A sort of online sketchbook, scrapbook and portfolio of the writer and journalist Sean Dodson
Ben Kelly, the architect of the Hacienda, has released this stunning pair of limited edition prints (above) of the legendary Mancunian club. They are not photos, nor paintings but digital renderings from a full-scale digital model being produced to celebrate its 25th anniversary. £600 each, £1000 the pair (via the excellent Cerysmatic Factory)
There was a time in my life when I could blog more frequently and thoroughly than this. So I need to be brief. The Middle East, from Queensland Australia are the best new band I’ve heard all year. They’ve just released their debut EP. The Recordings of the Middle East. You can download it from their offical site. What do they sound like? Like shoegazers with better melodies. Like the Arcade Fire’s over-sensitive younger sibling. Like Surjan Stevens without the religion or naivite. Take my word for it or listen for yourself.
The 20th anniversary of the fall of the Berlin wall. So far nothing has beaten the New York Times’s excellent interactive feature on the route of the Berliner Mauer (thanks Chris). The way you can slide between the images of then and now is one of the most inspired uses of interactivity I think I’ve ever seen on a newspaper website. It is distinctive because it has an almost Victorian slowness to it, like the kind of end-of-the-pier attraction you only ever come across in museums, these days.
Other coverage of note (I’ll hopefully add more later): Jana Scholze, writing in Icon Magazine, on the final demolition of another symbol of post-war Berlin. The Palast Der Republik (above) doubled as the DDR’s parliament building and, I kid you not, a discotheque.
“The “Palace of the Republic” was somehow the anti-symbol of the socialist reality while at the same time representing the ideals and visions of its people. The modernist glass and steel box by architect Heinz Graffunder seemed to represent a young country confidently looking into its future. True to its name, it was a house for the people. Its open doors and easy accessibility signified the intended audience: everyone, the whole republic. It was a place to go, to meet, to spend time. Not surprisingly, many visitors to the Palast seemed unaware of its main function: it was the seat of the DDR’s parliament.”
Also worth looking at is Timothy Garton Ash, writing in the Guardian, on the precise moment the cold war ended:
The first frontier crossing to be opened was at Bornholmerstrasse, on a bridge that goes over the S-Bahn, the overground city railway. My friend Werner Krätschell, a pastor of the East German protestant church which did much to shelter the East German opposition, was among the early ones to come across. It was soon after 11pm. The frontier guards put a stamp in his ID card, across his photograph. He checked with them that he could come back.
No, they replied, that stamp means you are emigrating permanently. He had left two young children at home, so he tried to turn round his car, to go back. But just as he was trying to turn round, in the narrow frontier crossing leading on to the bridge, a frontier soldier came running up and shouted to his colleague: “Comrade, a new order! They can come back.” So Werner drove on into the west.
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The best cup of hot chocolate
in Worcester
Originally uploaded by
seandodson
Anna and I are beginning to settle into our new life in Worcester. The city might be a little less roomy than Brighton, but it’s perfectly charming and, surprisingly, far more cosmopolitan than its provincial reputation led us to expect. Our latest discovery is Bolero, a lovely, little Italian-flavoured cafe tucked away on St Nicolaus Street. It’s all leather sofas, free Sunday papers and shelves full of hardback art and design books for you to peruse. It’s got Blue Note and Liberty record sleeves on virtually every wall, a delightful bedecked back-yard where the smokers hang out, and table service. Not to mention this very lovely cup of caramel-flavoured hot chocolate that I devoured this afternoon.
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Just love these classic album covers set out as a set of postage stamps. Particularly delighted at the inclusion of New Order’s Power, Corruption and Lies which was designed by the great Peter Saville. Inevitably there’s some great covers missing. At least two odd choices too: the inclusion of both Pink Floyd’s the Division Bell and Led Zeppelin IV (top left and bottom centre respectively). To my mind, neither sleeve is a classic while Dark Side of the Moon and Led Zeppelin would seem much better choices. It’s still a nice set, mind. Sure to be as successful as last year’s British Design Classics when it’s released in early January.
According to the Royal Mail:
This issue celebrates the work of the album sleeve designer, not the music. Royal Mail began with very extensive research of existing lists and polls of ‘Greatest Album Covers’ in books, music press and the web. This trawl of literally thousands of albums uncovered many that were common to most lists.
The editors of three of the UK’s most influential music publications together with a number of graphic designers and design writers were asked to independently list the most significant album sleeve artwork used on records by British artists.
Royal Mail reviewed all the research to assemble a shortlist of albums that spanned the decades from the 1960s. Some albums could not be included for operational reasons (for instance, designs that were too dark), after final deliberation the ten albums were arrived at.
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I enjoyed watching Nick Griffin flounder of BBC Question Time last night. David Dimbleby handled him beautifully, like an experienced barrister might toy with a petty rogue. He snared Griffin about 14 minutes in, using a speech the leader of the far-right British National Party made (alongside David Duke, leader of the KKK) in the US, where he said:
“If you put that [expelling non-whites from Britain] as your sole aim to start with you are going to get absolutely nowhere. So instead of talking about racial purity, we talk about identity. We use saleable words: freedom, security, identity, democracy. Nobody can attack you on those ideas.”
It was over 50 years ago that George Orwell (right) in Politics and the English Language remarked how such words were often used by politicians with the intention to deceive:
The words democracy, socialism, freedom, patriotic, realistic, justice have each of them several different meanings which cannot be reconciled with one another. In the case of a word like democracy, not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of regime claim that it is a democracy, and fear that they might have to stop using that word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different.
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I have been sailing through Peter Hook’s The Hacienda: How Not to Run a Club his account of the decline and fall of the Factory empire. Although he is not exactly Tom Wolfe or Nick Kent he tells his tale with some wit and much stoicism. The legendary club nearly ruined him and the rest of the band, as they sank in many millions of pounds to keep it going. Hooky reckons that for every person who came through the door of the Hacienda, it cost him and the rest of New Order around £10. So buy him a drink next time you see him.
The books full of anecdotes and quotes from many famous factory figures (Tony Wilson, Rob Gretton, Mike Pickering et al). Here’s the club’s former DJ Dave Haslam on the Hacienda’s wonderful music policy:
“Whereas music in clubs is now pigeion-holed and segregated, in those first years of acid house, the dance floor was open minded. In retrospect DJs have tried to convince us of thier purist underground credentials; that wasn’t really the case. In the acid-house era you would have heard hous, and techno, but also hip-hop records like ‘know How’ by Young MC, New Order and Euro-disco tracks by Italian production teams.”
Thought it might be nice to mention the launch of Council, spearheaded by my sometime collaborator (and all round top man) Rob Van Kranenberg. He describes as a “thinktank for the Internet of Things”. Rob’s been building a formidable network for this for ages and will officially launch in Brussels on December. According to Rob:
“The Internet of Things (IOT) is a vision. Yet it is being built today. The stakeholders are known, the debate has yet to start. The European Commission published its action plan for IOT in June of this year. In hundreds of years our real needs have not changed. We want to be loved, feel safe, have fun, be relevant in work and friendship, be able to support our families and somehow play a role – however small – in the larger scheme of things.
So what will really happen when things, homes and cities become smart? The result will probably be an avalanche of what at first looks like very small steps, small changes.
Currently IOT applications, demos and infrastructure are rolled out from negative arguments only. For logistics, it is anti-theft. For ehealth it is the lack of human personnel that requires the building of smart houses. From a policy view it is the ensuring of safety, control and surveillance at item level and in public space. For retail it is shelf space management.
Council thinktank aims to grow into a positively critical counterpart to these negativities in focusing on the quality of interaction and potentialities of IOT for social, communicative and economic (personal fabrication, participatory budgeting, alternative currencies) connectivity between humans and other humans, human and things and human and their surroundings.
The wrestling with ambient technologies – the noise – is rapidly going out of corporate memory. A new young generation growing up at ease with ‘total’ connectivity, will enter IOT territory as simply another layer, another iteration of something they are comfortable in.
Therefore the launch of Council will highlight a personal history of locative media & hybrid spaces, by professionals of the i3 (Intelligent Information Interfaces) days, as well as the latest tools and applications, workshops on key issues short keynotes and time for debate and discussion.
Where: Imal, Brussels
When: December 4 2009 0930:2200 (public evening from 20:00)
Workshop 185 (including lunch and dinner)
Register: here
I recently returned from a weekend in London where Anna and I found this delightful pair of black swans in St James’s Park. They are beautiful birds, as tame as pets, with long, looping necks and bright red beaks the colour of post boxes. They reminded me of the poem by the late James Merill:
Illusion: the black swan knows how to break
Through expectation, beak
Aimed now at its own breast, now at its image,
And move across our lives, if the lake is life,
And by the gentlest turning of its neck
Transform, in time, time’s damage;
To less than a black plume, time’s grief.
I’ve always thought that the libel lawyers Carter-Ruck sounded like a euphemism or, perhaps, a piece of forgotten cockney rhyming slang. Anyway, I’m delighted that they have dropped their attempt to prevent the British media from reporting on the proceedings of parliament. It is in part a victory for the chorus of twitterers that defied the ban yesterday, as only hours after the ruling was announced the full report as made available on Wiki leaks and transmitted across the internet by hundreds of users of the microblogging site Twitter. Carter-Ruck, acting on behalf of the oil firm Trafigura, were attempting to prevent the Guardian reporting on a question tabled on Monday by the Labour MP Paul Farrelly.
The rule of prior restraint has been gaining ground in recent years, despite misgivings from European Court of Human Rights, as judges seem more willing to allow last moment injunctions against the publication of exposes. But the kind of injunction used on Monday (a so-called super-injunction) not only prevents publication, but also makes the injunction itself secret. It is a type of censorship that recalls Apartheid-era South Africa, when newspaper editors were not allowed to leave pages blank or blacked-out when they had been censored by the government.
Interviewed in the Guardian, Ian Hislop, the editor of Private Eye, said:
“The injunction against the Guardian publishing questions to ministers tabled by the Labour MP Paul Farrelly is an example of a chill wind blowing more widely through the press. In increasing numbers, aggressive lawyers, who used to use libel law to protect their clients, are now using injunctions to secure privacy and confidentiality. They have found it is a legal technique which shuts stories down very quickly so that now it is not a question of publish and be damned, as it used to be: we are now finding that we can’t even publish at all.”
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