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green-violin-bow · 7 years ago

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Hawksmoor, BBC Sherlock and historiographic metafiction

First:

This piece is not of academic quality or rigour. I left university eight years ago; I studied literature in two languages and did well at it. Nevertheless I am no longer in academia and have not written an essay since then. My sources are partial, dependent on what I can get access to through my local library, through academic friends, or what I choose to pay for on JSTOR. I work full-time and have put no time into e.g. referencing (always my least favourite part of essays).

Although I personally hold out hope for unambiguous Johnlock still, I would not class this as a ‘meta’ arguing that it will certainly happen. This is a reading, undertaken for my own satisfaction and interest, jumping off from the inclusion of ‘Hawksmoor’ as a password in one scene of The Six Thatchers. I do not particularly mean to suggest that Mark Gatiss and Steven Moffat are deliberately playing with/off literary criticism. They may well be holding two (or more) time periods in tension, however, in a way that I choose to explore through the lens of the literary tools described here. I do not seek to challenge or disprove other fan theories.

I am no television/film studies scholar. There are probably layers and layers of nuance and meaning that I’m missing because I simply have no frame of theoretical reference in that field (and one of the primary ‘texts’ we are talking about here is, after all, a television show). The abundance of television and film references discovered by Sherlock fans have made it clear that the show’s creators deliberately allude to other visual media within modern Sherlock all the time. I believe my approach here is valid because Hawksmoor, a literary text, is pointed to in the show, and because ACD canon itself was a literary text. But I want to flag up this important way in which my analysis is deficient.

I tagged a few people in this but I’m aware this is more of a musing/essay than a traditional ‘meta’ so don’t worry about reading/responding if it’s not your thing!

The Six Thatchers

In The Six Thatchers, Sherlock visits Craig the hacker, to borrow his dog Toby. On the left of our screen (taking up an entire wall of Craig’s house, realistically enough…) are lines of code, in the centre of which is written ‘Hawksmoor17’.

I was interested in finding out more about this. I decided my first port of call would be the ‘detective novel’ Hawksmoor, by Peter Ackroyd.

Peter Ackroyd

Peter Ackroyd is a historian and author, who has written a huge array of fiction and non-fiction, including:

London: The Biography (non-fiction)

Queer City: Gay London from the Romans to the Present Day (non-fiction)

The Last Testament of Oscar Wilde (an imagining of the diary Oscar Wilde might have written in exile in Paris)

Dan Leno and the Limehouse Golem (novel, presenting the diary of a murderer)

Hawksmoor (novel)

In his work London is present, constantly, a character in itself, woven into the very fabric of the story as irrevocably as it is into the mythos of Sherlock Holmes.

Hawksmoor

In brief, Hawksmoor is a postmodern detective story, running in two timelines. Each timeline focuses on a main character: in 1711, the London architect Nicholas Dyer; two hundred and fifty years later, in the 1980s, Nicholas Hawksmoor, a detective, responsible for investigating a series of murders carried out near the churches built by Dyer.

Ackroyd plays with the ‘real history’ of London throughout, muddling and confusing the past with fictional events, with conspiracy and rumour.

There was a real London architect named Nicholas Hawksmoor who worked alongside Christopher Wren in eighteenth-century London to design some of its most famous buildings. He also designed six churches. Ackroyd chooses to change the eighteenth-century architect’s name to Nicholas Dyer, and to make Nicholas Hawksmoor the twentieth-century fictional detective instead – a deliberate muddling together of timelines and of ‘facts’.

Ackroyd had drawn inspiration for Hawksmoor from Iain Sinclair’s poem, ‘Nicholas Hawksmoor: His Churches’ (Lud Heat, 1975). This poem suggests that the architectural design of Hawksmoor’s churches is consistent with him having been a Satanist.

As well as changing the historical figure Hawksmoor’s last name to Dyer, Ackroyd adds a church, ‘Little St Hugh’. Seven, in total.

The architect Dyer writes his own story, in the first person and in eighteenth-century style.

Only in Part Two of the novel does Nicholas Hawksmoor – a fictional detective with a real man’s name – appear, to investigate the three murders that have so far happened in 1980s London. Written in the third person, the reader is nonetheless invited into Hawksmoor’s thoughts, his point of view.

As the novel proceeds, Ackroyd employs literary devices so that the stories – separated, apparently, by so much time – begin to blur. In particular, the architect Dyer and the detective Hawksmoor are linked. For instance, both men experience a kind of loss of self, a “dislocation of identity”, upon staring into a convex mirror (Ahearn, 2000, DOI: 10.1215/0041462X-2000-1001).

The cumulative effect of all the parallels is that the reader starts to lose any sense of temporal separation between the time periods; starts to see Dyer and Hawksmoor as almost the same person; to suspect each of them of being the murderer and the detective at the same time. The parallels between the time periods “escape any effort at organization and create a mental fusion between past and present” so that “fiction and history fuse so thoroughly that an abolition of time, space, and person is […] inflicted on the reader” (Ahearn, 2000).

Importantly, I believe, Hawksmoor again and again “tries to reconstruct the timing of the crimes, but this is from the start impossible” (Ahearn, 2000). This is a rather familiar feeling to Sherlock Holmes fans.

At the end of the book, Dyer and Hawksmoor come together in the church, take hands across time, or perhaps out of time. They become aware of one another. Their perspectives dissolve and seem to merge into one person, into a new style of narration not like either of them: “when he put out his hand and touched him he shuddered. But do not say that he touched him, say that they touched him. And when they looked at the space between them, they wept” (Ackroyd, 1985).

Historiographic metafiction

Hawksmoor is a postmodern detective story. It has been classified by critics as a work of ‘historiographic metafiction’. As a detective story, it lacks the most familiar feature – a detective who is able to sort and order the events and facts, before finally drawing together all the threads to present a coherent, satisfying and plot-hole-free conclusion. In other words, a solution to the mystery.

So what is ‘metafiction’? Waugh defines it as “a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact in order to pose questions about the relationship between fiction and reality” (1984).

In Hawksmoor, Ackroyd uses a popular literary form (the detective story) to unsettle our understanding of fiction, reality and history. An Agatha Christie detective novel (for example) relies on an accepted, understood structure, where the reader has definite expectations of what the outcome will be; as such, Christie’s novels “provide collective pleasure and release of tension through the comforting total affirmation of accepted stereotypes” (Waugh, 1984). In metafiction, however, there is often no traditionally predictable, neat, satisfying ending: accepted stereotypes are disturbed rather than affirmed. The application of rationality and logic to the clues gets the detective no closer to solving the crime. Readerly expectation (“the triumph of justice and the restoration of order” [Waugh, 1984]) is thwarted.

Hutcheon coined the term ‘historiographic metafiction’, fiction where “narrative representation – fictive and historical – comes under […] subversive scrutiny […] by having its historical and socio-political grounding sit uneasily alongside its self-reflexivity” (Hutcheon, 2002). It is a kind of fiction that explicitly points out the text-dependent nature of what we know as ‘history’: “How do we know the past today? Through its discourses, through its texts – that is, through the traces of its historical events: the archival materials, the documents, the narratives of witnesses…and historians” (Hutcheon, 2002).

Whereas a ‘historical novel’ will present an account of the past which purports to be true, a ‘historiographic metafiction’ has a combination of:

deliberate, self-reflexive foregrounding of the difficulty of telling ‘the whole story’ or ‘the whole truth’ especially due to the limitations of the narrative voice;

internal metadiscourse about language revealing the fictional nature of the text;

an attempt to explain the present by way of the past, simultaneously giving a (partial) account of both;

disturbed chronology in the narrative structure, representing the determining presence of the past in the present;

‘connection’ of the historical period structurally to the novel’s present;

a self-consciously incomplete and provisional account of ‘what really happened’ e.g. via ‘holes’ in the [hi]story which cannot be resolved by either narrator or reader (Widdowson, 2006, DOI: 10.1080/09502360600828984).

The above points are certainly true of Hawksmoor. The reader of Sherlock Holmes will find some of them very familiar – for example, Watson’s self-conscious in-world changing of dates, names and places; and the impossible-to-resolve timeline. The audience of BBC Sherlock will also find these features very recognisable, especially from Series 4 of the programme.

I’d like to examine BBC Sherlock itself as a ‘historiographic metafiction’: a ‘text’ which self-consciously holds the past and present fictional events of Sherlock Holmes’ life in tension, not merely as another adaptation of the source text, but as a way of destabilising the accepted ‘[hi]story’ and mythos of Sherlock Holmes.

The Great Game

The Sherlockian fandom is well-known for its practice of ‘The Great Game’:

“Holmesian Speculation (also known as The Sherlockian game, the Holmesian game, the Great Game or simply the Game) is the practice of expanding upon the original Sherlock Holmes stories by Sir Arthur Conan Doyle by imagining a backstory, history, family or other information for Holmes and Watson, often attempting to resolve anomalies and clarify implied details about Sherlock Holmes and Dr. Watson. It treats Holmes and Watson as real people and uses aspects of the canonical stories combined with the history of the era of the tales' composition to construct fanciful biographies of the pair.” [x]

There are a number of interesting features about the Great Game. It:

pretends that Sherlock Holmes and John Watson were real people;

ignores or explains away the real author Arthur Conan Doyle’s existence;

attempts to use ‘real’ historical facts (texts…) to resolve gaps in a fictional text;

in turn, produces additional (meta)fictional texts, often presented as ‘fact’ in journals set up for the purpose;

in so doing, adds constantly to the (meta)fictional destabilisation of chronology and holes in the story, as different, competing ‘versions’ are added by a multitude of authors.

The Sherlock Holmes fandom, as it attempts to elucidate ‘what really happened’, only destabilises the original (hi)story further – drawing attention, over and over again, to the gaps and inconsistencies in the original canon tales.

I would argue that the Sherlock fandom has been engaged, for over a century, in an act of collective historiographic metafiction.

The writers of BBC Sherlock are aware of themselves as fans, and of the wider Sherlockian fandom. They paid tribute to Holmesian Speculation in the episode title of Series 1 Episode 3. The title – ‘The Great Game’ – is a signal, an early marker of postmodernity in BBC Sherlock, a sign that the Sherlockian fandom will not be absent from this metafiction.

Implicating the reader/audience

There is an interesting moment in Hawksmoor where Detective Chief Superintendent Nicholas Hawksmoor goes to investigate the murder of a young boy near the church of St-George’s-in-the-East. The body is beside “a partly ruined building which had the words M SE M OF still visible above its entrance” (Ackroyd, 1985).

As Lee says, the “missing letter is "U," ("you") the reader” (1990).

Elsewhere in the book, Hawksmoor receives a note instructing him “DON’T FORGET … THE UNIVERSAL ARCHITECT” alongside a “sketch of a man kneeling with a white disc placed against his right eye” (Ackroyd, 1985).

Lee suggests that this drawing refers to “detective fiction’s transcendental signifier” Sherlock Holmes, and that the “Universal Architect, here, can only be the reader, since it is he or she who is in possession of all the histories: the historically verifiable past, the eighteenth-century text and the text accumulated through reading”. Thus, the reader is “doubly implicated not only as a repository of the past, but also as a co-creator of artifact and artifice” (Lee, 1990). In the Sherlock Holmes fandom, this is more true than in almost any other; co-creators indeed.

The missing ‘U’ in Hawksmoor can be clearly linked to the daubed ‘YOU’ in ‘The Abominable Bride’, a sign that, from that point on, BBC Sherlock will be clearly and mercilessly implicating its audience; putting the Sherlockian fandom back in the story, where it has always belonged. This includes the writers and creators of BBC Sherlock.

I also think there is reason to link the ‘YOU’ daubed on the wall to another piece of graffiti in BBC Sherlock – the yellow smiley face in 221b. An all-seeing, ever-present audience within Sherlock and John’s very home.

It is often repeated that Arthur Conan Doyle only continued to write Sherlock Holmes stories out of financial necessity and due to public demand; that he was bored and exasperated by his creation. The Sherlock Holmes fandom is (possibly apocryphally) known as having worn black armbands in the street in mourning for the fictional detective when Conan Doyle attempted to kill him off in The Final Problem.

The Sherlock Holmes fandom has long been considered importunate and unruly. As Stephen Fry puts it in his foreword to The Case Book of Sherlock Holmes: “Holmes has been bent and twisted into every genre imaginable and unimaginable: graphic novels, manga, science fiction, time travel, erotica, literary novels, animation, horror stories, comic books, gaming and more. Junior Sherlocks, animal Sherlocks, spoofs called Sheer Luck and Schlock; you think it up, and you’ll find it’s been done before. There is no indignity that has not been heaped upon the sage and super-sleuth of Baker Street” (2017).

And yet, with every new adaptation, there is a tendency to regard it as a blank slate, in direct conversation with the canon of Arthur Conan Doyle. There is a tendency to forget the changes that fandom itself has wrought on the figure of Sherlock Holmes – a weight of stereotype and expectation which warps the character to a pre-fit mould in every incarnation. As Fry says, Holmes:

“rises up, higher and higher with each passing decade, untarnished and unequalled. Because, I suppose, we need him, more and more, a figure of authority that is benign, rational, soothing, omniscient, capable and insightful. In a world, and in daily lives, so patently devoid of almost all those marvellous qualities, how welcome that is, and how grateful we are, for its presence in our lives. So grateful, that we won’t really accept that Sherlock Holmes could ever be classed as ‘make believe’. Between fact and fiction is a space where legend dwells. It is where Holmes and Watson will always live” (2017).

This is the traditional understanding of Sherlock Holmes and its fandom, and is highly reminiscent of the voiceover by Mary Morstan in Series 4 Episode 3, ‘The Final Problem’: “I know who you really are. A junkie who solves crimes to get high, and the doctor who never came home from the war. Well, you listen to me: who you really are, it doesn’t matter. It’s all about the legend, the stories, the adventures. There is a last refuge for the desperate, the unloved, the persecuted. There is a final court of appeal for everyone. When life gets too strange, too impossible, too frightening, there is always one last hope. When all else fails, there are two men sitting arguing in a scruffy flat like they’ve always been there, and they always will. The best and wisest men I have ever known – Sherlock Holmes and Doctor Watson.” [transcript by Ariane Devere]

The conception of Sherlock Holmes as “a figure of authority that is benign, rational, soothing, omniscient, capable and insightful” shows what we, the reader, want: a traditional detective story, with an all-knowing detective, who uses rationality and logic to assess the clues and brings us smoothly, at last, to a solution which reasserts the order of things; where justice is done and society is made safe once again.

BBC Sherlock, however, resists these comforting fictions. The detective unravels, becoming more emotional, more human as the story progresses. Mysteries go unsolved. The narrator gets more unreliable with every episode. Characters inhabit strange states, seemingly alive or dead as the story demands. The ‘rules’ of traditional detective fiction are flouted left, right and centre.

Viewed as a historiographic metafiction, BBC Sherlock aims to hold up the historical text (ACD canon) against the modern one (BBC Sherlock) in such a way as to slough away a century of extra-canonical fan speculation and addition, and give a new reading to canon.

‘Writing back’: re-visionary fiction

I would now like to look at Peter Widdowson’s journal article, ‘Writing back’: Contemporary re-visionary fiction’ (DOI: 10.1080/09502360600828984). He argues that there is a “radically subversive sub-set of contemporary ‘historiographic metafiction’” which, while being “acutely self-conscious about their metafictional intertextuality and dialectical connection with the past”, ‘write back’ to “formative narratives that have been central to the textual construction of dominant historical worldviews”.

Widdowson explains that his term ‘re-visionary’: “deploys a tactical slippage between the verb to revise (from the Latin ‘revisere’: ‘to look at again’) – ‘to examine and correct; to make a new, improved version of; to study anew’; and the verb to re-vision – to see in another light; to re-envision or perceive differently; and thus potentially to recast and re-evaluate (‘the original’)” (2006). He points out that this is closest to Rich’s approach to feminist criticism: “We need to know the writing of the past, and know it differently than we have ever known it; not to pass on a tradition but to break its hold over us” (Rich, 1975).

This act of ‘knowing it differently’ can also be achieved by “the creative act of ‘re-writing’ past fictional texts in order to defamiliarize them and the ways in which they have been conventionally read within the cultural structures of patriarchal and imperial/colonial dominance” (Widdowson, 2006).

Widdowson lays out what he regards as the defining characteristics of re-visionary fiction, first negatively by what it is not:

Re-visionary fiction does not simply take an earlier work as its source for writing;

It is not simply modern adaptation – instead it challenges the source text;

It is not parody – whereas parody takes a pre-existing work and reveals its particular stylistic traits and ideological premises by exaggerating them in order to render it absurd or to satirise the ‘follies of its time’, a re-visionary work seeks to bring into view “those discourses in [the source text] suppressed or obscured by historically naturalising readings. The contemporary version attempts, as it were, to replace the pre-text with itself, at once to negate the pre-text’s cultural power and to ‘correct’ the way we read it in the present” (Widdowson, 2006).

As to what re-visionary fiction is:

First, it challenges the accepted authority of the original. “[S]uch novels invariably ‘write back’ to canonic texts of the English tradition – those classics that retain a high profile of admiration and popularity in our literary heritage – and re-write them ‘against the grain’ (that is, in defamiliarising, and hence unsettling, ways)”. This means that “a hitherto one-way form of written exchange, where the reader could only passively receive the message handed down by a classic text, has now become a two-way correspondence in which the recipient answers or replies to – even answers back to – the version of things as originally delineated. In other words, it represents a challenge to any writing that purports to be ‘telling things as they really are’, and which has been believed and admired over time for doing exactly that.”

Second, it keeps a constant tension between the source and the new text. A re-visionary fiction will “keep the pre-text in clear view, so that the original is not just the invisible ‘source’ of a new modern version but is a constantly invoked intertext for it and is constantly in dialogue with it: the reader, in other words, is forced at all points to recall how the pre-text had it and how the re-vision reinflects this.”

Third, it enables us to read the source text with new eyes, free of established preconceptions. Re-visionary fictions “not only produce a different, autonomous new work by rewriting the original, but also denaturalise that original by exposing the discourses in it which we no longer see because we have perhaps learnt to read it in restricted and conventional ways. That is, they recast the pre-text as itself a ‘new’ text to be read newly – enabling us to ‘see’ a different one to the one we thought we knew as [Sherlock Holmes] – thus arguably releasing them from one type of reading and repossessing them in another.” The new text ‘speaks’ “the unspeakable of the pre-text by very exactly invoking the original and hinting at its silences or fabrications.”

Fourth, it forces the reader to consider the two texts together at all times: “our very consciousness of reading a contemporary version of a past work ensures that such an oscillation takes place, with the reader, as it were, holding the two texts simultaneously in mind. This may cause us to see parallels and contrasts, continuities and discontinuities, between the period of the original text’s production and that of the modern work.”

Fifth, they “alert the reader to the ways past fiction writes its view of things into history, and how unstable such apparently truthful accounts from the past may be”, making clear that the original text, though canon, was also just a text and should not necessarily govern our perceptions and understanding forever.

Sixth, “re-visionary novels almost invariably have a clear cultural-political thrust. That is why the majority of them align themselves with feminist and/or postcolonialist criticism in demanding that past texts’ complicity in oppression – either as subliminally inscribed within them or as an effect of their place and function as canonic icons in cultural politics – be revised and re-visioned as part of the process of restoring a voice, a history and an identity to those hitherto exploited, marginalized and silenced by dominant interests and ideologies.”

That last point, I think, should also apply to queer re-visionings of source texts (and indeed, Widdowson uses the example of Will Self’s Dorian: An Imitation re-visioning Oscar Wilde’s The Picture of Dorian Gray in his article).

We can view BBC Sherlock as a re-visionary fiction which aims to ‘speak’ “the unspeakable of the pre-text by […] hinting at its silences or fabrications.”

BBC Sherlock as re-visionary fiction

Not only does BBC Sherlock have to hold itself up against the original canon of Arthur Conan Doyle; there is also a century of accumulated speculation and creation by an extremely active and resourceful fandom to contend with.

I think that BBC Sherlock asks us to re-vision ACD canon, but has a few sly jabs at the Sherlock Holmes fandom (including the writers themselves) along the way. Let’s look at some concrete examples:

John Watson’s wife:

In BBC Sherlock, the woman we know as Mary Morstan has no fixed identity. Her name is taken from a dead baby; she is not originally British; she is an ex-mercenary and killer; she is variously motherly, friendly and threatening; she shoots Sherlock in the heart – or does she save his life? In Series 4, her characterisation is more unstable than ever. She is a romantic heroine, a ruthless killer, a selfless mother, a consummate actress, a wronged woman, a martyr, an ever-present ghost, and the embodiment of John’s conscience. She is also the manifestation of the Sherlock Holmes fandom’s speculation about John Watson’s wife: did he have one wife, or six? Was she an orphan, or was she at her mother’s? When did she die? How did she die?

Ultimately, however, if you hold BBC Sherlock up against ACD canon, it highlights the fact that so many Sherlockians have tried to compensate for: in order to reconcile the irregularities in Mrs Watson’s story as narrated by Watson, she would need to be a secret agent actively hiding her identity. Examining BBC Sherlock against ACD canon makes us apply Occam’s Razor – the idea that the simplest explanation will always be best. John Watson’s wife was only written into the story because homophobia was so pervasive at the time that ACD was writing that his characters – and by extension he himself – would have been suspected of ‘deviance’ if there had not been a layer of plausible deniability in the shape of a wife.

And there you have it: the central problem of Mary Morstan/Watson, in both ACD canon and BBC Sherlock – she shoots Sherlock in the heart – or does she save his life? Look at ACD canon again. Does Mary Morstan’s engagement to John Watson hurt Sherlock Holmes, to the point that he replies, at the end of SIGN, “For me, …there still remains the cocaine-bottle”? Or does Mary Watson save his life? In the nineteenth century, suspicion of a romance between Sherlock Holmes and John Watson could have meant imprisonment or even hanging; many men suspected or accused of same-sex relationships chose suicide rather than total disgrace. Mary Watson’s presence provides Holmes and Watson with a lifesaving alibi.

Let’s have a look at this against the criteria for a ‘re-visionary fiction’:

Challenges the idea that Watson ‘told things as they really were’ – instead, it introduces the idea that Watson deliberately obscured the facts of his and Holmes’ partnership

Keeps the pre-text Mary Morstan constantly in view – a startling contrast, which rather effectively comments on the position of both women and queer people in the nineteenth and twenty-first centuries

Enables us to abandon our “restricted and conventional ways” of reading the original – if it makes no sense for Mrs Watson to have existed in ACD canon, then the reader must radically reconsider Holmes and Watson’s relationship; no longer ‘just’ a friendship, but a lifetime’s commitment, as close and loving as a marriage. BBC Sherlock encourages this re-visioning by setting Mary up as a rival to Sherlock; by having her attempt to get rid of him; by highlighting that she both kills and saves him. It re-casts Sherlock Holmes as the dominant romance of John Watson’s life, in every version.

It causes us to see parallels and contrasts between the two time periods: the societal homophobia that made Mrs Watson a necessity in ACD canon has largely gone in modern Britain. But BBC Sherlock hints at a profoundly closeted bisexual John Watson who strives after a ‘normal’ wife who “wasn’t meant to be like that”. The continued presence of a Mrs Watson very effectively shows us that societal attitudes are not as profoundly different as we may think.

BBC Sherlock shows us how the existence of a Mrs Watson has been written not only into the [hi]story of Sherlock Holmes and John Watson, but into the fabric of society: Sherlock Holmes is a great man, but God forbid he should also be a happy, human man, in a loving relationship with another man. The cultural script has been written: the great figures are either straight, or they are nothing. There is always a wife.

As discussed above, the presence of Mrs Watson is also important politically and culturally. It draws attention to the total lack of agency for nineteenth-century women, and to the restrictive narratives imposed on female characters in today’s culture. It makes terribly clear the extent and dangerousness of the homophobia in nineteenth-century Britain. It highlights the fact that there are still countries today where people are forced to hide their sexualities for fear of being imprisoned or killed.

The Watson baby:

In BBC Sherlock, the woman we know as Mary Morstan is revealed to be pregnant on the Watsons’ wedding day. In ACD canon, Watson never mentions a child from his marriage. In Holmesian speculation, plenty of children have been suggested for Watson, especially since it is often posited that he must have had more than one marriage (that Watson might be infertile is not something the proponents of the ‘Three Continents Watson’ school of thought often like to suggest).

As a re-visionary fiction, then, BBC Sherlock forces us to examine the source text: in a time when reliable contraceptive methods were virtually non-existent, why did John Watson and his wife never have a child?

The options, broadly, are:

Mrs Watson was infertile (if Watson only had one wife)

Watson was infertile (if he had more than one wife)

They didn’t have sex, either due to ignorance (but Watson was a doctor…) or reluctance

Mrs Watson only ‘existed’ because societal homophobia made her a necessity (see above).

John Watson:

In Series 4 of BBC Sherlock, John behaves in an unrecognisable manner: he beats Sherlock bloody, so that his eye is still bloodshot some little time later. This is said to be due to the pain of losing his wife, and the fact that her death is Sherlock’s ‘fault’.

Viewed as re-visionary fiction, as metafiction, BBC Sherlock here satirises the idea of the ‘deutero-Watson’ which has existed since Ronald Knox wrote his Studies in the Literature of Sherlock Holmes. It also, however, critically examines the fact that, in ACD canon, there are (at least) ‘two Watsons’: one, the narrator, seemingly the most reliable and loyal of fellows, straight (in all senses) and true, good in a fight; and a second, the ‘true’ John Watson behind the narration, the man we discern when we look beyond the surface of the tales. A man who is devoted, above all, to Holmes; prepared to adopt Holmes’ habit of ‘compounding a felony’ to follow the idea of justice as opposed to law; prepared, in fact, to break the law if Holmes thinks it right; prepared to abandon his wife at a moment’s notice, when Holmes calls; prepared to alter all kinds of details in his stories to protect their participants. (Also, presumably, a bit of a joke about the accidental ‘dual personality’ that ACD gave his Watson by naming him James and John on different occasions.)

Looking at ACD canon through the lens of BBC Sherlock, the entirely unreliable nature of Watson as a narrator comes to light, but the enduring feature of his stories – his love for, and loyalty to Holmes – provides the obvious answer to why he should be so unreliable. Watson may be ‘two people’, but he lies, he breaks the law, he abandons his wife and his patients for only one person: Holmes.

Ultimately, the reader understands that they have been lied to, because the truth would have been impossible to tell at the time ACD was writing. Famously, the final story in the Sherlock Holmes canon, The Adventure of the Retired Colourman, ends with the words, “some day the true story may be told.”

If BBC Sherlock is seen as re-visionary fiction, Series 4 of the programme becomes a representation of the artificiality of the construct that we think of as BBC Sherlock and – viewed through its lens – ACD canon becomes visible as an equally artificial construct, filtered through the writings of an unreliable narrator and governed by the societal and cultural imperatives and prejudices of its time.

Every trick has been employed in Series 4 to highlight its artificiality: lack of coherent structure, temporal uncertainty, incoherent character arcs, introduction of a deus ex machina character, fluctuations of genre, and members of the crew actually appearing on screen. Just as in Hawksmoor, the ‘case’ of Series 4 defies solution. BBC Sherlock and Hawksmoor are both postmodern detective fictions. We have been told that this is ‘a show about a detective, not a detective show’. The form of the show, like the form of the traditional detective novel, leads us to expect a neat, tidy ending, explained carefully by an all-knowing figure of authority. The makers of BBC Sherlock, however, have done everything they can to pantomime a lack of care for, or understanding of, their own show. They have simultaneously inserted themselves into the story (Mark/Mycroft; giving varying accounts of when/how Series 4 was written; lying and saying that they lie) and withdrawn the ‘grand narrative’, the fiction of the omniscient narrator.

Why?

For over a century, ACD canon has been read in the same way: as the most archetypally logical detective story available to us. The fact that the canon is a huge mess of inconsistencies, requiring the collective effort of thousands of people to pick away at, is typically explained by the idea of an omniscient but uncaring storyteller: Arthur Conan Doyle.

This is particularly ironic for a fandom which supposedly wishes to disavow the existence of an author at all.

And yet, the problem is, if you don’t slip into extra-universe speculations on ACD’s attitude to Sherlock Holmes, you have to face head-on the conclusion that Watson is a very, very unreliable narrator indeed.

And you have to face why.

@devoursjohnlock @garkgatiss @221bloodnun @tjlcisthenewsexy @may-shepard

#sherlock meta #hawksmoor #bbc sherlock #acd canon #historiographic metafiction #postmodern detective fiction #hawksmoor17

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cesenvs3000f21 · 3 years ago

Text

History and Nature Interpretation

Hi class,

I hope everyone is doing well. The quote below is certainly a very interesting one, I wanted to unpack it a little more and share my own thoughts on the quote. I have enjoyed reading everyone’s interpretations of the quote thus far.

“There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things. …. To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.”

(Edward Hyams, Chapter 7, The Gifts of Interpretation)

When I think of this quote I think that Hyams is trying to get us to think beyond the world and the time we live in. When we see the world we see it one second at a time, we cant see the history of a landscape or an object but they are still important nonetheless. When we see nature we are seeing thousands upon thousands of years of evolution, ecological history and human history which forms our perception of what we see in the moment.

I think this quote is trying to encourage us to think about the history of a object when we look at it. The part about the train really makes me think of this, because if we only looked at a railway station when a train was there then that is all we would know but we would certainly be missing out on the important history of the train station. We wouldn’t be thinking about what the land looked like before the railway system existed, we wouldn’t know what it looked like when the train was being built, and what it looks like when the train is gone. I think remembering different ways in which the places and objects we interpret exist and how they can be perceived differently in space and time is an important consideration in how we can interpret history and incorporate it into our teachings.

I really enjoyed the following quote from the unit this week.

“Historical interpretation grounded in individual histories facilitates connection between lived experiences and archival records or artefacts.”

(Modern Cartography Series, 2019)

When I visit a new place, I am always curious about the history of the place. Of course, I like learning about the ecological history, but I always love learning about the human history. I love finding little displays in museums that describe how a city was formed and show early pictures. This summer I visited a town in Yukon that in the late 1800s was home to a intense gold rush. They had a small museum with pictures of life back then but it was so fascinated to learn what they ate, what they did for fun, and what their community was like. I saw pictures from the 1920s with the same mountains in the background that I was seeing which I thought was so cool.

Incorporating history into our nature interpretation can help to enrich the connections we share with people and places and allow for ourselves to form more meaningful connections. What aspects of history in nature interpretation do you like learning about? Why?

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miaclarkportfolio · 4 years ago

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Raising understanding for Danish culture

Final Evaluation

2020

I explored the societal and historical context of Denmark’s culture, specifically raising understanding as to why the systems in place function well, questioning why Denmark is considered the most content country in the world. My instant initial impression was to explore my Danish heritage;; I knew I would find passion within this cultural theme as I have an in-built affection for it.

I have shown understanding of the subject context of Danish culture by making my own judgments of my personal connection to the heritage. Placing my family at a table at the centre of the piece mirroring the communal role each Dane plays to construct Danish community, a tightly bound society in which everyone has trust and cooperation. This is supported by my use of continuous line inspired by Pablo Picasso, an underlying representation of the collective lifestyle. I have described my aims of raising understanding toward the culture through my construction of an informative explanatory device in the form of a hand-out leaflet for spectators. Inspired by Sgt. Peppers Lonely Hearts club band 1967 album cover designed by Peter Blake, it involves a numbered guide to each feature of my piece, where audiences can be included in investigating my intentions and why Danish culture is this way. My purpose is clarified through the emphasis of progressive areas of Danish economy, including illustrations of free healthcare and education, high wages, and sincere attempts at tackling climate change. I could have shown understanding of the subject context more effectively by exploring both positive and negative aspects of Danish culture to give a more valid approach on ‘raising understanding’. For example, due to Denmark being so tightly-knit as a community, racism often circulates the culture toward people of the non-white Danish background and they have built an intolerance for immigration. Instead I explored only the optimistic cultural qualities of Denmark in order to appeal and intrigue audience.

Initially I recorded primary research of my preceding knowledge on Danish culture, as well as my own opinions and experiences. Followed by some in depth secondary research, I was significantly impressed by how much I learnt and how little I had known beforehand. I gathered sufficient relevant information by researching Patrick Kingsley’s book, How to be Danish, a journey to the cultural heart of Denmark. Broken into 8 organised categories of Danish culture, it was crammed with useful information, yet it became excessive and I found it difficult to harvest the beneficial areas, and especially finding a way to document it. I recorded research from the BBC Documentary, Art of Scandinavia – Once Upon a Time in Denmark, which was useful in not only speaking of Danish artists, but more the historical importance of architects, authors, sculptors, even Kings, that played roles in the construction of modern Danish society. I tried to implicate my research of the 1864 empire collapse within my work through the illustration of a Danish Viking healing a map of Denmark with a plaster;; an allegorical representation of the maintenance of Denmark as they accepted and developed themselves as a small country. I further developed my research through devising ideas on how to convey it through illustration. I was successful in transferring my thought process into an organised table, a method I found very helpful. My research channeled through to the very final outcome, evident in my handout leaflet graphic product. However, I did fail to gather research from Danish manufactured sources, which in turn I now see is rather biased, as I only collected information from British bases.

Research into artist’s techniques proved to be most effective and beneficial to my project. As I had been informed from my life drawing lessons, my strongest skills involved illustration, so I wanted to explore artists Pablo Picasso and Henri Matisse who both use a fluid bold black line as a tool to create simplistic nonetheless powerful illustration. Their vision puts a twist on a child’s sketch, where one illustrates as simply as possible, what they see. This enforced me to keep my designs one-dimensional. Allison Kunath maintained my inspiration within these themes, as she used techniques of ‘blinded continuous line drawing’ resulting in these distorted facial expressions piercing through. She helped me to be free in my line work, and focus on areas that make an image recognisable. Her techniques benefitted in constructing the familiar faces in my family portrait. Christiane Spansberg put an influential spin on Picasso’s continuous line work for me, in which I learnt a new line style creating emotion through the placement and composition of facial features. I studied how she paths the lines specifically in a way that creates angles in the areas where line overlaps, and it assisted my approach to construct illustrations with a singular line. When researching into David Hockney’s work, not only did I love his line style, I was intrigued by his ability to convey powerful communications and meaning within his work. I was most inspired by his emotion captured in illustrations surrounding homosexuality and empowered me to ensure I embed hidden meaning in my work. My research into Danish artists following my visit to Midjyllands Kunstcenter reflected how they individually represented Danish culture into their work, be it intentionally or not. For example, Lil Thelin’s middle finger painting mirrored how raw Danish life is uncensored. It made me think of how Danish radio stations never blur out swear words, as it’s unnecessary and masks the reality of true life. Kim Phil was significant in prompting my stress on Danish patriotism, due to his constant use of flags and symbolism in his work. He denotes how the flag is used as a sign of celebration in Denmark, as a decoration, and focuses the pride Danish people confide in their country. I wanted to go into further analysis of Danish art culture to create a greater effect and knowledge of the subject context, and I therefore booked a trip to Copenhagen to explore urban Danish culture. Disappointingly, it was not possible as the trip was postponed.

Some of my research sources did not prove as useful as others. My visit to New York for example, was not completely beneficial in terms of my project themes. I tried to work around this and use the contrast in cultural differences between capitalist America and liberal Denmark to my advantage. Nevertheless, the trip brought about some interesting artefacts. I came across some Picasso originals in the MoMA, that were nowhere to be found online. I also stumbled across a Hans Wegner chair. The fact that a Danish designer, has been talented enough to place his work into one of the worlds most renowned artistic museums worldwide overwhelmed me (especially as I have his iconic Wishbone chair design in my own home). I also used a lot of time during my experimentation process on the research of different materials including pen type, inks, paper types, acetate, etc. But the research concluded to be futile as I would later switch to digital illustration. That is not to avoid that I learnt a great deal during this process and improved my illustration and line work in a diverse manner. If certain circumstances did not arise, I would have taken my hand illustration further onto larger workspaces and produced a professional tangible final piece.

I demonstrated effective planning structure through my project proposal, developing into satisfactory results, bearing in mind problems came about consistently throughout the course. The most substantial and interruptive to my project was the covid-19 virus, instigating a worldwide quarantine. It obligated all schools to close, including Cambridge Regional College, and therefore disturbed the production of my final piece. I was unable to use the facilities of the college, therefore paused my ongoing material investigation. I was incapable of bringing my large-scale wall illustration vision to life, hence my shift in technique, where I began to continue my experimentation digitally in Affinity, a program which was unexpectedly successful in achieving the same tasks as Photoshop. I tried to express my visualisation through creating a mock-up of the final piece scale, giving the impression of how the piece was intended to appear. I would want this to make an individual feel overwhelmed, as if it was there in front of them. Although it was a disruptive process, I felt I worked around the difficulties as best as I could and was open to alternative ideas in order to solve creative problems.

I constantly admired the feedback from others: peers, tutors, family, social media following. Using it to power the decision making within my project, I overcame my own opinions and discovered new creative pathways. If I had not taken critical responses into account, my final piece would contain no colour, and would not reflect the celebration of Danish culture effectively. I was pleased to hear multitudes of applause and praises received from my family in Denmark when I sent off the final product. In future, had I known the responses I would receive from them, I would have included them in an ongoing feedback development of my final major project.

Studying a Foundation course has allowed me to become more responsive to feedback and free with my approach/process. For instance, I advanced with illustration due to tutor judgment and consequently, I evaluated and rediscovered my strengths. I have learnt how to work around disruption and use it to my advantage by adapting my work digitally after the extents of coronavirus. I’m really happy with my final piece and how it successfully conveys the message of raising understanding for Danish culture. On a personal level, I have learnt so much more concerning my cultural heritage. This has sequentially shaped my outlook on the future, as it has further encouraged me to live there sooner.

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weavingthetapestry · 7 years ago

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Historical Objects: the Pitfirrane Goblet

Rather like the well-known Scots ballad of Sir Patrick Spens, the tale of the Pitfirrane goblet would appear to begin with the lines, “The king sat in Dunfermline toon/ drinking the bluid red wine…”. Except in this case, the year was 1603, and the king James VI. Allegedly, this fine glass goblet was used by James to take his stirrup-cup before leaving Dunfermline on his journey south to assume the English throne, and he is supposed to have gifted it to the Halkets of Pitfirrane on that occasion. This all seems a little suspect given that James was more often at Holyrood than Dunfermline in the run-up to his embarking for England, but I’m not about to start casting aspersions lightly. Nonetheless the Pitfirrane goblet is a remarkable object. Glass was not made in Scotland until the seventeenth century, and so drinking glasses were rare and expensive imported items. The Pitfirrane goblet is no exception, and appears to have been made in the Low Countries, possibly Amsterdam, by specialist Venetian craftsmen, hence it is said to be in the façon de Venise. It is apparently of late sixteenth century date, and both its beauty and the rarity of its survival make it a noteworthy artefact, whether attached to a great occasion or not.

*Not my picture

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rubyhalvorson237230 · 6 years ago

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Final Essay

It is obvious in both the European and Māori cultures that print and how information was spread had significant impacts on society. My aim in this essay is to show, through comparative history, the different results and effects the printing press had, and how the information published, reshaped culture and continues to shape the world we live in. From the example of Europe, we will see how Gutenberg’s Press and in New Zealand, the Treaty of Waitangi introduced more accessible written language to the general population. As New Zealand was in the early stages of development as a country, and was being introduced to lots of new things, the existing culture at this time was very different from the time of Gutenberg’s press in Europe, meaning that there were very different impacts. In both situations information became powerful in the hands of those who cared to use it. I will also show that as we continue to step forward into a world that is centred around technology, I believe we could look to lessons of the past for ways we can best use information.

Daniel Chodowiecki — ‘A scene in a printing office’

An innovation with the printing press led to massive change in European, and later global, culture. In 1439, Johannes Gutenberg, originally a goldsmith and a blacksmith, used his skills in the area of printing written language. His innovation was to make movable type. This is where instead of the craftsman carving a whole page to create prints, he created a framework and moveable letters that could be slotted in and reused to create all the pages to be printed with oil based ink. This simple idea dramatically changed printing. It made it significantly cheaper. He was German and spent most of his life in Mainz and some time in Strasbourg, a city in the Grand Est region of France. His change to the printing press let him print his most famous book, the Gutenberg Bible. This is also known as the 42 lined bible. The completion of the print was in 1455 and he printed 180 copies. His success as an innovator did not make him a financial success. He was sued by his business partner and relation, and loss control of the business and the printed material. He was able to restart printing elsewhere and still have a huge historic impact.

Te Tiriti o Waitangi

Four hundred and one years later, on the other side of the world, another written artefact was introduced with ongoing consequences. In New Zealand, the Treaty of Waitangi was not initially a printed document but rather handwritten. The Treaty of Waitangi was written and drafted on the 4th of February in 1840, by William Hobson; his secretary, James Freeman; and James Busby. After they had finished writing the documents it was taken to be signed by Māori chiefs and leaders. It was first signed on the 6th of February. At Waitangi, over 50 Māori chiefs and tribal leaders met with Queen Victoria's representatives, including William Hobson and signed an agreement between the two nations. Māori were guaranteed ongoing rights, treatment as British subjects, and the protection of Queen Victoria. In return the British got access to New Zealand, and the British rulers gained control over the sale of land in New Zealand. A private British company named ‘The New Zealand Company’ wanted the British government to make this decision so that they could systematically colonise New Zealand. Whereas the Māori chiefs wanted protection over immigrants coming to New Zealand and from the threat of other nations like France. When the Treaty was completed, handwritten copies were sent around the country acquiring over 500 signatures from most of the rangatira (chiefs and tribal leaders). It took seven months to get all the signatures. The Māori document Te Tiriti o Waitangi is not a single large piece of paper but a group of nine sheets, seven on paper and two on parchment. Following the signing the British chose to use the Treaty to establish their own authority and ignore it when it didn’t suit them. Their disregard of indigenous people reflects the same attitude seen in their other colonies where they were again proven shortsighted and wrong. “These Europeans spoke of “the native mind” and described Africans as “primitive” and “animistic” and nonetheless came to see that they had achieved an ancient dream of every human culture. Here was a messaging system that outpaced the best couriers, the fastest horses on good roads with way stations and relays.” (Gleick, 19)

In the centuries leading up to Gutenberg's Printing Press, there were some major historical events that created the environment for printed material to have a dramatic impact on culture. The significance of the environment was seen in comparison with what happened one hundred years before the printing of the bible.The Catholic Church had controlled all aspects of European society - from politics and the economy to law enforcement and morality. 100 years before Martin Luther and Gutenberg’s Bible there had been another move to separate from the Catholic church under Jan Huss. This didn’t succeed because the handwritten scrolls of their teachings were confiscated and burned and couldn’t be easily reproduced. Jan Huss was captured by the church and burned at the stake. 100 years later with the printing press the Protestant Reformation with Martin Luther, the church was unable to control the spread of the new teachings and European society changed forever. Another aspect of the cultural environment was the opening of trade routes from China. This introduced the Chinese printing press but without Gutenberg’s movable type. This meant that printing was known but was ineffective because each full page would have to be carved or manufactured from scratch. The other thing the trade route potentially brought to Europe was the spread of the Black Death. The Black Death, otherwise known as the bubonic plague killed an estimated 75 to 200 million people, at its worst in 1350. This was 89 years before Gutenberg made his printing press. The implications of this were that many of the monks who hand-wrote the scrolls died, meaning that a better way to make books need to be created. It also meant that fewer people were left with the wealth of Europe and more money was available to be spent. People who had been poor and lower class all of a sudden were in the position of making financial choices. Not only did this shift the economic thinking away from the ruling class and the church, one of the side effects was that people bought more clothes. This simple fact was important because now there was a surplus of material and rags that were used to make cheap paper for the printing industry. The combination of the religious reformation, the Black Death and Gutenberg’s innovative printing meant that Europe went through massive social change. This change meant that the established religious institution, the Catholic church, lost its hold on European society which quickly became more liberal, economically driven, and scientifically influenced. After Gutenberg introduced the movable type printing press, printing presses were held in over two hundred cities in Europe. In the next two hundred years, the printing press produced up to two hundred million books.

In contrast with the situation in Europe where the population was already familiar with the concept of writing, the Māori language was an oral language with no written form or alphabet. The strength of Māori communication was oral in spoken word, song and as well as in mōteatea (lament or chant), pūrākau (legends and stories), and haka (war cry or dance). With the arrival of the British into New Zealand, beginning from 1769, with the arrival of Captain Cook, the introduction of the English language in written form was revolutionary. For the existing Māori culture, that placed such a heavy emphasis on language, the introduction of the written word added a whole new dynamic of what was possible in both communicating and influencing across time and space. Previously for a message to be conveyed from one place to another, a person would have had to travel and deliver it orally but now words, thoughts, and beliefs could be sent in written form or even left for someone to read in another time. One of the environmental factors that made the introduction of written language into colonial New Zealand so significant was the pre-existent understanding that the Māori had of mana taonga. The Māori word taonga is translated into english as ‘treasure’. Like many word for word cross cultural translations ‘treasure’ falls short explaining the full weight that taonga have. Beyond being a static, historic, or inanimate object, taonga are alive, active and still influencing their environment. In this way they hold significant mauri (essential life force). A taonga passed down from an ancestor is not just a memory of them, or an embodiment of them, it is the mauri and extension of them. In the case of taonga being gifted to Governor Grey by the descendants of Te Rauparaha to reinforce their relationship, a pounamu earring along with a patu were entrusted into the care of the Governor. Whether he understood it or not he was being put in a position of incredible honour. He was now the guardian of the ongoing mauri of the tribe. This belief in the place of taonga raises the importance of the Treaty, the Te Reo Bible and other written communication for Māori in colonial New Zealand. In Taonga Māori- encompassing rights and property in New Zealand, Amiria Henare states, “We believe that our taonga possess a mauri or life force and wairua, spirit, all of their own.” (56) The Treaty itself is a taonga, a living document still holding the mauri of the signatories. It is not just a questionable legal agreement but a living connection between Māori and Pakeha, tangata whenua and coloniser, past and present. While the British colonial power obviously considered it appropriate to put aside and ignore, the Māori placed a much higher value on it and consider it sacred still. When the Treaty was being signed many of the rangatira didn’t know how to write their names so they signed with their tā moko. With this face and body tattoo each design was unique and identified each individual. Each tattoo or moko’s design and style identified the individual and uniquely expressed who they were by providing information specific to them, including their whakapapa, tribe, place in society, and personal story. The Treaty then is a living taonga holding the spirit of those who entered the covenant who put everything they were into it. With the introduction of written language into New Zealand, particularly seen with the Treaty of Waitangi, Queen Victoria did not have to be present nor was it necessary for William Hobson, Tamati Waka Nene, or Hone Heke to travel the country getting people to agree to the terms of the Treaty. The written word could be sent, discussed, agreed with, ignored, or signed. In this way the introduction of written language to colonial New Zealand culture was revolutionary. Henare also reports, “Later writers recorded how Māori were ‘struck with wonder at hearing, as they described it, “a book speak”, and went to any lengths to get a hold of one, regardless of whether they could read. At a church service, as one early settler recorded, ‘Many of [the Māori] thought it highly proper that they should be armed with books. It might be an old ship’s almanac, or a cast-away novel, or even a few stitched leaves of old newspapers.’ (Clarke 1903: 31)” (53) The thought was that if you had a letter from Queen Victoria then you had her with you. In the case of the Bible, if you had one, you had God.

The introduction of written material to the wider population, both in Europe through Gutenberg’s Press and in New Zealand through the Treaty and following printed material, significantly changed both societies. This led though to entirely different results. In Europe the printing press allowed new information to be generated beyond the control of the church. Society moved away from the religious and political control of the church. This is in direct contrast to what happened in New Zealand. The influence of written and printed material was so strong that whoever controlled it would have a massive say in the shape of the nation. Following the Treaty the next wave of new information was controlled by the missionaries. Thirteen years after Samuel Marsden came as the first missionary to New Zealand, with the help of brothers Henry and William Williams, the first Scriptures in Māori were published in Sydney in 1827. William Colenso arrived in the country seven years later with a Stanhope printing press. The next year, the first book ever published in New Zealand was more of the Bible. In another couple of years in 1836 and 1837, the press printed 5,000 copies of the first New Testament in Māori. This printed material was so popular with Māori that chiefs sent messengers to Paihia to obtain a copy. Māori got to know the scriptures so well that missionaries complained they were finding it hard to have something new from the Bible to share. Māori leaders became so good at knowing and using the content of the Bible they could point out the hypocrisy of the colonial powers. “When Wiremu Tamihana, the so-called Kingmaker, wrote to Governor Browne to justify the King movement, he referenced Deuteronomy 17:15 which states that 'one from among thy brethren shalt thou set king over thee: thou mayest not set a stranger over thee, which is not thy brother', and gave as examples a number of monarchs then reigning over their own people. To the suggestion that Maori should come under the Queen, he asked why the Americans were permitted to separate, when they were of the same ethnic background.” (Paterson, 114) In Europe the printing press removed the power of the church but in New Zealand, with Māori valuing the printed taonga and the missionaries controlling access, it raised the value of the Bible and gave the church widespread influence.

As we have seen the introduction of print into culture has had dramatic effects and influenced society in different directions based on who controls the press and the same will apply for the future.

Works Cited

Henare, Amiria. Taonga Māori: Encompassing Rights and Property in New Zealand. 2017.

Paterson, Lachy. “Print Culture and the Collective Māori Consciousness .” Journal of New Zealand Literature – Cultures of Print in Colonial New Zealand, no. 28, Part 2, 2010, pp. 105–129., www.jstor.org/stable/41245590.

Gleick, James. The Information: a History, a Theory, a Flood. Fourth Estate, 2012.

Taylor, Richard. The Past and Present of New Zealand with Its Prospects for the Future. William Macintosh, 1868.

Heritage Te Manatu Taonga. 7. – Treaty of Waitangi – Te Ara Encyclopedia of New Zealand, Ministry for Culture and Heritage Te Manatu Taonga, 4 Oct. 2016, teara.govt.nz/en/treaty-of-waitangi/page-7.

Editors, History.com. “Printing Press.” History.com, A&E Television Networks, 7 May 2018, www.history.com/topics/inventions/printing-press#section_4.

Chodowiecki, Daniel. “Scene in a printing office.” Commons Wikipedia, commons.m.wikimedia.org/wiki/File:Chodowiecki_Basedow_Tafel_21_c_Z.jpg.

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sebastiankurz · 6 years ago

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Have a look at some of the best Interior Design Projects

Interior Design Projects of quality can be found all over the world each of them with a distinct quality as well as a couple of differences influenced by both the taste of the interior designer and also by the country it’s located at. Join us in this trip around the globe in order to discover some of the best Interior Design Projects out there!

You may also like: The Best Design Spots you can’t miss while in London

Jonathan Adler

Jonathan Adler biggest aim is to always create a flawlessly chic home no matter the circumstances. He does this beautifully and the biggest proof of this is the designer’s exclusive collection for Amazon ‘Now House’, featuring a varied selection of outstanding furniture, rugs, bedding, artwork, and decor pieces!

You can see it in the above living room style to which the designer has brought his signature style – bold graphics, pops of colour, textural patterns, as well as eye-catching details. From large furniture pieces to smaller accessories, elevating a boring room into something really unique is Jonathan Adler’s mastery skill.

Ryan Korban

Ryan Korban may be better known for being a specialist of high-end retail design and having worked for remarkable houses such as Balenciaga, Alexander Wang and Aquazzura, but his talent doesn’t stop there. – 40 Bleecker is another remarkable project by this designer.

In the designer’s own words about the project:

“When designing 40 Bleecker, I knew my work needed to speak to a new generation of downtown buyers who are looking for luxury and elegance against a modern backdrop. This idea of contrast is evident throughout the spaces in everything from textures and materials to finishes and furniture—masculine contrasts with feminine, traditional with modern, soft with brutalist.”

You can also check out: A discovery of both Milan and Leonardo Da Vinci’s Work & History

Rockwell Group

The Rockwell’s Group work for this luxury hotel is astonishing and couldn’t stop ourselves from giving a special highlight to the bedrooms. First off, the hotel comprises a total of 349 rooms that the duo has set up with botanically inspired designs as well as artful interiors. Not only that, but the dynamic duo also made sure to incorporate plenty of whimsical details while also paying close attention to space and functionality.

The bedroom’s warm and open atmosphere is the result of the use of a muted colour palette which includes – wood-like floors, army-green mosaic tile, as well as striped drapes. Each room also features custom-designed and multipurpose furniture designs that also elevate the rooms to maximum comfort.

Yabu Pushelberg

Yabu Pushelberg first major project in the UK — the new hotel from Ian Schrager: the London edition. Located in central London’s Fitzrovia, Yabu Pushelberg has preserved the finest aspects of the historic building (formerly the Berners hotel), while still reinventing the spaces and bringing to them a dynamic fusion of old and new; past and present.

The hotel’s lobby features a cosy, yet old-school glamorous atmosphere. The American minimal artist, Donald Judd serves as the inspiration for the room, making it the juxtaposition between the existing traditional spaces and the more modern insertions.

Peter Marino

With setting on Biscayne Bay, and located on Star Island, this long rectangle of land, was a challenge for the architect Peter Marino who only had a couple of rooms with water views.

Nonetheless, his artful talent and exquisite craft made it all possible and the result demonstrates, as per usual Peter Marino’s strengths as well as his undeniable connection to art. In this particular living room design, he worked with the owners’ Asian sculptures and paintings by Léger, Miró, Kiefer, and Prince, but was also able to commission pieces including Lalanne furnishings. The result is eclectic, inspiring and bold – perfect for anyone who hates a minimal room!

Marmol Radziner

As a regular guest of leading publications such as – Architectural Digest, Dwell, The New York Times Magazine, Wallpaper, Interior Design, and Architectural Record – Marmol Radziner is a must cover whenever showcasing the best design projects of the moment.

This time the project we would like to bring to your attention is the one developed in partnership with legendary music icon Lenny Kravitz, who founded Kravitz Design Inc., a design company focusing on residential, commercial, and product design. The pre-crafted, one-bedroom home was smartly considered to maximize the use of its compact footprint. The colour scheme is neutral and uncompromising which conveys it with a lovely sense of eternal elegance.

Hirsch Bedner Associates

Hirsch Bedner Associates has created various show flats and marketing Suites in a diversity of foreign places. Their approach to the whole design, spatial planning, detail, colour psychology and accessory selection is immaculate and inspired and a big reason why we wanted to show a little bit of his work in more detail.

The Altamount Residence in MUMBAI (India), is his latest design project and it features bold colours, rich colours as well as noble materials. These luxury residences were inspired by the multilayered urbanity as well as the culture of Mumbai.

A small palette of materials is implemented throughout the space in varying finished and sizes to add richness. Architectural lighting plays an important role in enhancing and complementing the layered experience throughout the living room. One of the most iconic furnishings from this unique project is the Eden centre table designed by Boca do Lobo and is located in the living room.

Martyn Lawrence Bullard

Martyn Lawrence Bullard is great at bringing unexpected elements to the same place. This bathroom design is one of our favourites from all of his work and, therefore, definitely worth the highlight.

This phenomenal bathroom is located in Villa Luna, and the key element is the pop of colour that contrasts with the neutral furniture. Another noticeable element refers to the gorgeous cabinets which are fully covered in a gorgeous and classic, Missoni fabric.

Nate Berkus

Berkus believes that homeowners should think about bathrooms as more than just utilitarian and functional spaces. Instead, a thoughtful decoration method is set to leave us with a further nicer result.

According to Nate Berkus, the aim is always to express one’s style and personal preferences – from colours to materials, textures and accessories – for the designer, important is to never settle down in the sense of just doing things without a purpose or care.

Michael Smith

The old Hollywood elite’s favourite, Casa del Mar Hotel in Santa Monica, has been revived with modern-day amenities and some luxurious upgrades courtesy of celebrity designer Michael S. Smith.

We especially loved the work done in the rooms; the multi-level Penthouse suites which are reminiscent of Italian seaside villas and feature eclectic Venetian-designed furnishings, a living room with a fireplace, a formal dining area, and either one, two, or three bedrooms with separate sitting areas, giving guests the feeling they are in their own private, beachfront pied-a-terre. Not only that, but the rooms also feature custom designed alder and walnut furnishings throughout, with particular attention to the use of a variety of hues and textures. You will also be able to find ebony finished pieces that contrast with the light blue walls, as well as furniture with caning, or raffia wallpapered bookcases.

The centrepiece is a rich walnut four-poster bed accented with luxurious white linens, lush chenille throws, and a bisque-colored ceramic garden stool located at its base. Other gorgeous details include; an etched and hand-silvered mirror, a selection of thoughtfully chosen novels, and whimsical artefacts reflective of the property’s beach location, such as coral and vintage maps of downtown Santa Monica, inspired by an original print dating back to the 1930s.

Timothy Corrigan

Timothy Corrigan is the owner of Chateau du Grande-Lucé, located in Le Grand-Lucé, in France’s Loire Valley. The chateau and its gardens are listed as French National Landmarks. When Timothy acquired the glorious 18th-century estate, restoration was on top of the list and the chateau was quite wrecked. The decoration was the next step, and it was also what brought life back to this beautiful property.

This French Chateau was built between 1760 and 1764, so stepping inside it, is a complete time travel experience. – While most of the rooms are very formal, the subtle pops of colour, whether it be on the walls or fabrics – keep the space looking far from a museum.

Kelly Hoppen

Kelly Hoppen signature style is a mix of contemporary and luxury, with bold and glamorous accents. This and so much more makes her stand out has one of the best interior designers of our times.

This home in London is one of her latest interior design projects and displays perfectly her decorating style that we all love and admire so much. In this specific project, we really loved her work in the living room. – The all-white family room, which includes the kitchen, and both dining and sitting areas, is decorated with contemporary furniture. It is highly functional, but also very comfortable, luxurious, and filled with light.

David Collins Studio

The Connaught Bar in London has been brilliantly designed by the David Collins Studio and comprises three rooms featuring hand-dyed degrade leathers, metal-studded black leather tables, and silver leaf mirror artwork.

The bar is panelled in a hand-painted Hibernian landscape which was designed in collaboration with Atelier Pierre Bonneville featuring gorgeous hues of dusty pink, pistachio green, and pale lilac; all framed in platinum silver leafed oak panels, which are a representation of the Irish inspired landscape.

David Collins Studio has done such an outstanding job that this bar has actually won many awards including “best interior design of the year” (Elle Decoration) and best bar for sealing the deal (esquire man at the top awards).

Zaha Hadid Architects

As a continuation of Zaha Mohammad Hadid legacy, Hadid’s Architects delivers this incredibly designed yacht which completely lives up to Hadid’s well-known design style – neo-futuristic and characterised by powerful, curving forms and elongated structures.

In the words of the belated architect – “As a dynamic object that moves in dynamic environments, the design of a yacht must incorporate additional parameters beyond those for architecture—which all become much more extreme on water. Each yacht is an engineered platform that integrates specific hydrodynamic and structural demands together with the highest levels of comfort, spatial quality, and safety.”

Within this project, we would like to highlight the beautiful exteriors which are characterised of a series of interwoven support beams; giving the superyachts Hadid’s ‘simple elegance’ signature style.

Everything inside has been designed in a clean, all-white manner and which is inspired by the ocean’s fluid form. The common area looks both futuristic and calming, mixing a white variety of minimal and practical forms.

Philippe Starck

Philippe Starck is one of the main French interior designers of the moment and is known for his incredible vision on interior design as well as design styles in general. He always creates a unique atmosphere in any place he decorates, and the work done for the Hotel Faena in Argentina is no exception.

We particularly love the work done in the bedrooms, where you can view the use of two main colours – white and red. This sets the mood for the entire room, making it a bold and daring space that also has a comfortable and cosy feel to it. The furniture has been meticulously chosen in order to create an environment that unveils perfect visual harmony.

Jean Louis Deniot

Jean Louis Deniot is known for his iconic design style that features no shortage of arresting materials and textures tempered with subtle colour palettes, muted tones as well as impeccable lighting. The result is a mix between classical terminology and contemporary aesthetics with a serene and elegant touch.

We loved the work he did for this Paris Avenue Montaigne flat, and especially the living room design in it.- The lines are filled with a multiplicity of layers, going from sophisticated furniture, a mixture of nude patterns, textures, materials and pieces from different periods, which are combined in his usual masterful way.

His design aesthetic can be defined as ‘French Chic’ and includes timeless interiors with different style inspirations and influences. Due to his tremendous experience and mastery conquered through the years, Jean-Louis Deniot is more than used to adapting the décor style around his clients’ preferences, and while always associating them with his, informal, but bold signature style.

Karim Rashid

Karim Rashid is known as one of the best interior design professionals, and owner of a fresh and truly unique style, where colours and curves are the main focus.

This living room style is the perfect example of Karim Rashid’s style and includes all of his signature decor elements – lots of colour, lots of prints, modern shapes, all of which on a contemporary looking backdrop. When Karim Rashid is designing a new space, there are no rules, there are only possibilities.

Patricia Urquiola

One of Patricia Urquiola’s most beloved projects was done for the boutique Hotel Les Cigales in Nice (France).

The starting point draws from Giannakopoulou’s origins: “xeno-dochio”, is greek for a box that contains travellers, otherwise known as a hotel. The architects’ interpretation centres on a narrative of geometric shapes appearing throughout the 6,000-square-foot, four-story property. The bedrooms are our favourite and include – boxy daybeds, round mirrors, triangulated brass wardrobes, each one unique but all with Achille Castiglioni and Joe Colombo light fixtures. Even the throw pillows boast a grid of rectangles, making it all almost look like “an abstract painting of Nice.”

Dimore Studio

One of our favourite projects by the Dimore Studio is ‘Leo’s inside The Arts Club’ on Dover Street, in Mayfair (London). In fact, the Italian duo Emiliano Salci and Britt Moran, worldwide known as Dimore Studio, have been tasked with the designing of the new interiors of Leo’s inside The Arts Club on Dover Street, in Mayfair, London. This is a major event for The Arts Club since it represents its most significant transformation since the overhaul of 2011.

This concept takes us through to the 1960s, where a mix of contemporary retro and oriental elements standout as the main stars. In the end, the result is divided into a bar with a counter (and counter stools), as well as a nightclub with a stage, where any guest can have a tremendously good time!

Marcel Wanders

Marcel Wander is one of the masterminds behind ‘Moooi’ – an astonishing brand that provides a wide range of solutions that clients find remarkably unique. Through its approach to shapes, patterns and textures, Moooi’s bring more boldness into any interior design style.

As you can see by this Moooi leaving room design; the brand goes the extra mile to take your home decoration to a stellar level. With an iconic mix of lighting, furniture and accessories, they are the go-to choice when inspiration is lacking as their fresh approach to interior design can spice up any creative mind!

Piet Boon

Piet Boon is one of the most important and iconic designers of our time, belonging to the list of ‘most famous Dutch architects and interior designers’. Together with Karin Meyn his creative director, this top interior designer leads his own team of designers, interior designers, and architects, who all together join forces with the aim of creating some of the best interior design and architecture projects to their ever-growing list of prime clients.

This ‘Paris Luxury Apartment’ is just another proof of Piet Boon Studio’s remarkable work. We especially love the bedroom where beautiful hues of turquoise, elevate this modern master bedroom to a place of luxuriant tranquillity

India Mahdavi

The Ladurée’s Tokyo Salon designed by India Mahdavi is one of the best examples of her signature style – “Queen of colour”.

In this particular project, Mahdavi has been consistent with the theme of French macarons and pastries. The end result is a whimsical combination of mint-green and bonbon pink that takes right into a glamorous Parisian dream.

To further enhance the interior design of the tea salon, Mahdavi added marvellous white candy-stick tables, bespoke and scalloped furniture with plush velvet cushions, grey and white marble floor; the walls are decorated with beautiful blown glass floret lamps that are an excellent complement to the cherry blossom-pink walls while meringue-shaped ceilings lamps soften the down lighting.

Twinkle Khanna

In this Kohler x Twinkle Khanna mesmerizing bathroom campaign you can see some of the most unique as well as beautiful interior design ideas for luxury bathrooms.

Kohler is best known for bringing innovation and style to the bathroom set, offering a wide variety of minimalist and sleek products and working with Twinkle Khanna was just the perfect fit for this project.

The range of designs is best described for featuring intriguing patterns inspired by cultural elements from all around the world such as – the Artists Edition sinks (Derring and Marrakesh) – which were inspired by Moorish architecture. These designs bring functionality and artistry to a whole new level and are beautiful statement pieces for any luxury bathroom.

In Twinkle Khanna’s words about the project – “This campaign really spoke to the designer in me. If you think about it, white and chrome have been synonymous with bathrooms. But that doesn’t have to be the case. There is a lot you can do. Especially, the collection that I worked with, is absolutely stunning as to what Kohler has done with decorative and colourful sinks and faucets by transforming them into artistic statements”.

Ab Concept

This project by AB Concept consists of an opulent colonial-inspired lounge bar which combines a mix of British and Chinese heritage and cuisine.

The Dispensary our favourite room, features an outstanding design concept that evokes the history of Cantonese heritage and emerges as a cut edge Hong Kong lounge bar decor scene, where the unofficial police bar originally stood.

★

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from Sebastian Kurz Blog https://www.designbuildideas.eu/look-best-interior-design-projects/

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kendrixtermina · 8 years ago

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Kenny Reacts to: Ramayana (& Hindu Mythology in General)

So, for those who don’t know, “Ramayana” is one of the big epics of Hindu Mythology, comparable to the Illiad or other legendary Kings such as David or Arthur, centering around Prince/King Ramchandr, one of the Avatars of Vishnu

My boyfriend (who happens to be Indian) introuced me to a TV show based on it, and I, being a mythology nerd, couldn’t resist...

Since a lot of people actually believe in this as a religion, first a disclaimer: I’m a complete atheist with no belief in the supernatural whatsover, but I’m a huge believer in the value of storytelling (and a writer - the more mythological references the better, at least if you’re aiming for as much of an ‘universal’ flavor as possible) and do hold that myth holds an important place in the human experience. I will be approaching this completely from a literature perspective.

My boyfriend is not a believer either, though he used to be an actual Hindu growing up & still has it as a cultural background (I know myself that the stories you’re brought up on do influence you just by the archetypes and poetic shorthands they make available to you) - apparently he found it quite interesting to see me react to it & see it properly from start to finish. (though it has actually caused a resurgence in childhood song earworms)

So, with that out of the way, let’s get to the actual “review”

What did I watch

It’s a somewhat older show from the 80s or 90s so the special effects could have been better - but I say that only because with a concept like “Demons versus monkey people” and “battles with dark sorcery and vaguely described divine weapons” there is a lot of potential for creative visuals.

In this implementation the style of costumes was more “historical” overall, but great care was taken nonetheless.

Indeed, though childhood nostalgia filter my boyfriend likes this particular version because it was made by an 80 year old dude who dreamt all his life of making a TV show out of this story & worked hard to make everything ~just right~ - there have been never, fancier interpretations since but they tend to be more generic & plasticy in terms of the actual screenplay (my boyfriend, though biased by childhood exposure, says that “You don’t get the feeling that you’re looking at Ram, you’re looking at a supermodel”) whereas in this one, the director took great care to write all the songs & handpick the actors -

Which, with those mythical, ‘archetypical’ characters is quite important, they have to have the right ‘aura’, ‘presence’ or ‘atmosphere’ around them to connect to the larger-than-life timeless ideas they’re intended to embody. They made sure to cast tall, wry dudes as the monkey people, had some really good acting, made sure supposed relatives actually look alike etc.

This adaptation (at least insofar as I’ve watched it) seems to have gone with the “good ending”, that is, the version where the Prince & his wife live happily ever after returning to their home city (for a change, the original/older one... though it makes little sense to debate about the true version of a myth, it’s their very nature to be passed around & reinterpreted and for each listener & reteller to put their own spin on it) - there’s a second one that’s much more anal about social divisions, harder on the mysoginy and ends with him disowning her ass, though there’s some ring to the idea of the Princess returting to whence she came (mother Earth) in humiliation. It depends on what sort story you want though it doesn’t seem to fit with Ram’s characterization as the type who always looks to resolve things peacefully & reasonably & think before acting, & he may lose some of what makes him interesting if you take that away.

Indeed the director saw the need to sanitize even the orginal “chastity test by fire” scene - more than I would have done even if I wanted the Prince to keep looking heroic, I suppose, a lot like how many Christians will explain away many inconsistencies in the bible (and pretty much everything in the book of Judges) because they need their headcanon to be consistent with what they associate with the deities.

The Cosmology

One of the interesting parts about this particular ‘verse that got me more interested in it beyond my initial watching of that show is the rather complex makep of the world -

In most places religion has gone though certain discrete stages in accordance to the civilization that thought it up, with the various ideas (animism, polytheism, dualism, monotheistm etc.) all influecing each other subtly by the need to react to each other but in this case you had this evolution happening gradually without the previous being completely discarded.

So you have river spirits, sacret trees, elemental monsters, demons, titan/jötnar like entities, your basic greek style deities, a big head honcho lord of the universe, concepts of self-enlightenment and pantheist universal unity all coexisting in the same setting.

It’s basically a religion kitchen sink. (and I mean that in a good way, though I get why some may prefer the more ‘streamlined’ ideas of modern Christianity or Islam)

Impressions & Surprising things

Very interesting - because of my familiarity with mythic universals & certain shared cultural roots ( They even have their own wandering handsy thunder god! - though he’s squarely in the middle of the cosmic hierarchy and seems to be the designated Worf Effect recipient) , I could count down all the tropes and see a lot comming but because of different cultural ideals there were many points where I REALLY didn’t know what was going to happen next

Also, it was a veritable soap opera and I did not expect the feels. The heroes were more adorable than I’d ever have thought.

The level of “Honor Before Reason” and “Because Destiny Says so” is about comparable to the ancient greeks, but the “humble sinless all-loving hero come to earth for an ardurous mission” might remind one of Jesus, especially in the conception that “The Hero”, in the most archetypical sense, is to be not just badass but moral - though rather, Jesus resembles Ramayana because Ramayana came several centuries first; Just a sign IMHO that there myths come from the human mind and humans everywhere are more similar than different.

Funny thing is, since christian apologetics have this complex to prove how “special” their religion is (I mean it is unique in that no one has the exact same combination of traits but that’s true of every religion and the elements are universal), they spend a lot of time dismantling Islam (often with bonus racism) but usually completely dismiss Hinduism because “Well, they’re polytheists” when the two religions actually have a lot of ideas in common - indeed a lot of beievers will speak of the Hindu Trinity (or their favorite part thereof) or the Mother Godess much like the average dualist or monotheist would talk of their god, like, “O supreme being that dwells in all goodness” etc.

Unlike Jesus (who, despite his popular interpretation, in the original bible had quite a temper) Rama’s patience & forgiveness is a bit less of an informed ability, though you do get the sense that this comes from a warrior culture as well as a very stratified society where living up to your given social role (including that of a wife) is everything - in a Western work Ram probably would’ve seized the city with the support of the citizens. XD

One could comment that Ram & his brothers are still royalty & that the focus is on that whereas Jesus deliberately took the shape of an ordinary dude, though Ram still gets to spend years as a hermit & Jesus is still convolutedly made to be descended from David - the Jesus myth being the way it is probably has more to do with the political circumstances of its origin (conquest by rome) than the nobler meanings ascribed to it later.

Another, subtler/ less apparent aspect of the destiny trap thing is that if everyone has their fate, no one can be blamed all too badly. (Deathbed redemptions galore) Nonetheless, as the prover goes, “karma is a bitch” and these people invented it.

That said, tough still a simplistic story (that purtports there’s only one clear universal law everywhere and that the good guys always win - That’s an air castle if there ever was one, we need to work for that) I was actually surprised by the sophistication of morals & politics at times, it went into specific questions (hypocrite accusations, hypocratic oaths, how to charioteer, what a good king should be like etc. )

This is probably an artefact of being written from the PoV of royals & warriors, or just an indication of the great asian civilizations having existed so long & relatively unbroken compared to the many shifts in where things where going on in the nothwest.

This is the first time in ANY mythical story that I’ve seen anyone raise the concern of preserving the innocent citizens of the enemy faction and how to stabilize the political situation afterwards (after dethroning the local evil overlord, they put in his turncoat brother who joined the good guys for damage control), something that I haven’t seen a SINGLE time in the Bible (and I’ve read the whole thing), though the heroes steer clear of the line to “simplistic stupid good” if you discount the “honor before reason” parts.

There’s 4 ways you can do ‘archetypical’ characters: Wholly & completely stick to the simple archetype, bring the archetype to full circle & detail while milking it for maximum symbolism, “not what they seem/contrast” and giving them depht without having them ever stop to be their archetype - it’s the latter that was done magnificiently here, especially in terms of 3Dimensional antagonists, they have enough redeeming qualities for it all to strike you as a tragic waste of life, but not enough to let go of their pride and avert the divine punishment.

(The “wicked cultured” Dark Sorceror Evil Overlord being interesting is a given, but of all characters, the cocky big mouthed Demon Prince was the last one I expected to have hidden dephts)

#hindu mythology #ramayana #hindu gods #mythology

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seekapk-blog · 6 years ago

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whittlebaggett8 · 6 years ago

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Emirates flies 2,000-year-old statue from Pakistan to Switzerland

Involving December 2018 and March 2019, site visitors to the Museum Rietberg in Zurich, Switzerland, had the uncommon opportunity to occur encounter to confront with a colossal statue of Buddha more than 2,000 decades outdated. The statue from the Peshawar Museum in Pakistan was safely transported from its home to Zurich and back by Emirates SkyCargo. The ancient Gandhara Buddha statue was offered on distinctive bank loan by the Peshawar Museum to feature in the exhibition ‘Next End Nirvana- Techniques to Buddhism’ at the Museum Rietberg. It was the first time that the statue experienced travelled outside the house of Pakistan. Special care had to be taken by the museums in the course of the packing and installation course of action, as very well as by Emirates SkyCargo in the course of the transportation, to make certain that the monumental statue was not unintentionally weakened Emirates SkyCargo pulled out all the stops to make certain that the statue weighing 1,700 kilograms, and achieving more than 2 metres in peak, was transported safely and securely in the bellyhold of its widebody passenger aircraft as a result of managing procedures and safety measures outlined beneath Emirates Valuable, its specialised product for transporting cherished merchandise. Nonetheless, the air cargo provider also had to do some out of the box imagining. “Our typical techniques point out that any treasured cargo has to be transported in secure metallic doorway containers. Even so, for a statue of this measurement, this was not truly an option,” mentioned Julius Mooney, Commercial Improvement Manager – Speciality Goods, Emirates SkyCargo. “For us the precedence was twofold, to guarantee that the shipment was managed with utmost care to stay clear of any hurt from effect and of program to assure the safety of the priceless statue. In the close, we arrived up with the simple resolution of affixing an Emirates tamper-evidence tape on the outer packaging of the picket crate to make confident that we would not have any tampering of the shipment,” he extra. Emirates SkyCargo also labored with Emirates Group Security and Transguard to make sure seamless safety screening, dealing with, and clearance for the statue. Throughout its transit at Dubai Intercontinental Airport, the statue was rapidly transferred on the ramp to its connecting aircraft. With specific organizing and coordination with Emirates Community Handle, Emirates SkyCargo ensured that the arriving and departing aircraft were being parked in near proximity so as to prevent any prolonged transit delays. The cargo was also monitored continually by Emirates SkyCargo’s 24*7 operational Cargo Functions Command Centre to pre-empt and steer clear of any prospective obstructions all through transportation. Emirates SkyCargo executed the 1st leg of the movement from Peshawar to Zurich in December 2018 and completed the return leg from Zurich in early April 2019. “It was a landmark shipment for Emirates SkyCargo. We are delighted that we ended up in a position to correctly transport the statue to the exhibition in Zurich. Audiences in Switzerland experienced an option to turn into acquainted with an essential aspect of Pakistan’s historic heritage and Emirates SkyCargo experienced a section in developing this backlink concerning the two nations,” reported Jassim Saif, Emirates Vice President Cargo Industrial- West Asia and South East Asia. “Emirates Group Protection and Transguard worked closely with Emirates SkyCargo for the effective preparing and the movement of this valuable statue. We have specialised and remarkably properly trained staff members at Dubai and at all our stations, as perfectly as complete stability protocols to ensure the protected and protected transportation of valuable cargo,” said Dr. Abdulla Al Hashimi, Divisional Senior Vice President, Emirates Team Security. “Gandhara artwork played a significant position in the propagation of Buddhism about the earth and Peshawar Museum, currently being the repository of the world’s richest and best assortment of Buddha statues, has a prestigious standing in the eyes of art fans. Our mission is to highlight the delicate graphic of Pakistan in the course of the planet by exhibiting these masterpieces of art and the exhibition of colossal Buddha statue in Museum Rietberg Switzerland is the beginning of a new period of friendship and cooperation,” claimed Muhammad Asif Raza, Curator of the Peshawar Museum. “The colossal Buddha from Peshawar – a person of the complete highlights of the exhibition – came as an ambassador of peace, tolerance, and wisdom,” mentioned Dr. Johannes Beltz, Vice Director at Museum Rietberg. “The statue pioneered for a new partnership amongst museums in Switzerland and Pakistan. A gratifying and worthwhile cooperation that was designed possible by the terrific dedication of the Peshawar Museum, the Swiss Agency for Advancement and Cooperation and the Governments of Khyber Pakhtunkhwa and Pakistan,” he added. “The governing administration of Switzerland, by means of the Swiss Company for Improvement and Cooperation, supported this initiative. It absolutely strengthened the ties in between Switzerland and Pakistan in an unconventional way, and we are incredibly happy of owning contributed to this unique cultural exchange,” reported Daniel Valenghi, Head of Intercontinental Cooperation, Embassy of Switzerland in Pakistan. Emirates SkyCargo transports a variety of cherished and important goods these as important artwork, historic artefacts, large-end consumer items these kinds of as luxury watches and jewelry on its fleet of more than 270 aircraft across 6 continents. In 2018/ 19, the air cargo provider moved near to 2,500 tonnes of useful products and solutions less than Emirates Important. The air cargo carrier has transported artwork for museums in the UAE, Russia, British isles, Australia, and United states of america among other nations.

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brookes200 · 6 years ago

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Ruhr Museum

The Ruhr Museum, formerly the Ruhrland Museum, is a diverse natural history and cultural history museum for the Ruhrgebiet in Essen, Germany.

Memory

The Ruhr area only emerged as a specific region at the start of industrialisation. Before that, it had a number of different geographical and political affiliations that left a variety of regional and local traditions. In contrast with the collective memory in today’s Ruhr area, they represent a regional cultural memory which goes back much further in time. Nonetheless, they are an important part of its identity.

This cultural memory has a geographical arrangement. It is linked to specific locations, persons and events. Its presentation has less to do with the creation of lines of connection and historical explanations. The reconstruction of certain traditions is more like an archaeological than a historical process.

The storehouses of the old coal washing plant have been transformed into storehouses of collective memory. These also include the museum’s collections of objects from distant »utopian« places which make a stark contrast with the age of industrialisation.

History

Changes and Reconstruction

Roughly 80 per cent of the machinery, for example, has been left in place for reasons of conservation, fact which posed something of a challenge for the museum designers from HG Merz in Stuttgart, who were forced to lay out the various collections and exhibitions around the existing objects. During the First World War the Ruhr area was badly afflicted by starvation, and during the Second World War, it suffered heavily from air raids.

The Ruhr area was also deeply involved in Nazi crimes.

Traditions

Over thousands of years, the area of what was later to become the Ruhr area consecutively witnessed a series of historical events and developments, migrations and different forms of rule. These were the foundation of traditions that were often important beyond the region. Generally, they were determined by geographical factors, the quality of the soil and the development of mountain ranges, rivers and trading routes.

However, these traditions cannot be understood simply as the prelude to industrialisation, and they have little to do with the process that began in the 18th century. The majority of the regional and local traditions were abruptly cut off and submerged by the beginning of the industrialisation. With the end of the industrial era, however, they were once more coming to the surface and played an important role in shaping the region’s identity.

Thus there exist at least two layers of historical identity in the Ruhr area, one coined by the industrialisation, one by tradition that is dating further back in time.

Collections

The collections of the Ruhr Museum are based on the inventory of one of the oldest museums in the Ruhr area. Before the Second World War, the »Ruhrlandmuseum« in Essen ranked as one of Germany’s largest museums of cultural and natural history.

For more than 100 years it possesses collections on archaeology, natural history and ethnology, as well as works of art and historical objects. Their international, even global nature tells us both about the character and ambitions of the collectors and the reasons behind setting up museums at the time. Rare artefacts of cultural and natural history were collected by industrialists, engineers and scholars who worked on an international level and who felt no cultural ties with the developing Ruhr area, a region which seemed to have no history of its own.

Alternative worlds to the seemingly uncultured and destructive world of industrialisation were created for the benefit of museum visitors, in particular, the working class. They were designed for educational and intellectual edification

Present

Architect Rem Koolhaas was commissioned in 2002 to design the Master Plan of what had once been the Zollverein mine, out of service since 1986 and a World Heritage Site in 2001. The plan was to encourage the revival of the area through a new program, a combination of business, education and information, art and design, which, along with an improvement and expansion of public space. HG Merz designed the new museum as a separate entity within the original building. All of the existing infrastructure, including beams and plumbing works, as well as the industrial machinery previously used in the coal washing plant, have been re-purposed as a backdrop to the brighter new exhibits.

Not only does this project maintain the stout architectural glory of the pre-WWII period, but it also celebrates the cultural and natural history of the area.

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Site Plan

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harrietgreensladespace · 6 years ago

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Ruhr Museum:

The Ruhr Museum, formerly the Ruhrland Museum, is a diverse natural history and cultural history museum for the Ruhrgebiet in Essen, Germany.

The story of the area is characterized by honest values of hard work and solidarity, largely constructed from its soaring wealth of “black gold” or coal for nearly a century.

Once the global era of industrialization ended in the 60’s, the Ruhr region deeply suffered the consequences of high oil prices and the lower costs of coal and steel from high volume suppliers like Japan.

Memory

History

Changes and Reconstruction

The Ruhr area was also deeply involved in Nazi crimes.

Traditions

Thus there exist at least two layers of historical identity in the Ruhr area, one coined by the industrialisation, one by tradition that is dating further back in time.

Collections

Present

Not only does this project maintain the stout architectural glory of the pre-WWII period, but it also celebrates the cultural and natural history of the area.

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qxwshelly915-blog · 7 years ago

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hathetalkingant-blog · 7 years ago

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Gladiator Heroes Hack Online

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GLADIATORS - HEROES OF THE COLOSSEUM is the primary international travelling exhibition developed in collaboration with the Colosseum in Rome, with important loans from important museums and establishments partly never exhibited outdoors Italy. The game has a multiplayer factor included, and you'll play with pals (or against them) to achieve the very gladiator heroes hack online best place on the leaderboard. Similar to you might expect, you even have in-app purchases that may speed up the method of creating a good gladiator army. And with the Gladiator Heroes hack you have got entry to all of them, totally free.

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Profitable gladiators gained hundreds of supporters, loved lavish presents, and could even be awarded freedom in the event that they'd tallied up sufficient victories. Nonetheless, as fights had been normally to the loss of life, gladiators had a brief life expectancy. Control combat with strategic placement of gladiators and skill utilization. Queensland Museum CEO and Director Professor Suzanne Miller said Gladiators: Heroes of the Colosseum would give visitors the chance to view artefacts by no means earlier than displayed in Australia, reinforcing the museum's fame as an international vacation spot for history aficionados, educators and families.

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jacksonbroderick-blog · 7 years ago

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