – 1000 Things to Do in London and 1000 Things to Do in Britain.

And of course there is a site which name speaks for itself: 1000 Things to Do Before You Die.

All the above evidently dwell on the following:

Life is too short; the name is a legion to the things/places/people; you cannot possibly do it all; so what MUST you do?

Evidently, the answer is to follow any of the lists. Or to draw up your own, as Listology author Luke tried to do. He was wise enough, though, to start his 1000 things to do before he departs from this profane life with the following:

1. Come up with (at least) 1000 items for this list.

By the look of things, this will be his most challenging of 1000 things.

There is a saying in Russian when they explain in jest why you should do something: “so that you are not painfully ashamed of the wasted years“. By extension, the reason for a “1000 things…” lists is to help us, ordinary mortals, to not waste our time. So, in the ideal world we would probably watch one of 1000 films and read one of 1000 novels in between visiting one of 1000 places in London and one of 1000 places in Britain – which will be a fitting entry for a list of 1000 things to do before we pop the clogs.

The only thought cripples in my mind as I write this: there are 365 days in a year. I figure that we can spend 2.5 years going through one 1000-entry list. So, there are already 5 years to spend in order to see and read all films and books on a list. I’m sure there is a similar list of musicians/bands/performers (if not, it must be), so add another 2.5 years. On top of those 7.5 years, there’ll be another 2.5 doing all the essential “things”: by the look at some lists, these things include making love in all imaginable places.

In total, 10 years of one’s lifetime could be confidently dedicated to doing things off the lists of books/films/music/things. And just as I could forget about it, there are 1000 Places to See, and to do that you may put aside at least another 5 years. All in all, the lists could conveniently help to “plan” your life for some 15 years.

Most of us would still go about doing/watching/reading whatever takes our fancy – only to discover that we can tick off the item from one of the lists, or that we experienced something life-changing that the list didn’t include. But seriously, have you ever tried to plan your life or education ahead? Say, resolving with yourself that in two years’ time you will have read James Joyce’s Ulysses twice: first time to just nail it, second time to actually understand it? Did it work?

And, sad as it is, the author of 1000 Things to Do Before You Die, Dave Freeman, died at his home in 2008: reportedly, he tripped over in the hall of his beach house and banged his head. He managed to complete one half of his list.

Some links to 1000 “things” books:

A bit of history

1. The Boy Mechanic Volume II: 1000 Things for Boys to Do
– this book was published in 1915. Just in case we thought that these “1000 lists” have just been invented.

‘Geotargeted’ “to-dos”

2. Time Out 1000 Things to Do in London (Time Out Guides) – if you are lost for choice in London.

3. Time Out 1000 Things To Do In London for Under 10 (Time Out Guides) – a budget version of the above.

4. Time Out 1000 Things to Do in Britain (Time Out Guides) – if you can see Britain for London.

5. Time Out 1000 Things to Do in New York (Time Out Guides) – if you’re eyeing the Big Apple.

6. 1,000 Places to See in the U.S.A. & Canada Before You Die – if New York is not the limit…

7. 1,000 Places to See Before You Die: A Traveler’s Life List – if Britain, U.S., and Canada are not the limit…

Age-specific

8. Time Out 1000 Things for Kids to Do in the Holidays (Time Out Guides) – if you’re a kid or parent.

9. 1000 Things to Do Before You’re 30 – if you don’t want to be painfully ashamed of the wasted years when you hit 30. Currently out of print.

Things and Actions

10. Time Out 1000 Books to Change Your Life (Time Out Guides) – if you believe in the catharctic power of Literature.

11. 1001 Things To Do If You Dare – as the title suggests…

12. 1001 Incredible Things to Do on the Internet – if you’re tired of Social Media and code-hacking.

Limited availability

13. 1000 Things God Can’s Do: a Positive Message to Build Positive Faith – if your glass is half-full…

Currently unavailable

14. 1000 Romantic Things to Say and Do – “we don’t know when or if this item will be back in stock“.

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