#Sam Dolbear

[endlessandrea]

"A sense of immeasurable happiness filled me. I breathed deeply and heavily, and in doing so my body appeared to change. I became taller than I really was, my hands, larger than before, stretched out with palms turned upwards. But the strangest sensation was that which affected my brow: I felt a bluish crystal just above my eyes at the root of my nose. I called it the amethyst. I have an amethyst in my head." – Charlotte Wolff cited in Sam Dolbear, Hand that Touches This Fortune Will, 130.

[fundgruber]

Image: Archive footage from Talking Hands, dir. Emanuel Almborg Sweden, 2016. 48 min. From IPC RAO archive, Moscow. Filmmaker and exact date of the footage unknown.

[stuartelden]

Walter Benjamin's translators on translating Walter Benjamin

Esther Leslie, Sam Dolbear, Sebastian Truskolaski on Translating Walter Benjamin In 1923 Walter Benjamin published The Task of the Translator, a seminal essay in which he considers what is obscured and what is elucidated through the process of literary translation. The translators of his short stories approached the task beautifully, and their talents and insights mustn’t go uncelebrated! “In…

[jpschf]

“4.

In Rebecca Comay’s essay on Proust she talks about how Proust’s body, even after his death, maintained a certain youthfulness. The writer François Mauriac noted “the preternatural youthfulness of the corpse”: “Laid out on his bed, one would not have thought that he was fifty years old, but barely thirty, as if Time didn’t dare touch him who had tamed and vanquished it.” Paul Helleu, an artist, recorded: “Oh! It was horrible, but how handsome he was! He hadn’t eaten for five months, except for café au lait. You can’t imagine how beautiful … can be the corpse of a man who hasn’t eaten for such a long time; everything superfluous is dissolved away. Ah, he was handsome...” Man Ray’s portrait of Proust on his deathbed aids this interpretation; like a waxwork, without wrinkles, already a death mask.”

[theageoftheunderstatement]

Matt Helders on Arctic Monkeys’ new album: “It’s never gonna be like ‘R U Mine?’ and all that stuff again”

By Sam Moore, 16th May 2022

Matt Helders has spoken about Arctic Monkeys’ upcoming new album, saying that musically it “picks up where ‘Tranquility Base Hotel & Casino’ left off”.

The Sheffield four-piece have yet to officially announce the follow-up to their May 2018 album, but new music from the band is expected to arrive this year given that the Monkeys are heading out on tour in August.

AM drummer Helders has now given fans an indication about what to expect from their next record. Speaking to Mike Dolbear for this year’s DrumathonLIVE 2022, Helders said that the Monkeys’ next album will be in a similar vein to 2018’s ‘Tranquility Base Hotel & Casino’.

“It kinda like picks up where the other one [‘Tranquility Base Hotel & Casino’] left off musically,” Helders said.

“I mean, it’s never gonna be like [2012 ‘AM’ single] ‘R U Mine?’ and all that stuff again, you know, the heavy riffs and stuff.

“But there are riffs in there and [it’s] a bit more up-tempo, even though it’s not loud,” he added. “It’s hard to explain!”

After it emerged in August 2021 that the band had been recording new music in Suffolk, Helders told BBC Radio 5 Live in November that Arctic Monkeys “always do try and do something a bit different” with each release.

Asked if the new album was “ready to go”, Helders replied: “Yeah, pretty much, yeah. It was a bit disjointed how we had to do it, and there are bits to finish off, but yeah, it’s all in the works.”

Arctic Monkeys will headline Reading & Leeds in August – their only two UK live appearances scheduled for 2022 so far – while their tour will also visit Europe, North America, South America and Australia.

[abzilp]

Along a dirt track O had walked for a significant amount of time with a number of planks of wood strapped to his back. The planks of wood, each ridden with teredo worms, were longer than his body so they dragged behind him, raking up debris from the road; mostly pebbles and shards of glass but anything else that lay around: old scraps of fabric, the remains of deceased livestock, abandoned amulets. Like barnacles that attach themselves to whales only to be displaced by limpets, to fall to the seabed, these various objects would be picked up and subsequently dropped at a notch in the road or when the travelling convoy was ransacked. O was unsure of his intentions. The walk was arduous and seemed endless and futile. On the whole, the landscape was flat and sparse, overcast with thick blankets of cloud. At one point large mounds loomed on the horizon. These piles were like slag-heaps in which vegetation was sparse though not entirely absent. The piles had peaks but it wasn’t clear how they were produced. No machine could surely reach the top to drop the grit. It was as if they were constructed by giant moles that surfaced only by mistake. O continued along a path that crossed a railroad that began to incline through an area of green and plentiful vegetation. As the track began to rise, twisting around a slag-heap, cats and horses followed in a field enclosed by a barbed-wire fence, but O barely noticed them or their noises. A pakicetus - a fox-like creature with a long face and swollen body - followed initially with the horses but then stayed back on lower ground in search of water. O continued along the path. At one point birds, mostly humming birds and pigeons, began to track the convoy, jumping first from tree to tree and then, when the canopy disappeared, from shrub to shrub. The path, as it opened up, curved to the left and levelled off. At this point a break in the fence allowed the cats and horses to escape. They began to track the convoy and eventually the horses began to use the planks as ramps from which to run and jump. Although the horses seemed to find pleasure in this activity, the cats used the planks in order to mount O’s head, some licking his forehead, others cleaning themselves. Soon the cats were competing for this vantage point whilst the horses ran around and around, up the planks, over the head of O and back around again. The birds soon joined. Humming birds darted to and fro and pigeons drifted back and forth. After the cats had returned to the ground, the hummingbirds began to hover around O’s head, their beaks occasionally striking O’s face. Soon the area around O’s head was so tightly packed with humming birds that it resembled an enlivened vitrine without either glass or pins. The humming birds, darting around, soon manoeuvred their bodies jerkily to O’s ears, their tongues wrapping around their skulls and out from their beaks to extract the wax. After some time, O fell to the ground. Trying to cover his ears, the planks still dragging, the din of the world returned to him. Unable to connect particular sounds, everything appeared as a general din. Gravel shifting on the slag-heap, grass and hawthorn rustling in the hedgerow, his feet, the horses hooves. O however, half bent, now sobbing, continued to drag himself and his entourage along the track. Time passed. The slag-heaps disappeared, the horses came and went, the humming birds mostly stayed back in the vegetation. The planks still dragged. After some time, the pakicetus returned still in search of water. Its eyes, upward-facing, watched O as he walked and began to guide O down the track. Although O showed no interest in the pakicetus they nevertheless walked the same course. After a steady descent the air changed and O’s feet touched cold water. The salt water, reached first his knees and then his waist. He carried on walking, and found his feet making contact with a number of objects on the seabed: scraps of bronze, encrusted stone fragments, shards of terracotta, salt-encrusted lead ingots, human remains. The pakicetus was now nowhere to be seen and soon it was difficult for O to carry on. The planks of wood, some dragging along the seabed, others, floating on the surface, became a makeshift raft. The water, as it soaked the planks, unsteadied him. All of a sudden the largest plank, the plank strapped to his back, fell to the seabed and lodged in the mud, suspending O in the air as if he was strapped to a mast. Everything that was previously obscure to him was now clear: he was once again the victim of a shipwreck.

[tomvandeputte]

Special Issue: Diacritics

Together with Rachel Aumiller, Sam Dolbear and Paul Fleming I am editing a special issue of Diacritics. The issue will focus entirely on Benjamin’s “Fate and Character,” a brief essay from 1919 that anticipates many of the concerns of his major work of political theory, “Toward the Critique of Violence.”

[textual-research]

Sam Dolbear

[molinaramirezzx]

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[amoralto]

Hi Amoralto. Love your blog, it is such an incredible source. Thank you for sharing your archive. What do you think of the Paris trip? Was it romantic?

You’re very welcome, anon, and it means a lot to me to hear you like the blog. 💚 As for Paris, it was at least as romantic as John intimated it to be. I think one can say that much. Because it’s a cheap amusement for me to give non-answers in the form of Martin and Lewis, here they are playing French in Fouquet’s in 1953:

I’ve also just been reading Walter Benjamin’s short stories, and I found this rather evocative and fitting:

In the dream, on the left bank of the Seine in front of Notre Dame. I was standing there, but there was nothing that resembled Notre Dame. A brick building towered above a high fence made of wood, revealing the extremities of its highest echelons. I stood, though, overwhelmed, right in front of Notre Dame. And what overwhelmed me was longing. Longing for the very same Paris in which I found myself in the dream. But where does this longing come from? And where does this disfigured, unrecognisable object come from? The reason being I came too close to it in the dream. The tremendous longing which had struck me here, in the heart of that which was longed for, did not press itself from the distance into an image. It was a blissful one, which has already crossed the threshold of the image and property, and knows only the power of the name, from which the lover lives, transforms, ages, rejuvenates and, imageless, is the refuge of all images.

— Walter Benjamin, Short Shadows I (1923), tr. Sam Dolbear and Esther Leslie.

[benjaminwalksinlisbon]

I offer walks or tours around Lisbon, through the lens of The Arcades Project, Walter Benjamin’s massive accumulation of notes collected between 1927-1940 on nineteenth-century Paris. These walks are for anyone, however familiar or unfamiliar with Benjamin’s work, who is interested in exploring the city. Walks are tailored and work as an introduction to The Arcades Project but also a means to access the city outside the text – for those in Lisbon for a short time or for those who have been here a while.

The walks are organised around the interests of the walkers, however big the group, but places we could visit would be: the Águas Livres Aqueduct and Lisbon’s urban reservoirs, the port, the kiosks, the Jewish Cemetery, the Puppet/Marionette Museum, the botanical gardens, the museums, the churches, the Museu Nacional de Arte Antiga (of which there is one fragment in the Arcades), the Santa Justa Lift, the German Embassy and the surrounding park, various shopping centres from an old arcade and the hyper post-modern Amoreiras Shopping Centre, and endless things in between.

Throughout the walks we can think and talk about a number of things: paving stones and pavements, iron construction, churches, the history of fire in the city, waste, Jugendstil, the weather, trees, trams, bridges, statues, fountains, aquariums, revolution(s), barricades, intoxicants, myths, stories, waterways, reservoirs, aqueducts, walking/strolling, construction/demolition, post-modernist architecture, malls/department stores, monuments, history of colonialism, signs of Hausmannisation in Lisbon, kiosks, social housing, asphalt/tarmac/macadam, gambling, fashion, history and historiography, the Metro, cinema, museums/the museum, the port/containers, graveyards/burial.

The PDF of The Arcades Project is here.

Prices depend on a number of things but please get in touch (samdolbear@googlemail.com) and we can discuss from there.

Sam Dolbear is a PhD student working on Walter Benjamin among others. He has published widely, on pedagogy, dreams, friendship and jellyfish. In 2017 he taught The Arcades Project at the Faculdade de Letras da Universidade de Lisboa and is currently, with Hannah Proctor and Sophie Carapetian, co-editing a series of pamphlets on the text. He is also engaged in a long-term project to convert the text into a massive accumulation of audio files. 

[endlessandrea]

Bären- oder Sternbilderbrunnen von Hanna Gärtner, erbaut 1928 für den Herweghof im Wiener Bezirk Margareten.

[arcadematerials]

Call for statements of interest for contributions to a series of thematic pamphlets on Walter Benjamin’s Arcades Project

To be edited by Sam Dolbear and Hannah Proctor, & designed by Sophie Carapetian

In 1927 Walter Benjamin began taking notes for an essay entitled “Paris Arcades: A Dialectical Fairyland”. Soon the material became unwieldy, his note cards and papers piled up, and he began arranging his sheaves of notes into ‘Convolutes’ on various themes, episodes and figures. The project was never finished. Bundles of fragmentary citations, images and reflections were gathered together and published posthumously – the resulting book remains unsynthesised, labyrinthine, contradictory, open-ended.

We are looking for writing or visual responses to The Arcades Project that magnify overlooked fragments, reshuffle material to create new constellations, highlight absences, excavate forgotten figures and movements, explore marginalised and muted histories; that collide with the present moment ‘to ignite the explosive materials that are latent in what has been’ (Convolute K).

Irreverent, experimental, politically-engaged and critical of hagiography, contributions could be short or long form, scholarly or impressionistic, philosophical or subjective, dense essays or sketchy diagrams, vignettes or drawings, somber tracts or playful polemics. We hope to include work by writers and artists from different fields and disciplines; pieces by those new to Benjamin’s work alongside work by established Benjaminians.

We are proposing to design each pamphlet around a different colour, to print 100 copies of each, and to post PDFs online, releasing them intermittently so that they might eventually form a kind of ‘magical encyclopaedia’ (Convolute H), or a ‘library where the books have melted into one another and the titles have faded away’ (Convolute K).

Potential themes:

TEXT/FORM: filing, archiving, symbols, montage, rearrangements, etc.

HISTORY/HISTORIOGRAPHY: primal history, fashion, progress, catastrophe, dreams, etc.

OBJECTS: coins, shells, umbrellas, fountains, maps, etc.

ECONOMY: money, value, infrastructure, crisis, profit, commodity, labour, etc.

FIGURES: Historical figures including those central to The Arcades Projects (Charles Baudelaire, Charles Fourier, Baron Haussmann, Victor Hugo, etc), those who Benjamin mentions but whose significance he does not fully explore and those who he overlooks completely.

TYPES: Either the most prominent (the prostitute, the gambler, the flâneur, the rag-picker, etc.) or the more marginal (the woman on the barricades, the slave, the factory worker, etc.)

SOCIAL MOVEMENTS: the Vésuviennes, Saint-Simonians, Blanquists, etc.

MATERIALS: asphalt, glass, iron, velvet, etc.

TECHNOLOGIES: photography, electric lights, barricades, clocks, compasses, etc.

The first pamphlet will focus on SPACES, including contributions from Yanik Avila on the Bibliothèque Nationale and its ceiling, Sean Bonney on the entrance to the subterranean labyrinth, Rebecca Comay on streets and street names, and Sam Dolbear on aquariums. More proposals however would be welcome on this theme. Esther Leslie on Urformen will be among the contributions for the second edition on HISTORY/HISTORIOGRAPHY.

If you are interested in contributing, please send a short abstract or idea to arcadematerials@gmail.com by 30th June 2017. If you’d like to speak to us beforehand please feel free to contact samdolbear@gmail.com and/or proctor.hannah@gmail.com. Also, if you know anyone who might be interested, please share this call with them.

A PDF of the Arcades project can be found here.

[readingthearcades]

Six workshops, seminars and walks organised by Sam Dolbear

Programa em Estudos de Teatro, Faculdade de Letras da Universidade de Lisboa | €75

Tuesdays 16:00 - 18:00 | 19th September to 31st October, 2017

Facebook event

This course will address Walter Benjamin’s large historical and theoretical unfinished work, The Arcades Project (1927-1940). A study of this work opens up areas such as historiography, the relationship between philosophy and history, the character of modernity and modernism, the nature of the archive, the epistemological status of the fragment, the status of the marginal in history. From The Arcades Project themes across Walter Benjamin’s work as a whole can be traced, but, because of its archive based methodology, it is also a primary resource for analysis of nineteenth-century Paris and beyond. This course aims to do several things: to give a panoramic sense of a panoramic text, to undertake an analysis of a variety of questions relating to history and theory, to develop knowledge of nineteenth- and twentieth-century history and theory and to consider the text’s relation to the contemporary and, wherever possible, the city of Lisbon.

The course will not be assessed but there will be a possibility of working together on a collective project: whether with photography, audio, writing, or other responses. The nature of this will be worked out over the weeks as a group.

The schedule:

Week 1: Tuesday 19th September 

Method, History, Text: Introduction to Benjamin and the text, its history and mode of construction.

Week 2: Tuesday 26th September

Benjamin's theory of knowledge, history and progress.

[week break]

Week 3: Tuesday 10th October 

City, architecture and planning: streets, boulevards, rubble/ruin, aquariums, arcades (with an optional walk after the seminar, to be confirmed).

Week 4: Tuesday 17th October

The arcade’s cast of characters: women, pimps, bohemians, flâneurs, marginals, collectors, ragpickers.

Week 5: Tuesday 24th October

Modernism and modernity in the arcades: fashion, fads, utopians and poets (with an optional walk - to be confirmed - using Fredric Jameson's writings on LA’s Westin Bonaventure Hotel as a way into the outmoded and the contemporary).

Week 6: Tuesday 31st October

Open week (to be decided at a later date with the group)

~

A free PDF of the text in English is available here. Closer to the time, particular reading will be distributed.

For more information and to register please write to readingthearcades@gmail.com

Deadline for registration: 9th September 2017. Numbers limited

Requirements and eligibility: The course is open to masters and doctoral students in history, philosophy and arts of the Universidade de Lisboa and others with some knowledge or interest in the subjects addressed. Advanced knowledge of English is desirable and students should be able to follow the work program. Please get in contact if you have any questions.

With thanks to Maria João Brilhante, Ana Bigotte Vieira, Miguel Cardoso and Esther Leslie for their help and generosity in preparing this course.

[writing-after-the-disaster]

This two-day critical excursion, organised by the Space, Place and Time Research Group and led by researcher Sam Dolbear will consist of workshops, walks and film-screenings that focus around Walter Benjamin’s The Arcades Project (1927-40). Benjamin’s project began as a short essay– co-authored in 1927 with Franz Hessel, entitled ‘Paris Arcades: A Dialectical Fairyland’ – but soon the materials became unwieldy. Note cards and papers piled up, and Benjamin began arranging his sheaves of notes into ‘Convolutes’ on various themes, episodes and figures. The project was never finished, interrupted by his death in 1940. Bundles of fragmentary citations, images and reflections were gathered together and published posthumously – the resulting text remains unsynthesised, labyrinthine, contradictory, and open-ended. This short course will aim to give a panoramic sense of this panoramic text. The first day will cohere around the themes of history, historiography, temporality, and methodology. The morning will explore these themes through a workshop, followed by a walk and a screening of films on related themes. The second day will follow the same structure, but the focus will shift to the spatial configurations of the city: to processes of urban generation and regeneration, the subterranean spaces of the city, the notion of the threshold, the street and the interior, as well as building materials and construction techniques. At all stages, the course will explore Benjamin’s relation to the contemporary and the city of Glasgow in an interdisciplinary fashion, through the textual, visual and audial.