Wednesday, 31 December 2014

Happy New Year.

Happy New Year. 

Watch this space for some exciting new projects coming up in 2015 and thank you for reading our Wednesday Posts. 

Here is a page from the Virginia almanac of 1752 from the introduction of the new Gregorian Calendar when the beginning of the year was moved from March to January. 

'When the British decided to change from the Julian to the Gregorian calendar, the Virginia Almanack gave directions for reform. Replacing the old calendar required an adjustment of eleven days because of a discrepancy between the solar and calendar years. A 1751 act of Parliament dictated that the new year, 1752, would begin on January 1 rather than on March 25 and that September 2, 1752, would be immediately followed by September 14, 1752. The shift of the new calendar went relatively smoothly in the American colonies, aided perhaps by the information given in almanacs and newspapers.' (


Wednesday, 24 December 2014

Merry Christmas!


Merry Christmas! Thank you for reading our blog. It is really not a problem if you haven't yet. In any case, we wish you a peaceful Christmas and a very happy New Year!

Miracles happen on Christmas, Pat. Everybody knows that shit.

–Matthew Quick, The Silver Linings Playbook


Christmas book arrangements here

Wednesday, 17 December 2014

The Library as a Site for Encounter

“But fishing, as we know, in libraries or anywhere else, is a tricky business, with never a certainty of who's going to catch whom.”J.D. Salinger

For the past few years I've been making art for libraries. The first artwork I made was called the Exchange Student for the Ecole superieur de beaux arts de Grenoble (which was later exhibited as The Weimar Years) and the last was In The Reflected Sky with Egidija and George and part of Art Language Location. Each project has made me question why I use libraries as sites for artwork.

In This Journey is a Book, ten books positioned throughout Peckham library took visitors on a trip across the breadth of the collection. The main appeal of the library was the site itself, this place that is segregated into so many other little spaces, with sections aimed at quite different types of people and zones for different types of activity. Part of my intention was for visitors to use the space in a different way.

The video 'In Explanation of the Book' was shown on the monitor in the library of Camberwell College - a screen that was usually used for library notices. The video was a kind of intervention that used this formal library paraphernalia to exhibit something intimate and personal. The video which showed people's hands interacting with books, would hopefully prompt visitor's to take note of the sensory experience involved when handling books.

In 'The Hesitant Visitor' pamphlets were created for three different subject libraries within Senate House library. Each told a fictional story that linked the content of each library to other subject libraries within the same building. Each library has a wealth of information there for readers to explore, but often we tend to stick to what we know. This artwork was made in an attempt to draw connections for readers. In this instance specific texts were important to the art.

These are just three ways that the library as a site has informed the art I have made. With two new library-related projects in the pipeline, I hope this experience will become richer.


Wednesday, 10 December 2014

Wednesday, 3 December 2014

scrolling gadgets {moving panoramas}
Tomas Saraceno, Cumulus at Barbican


Some time ago I wrote a post digitised scrolls: from the Pond at Deuchar to the Trip to London, at the bottom of which I mentioned a charming Georgian device Trip to London that had been digitised by Princeton University. Trip to London is a box containing a twelve plate scroll that displays a humorous story of a honeymoon trip. It is a close development of the very popular moving panoramas, which came to Europe in late 17th century and by early 19th century they were so common, that there were even ladies' fans with miniature scrolled pictures incorporated into the designs. 

Trip to London


Moving panorama - to put it simply - is a long panorama in a scroll, which has ends of it attached to two rods. The handles on the rods are then turned to allow the panorama to move across the screen, very much like a basic animation film. Moving panoramas were available in handheld scrolling devices as well as a form of large screen/stage entertainment. They were hugely popular: successful shows drew crowds and boasted years of performances. For example, Albert Smith's Ascent of Mont Blanc was performed for seven years at the Egyptian Hall in London, while Hugo d'Alesi's Mareorama allowed seven hundred spectators per viewing of this show, that offered a multisensory sea voyage illusion, complete with thunder, wind and local dancers.

a card promoting Hugo d'Alesi's Mareorama

Moving panoramas were extraordinary pieces of engineering. They often featured special enhanced sets and effects, merging of medias and mediums into one immersive spectacle. For example, touring panoramas of the late nineteen century England frequently included such novelties as mechanical puppets and slide projections. The most impressive ones, of course, were present at Exposition Universelle in Paris, 1900. The above mentioned Hugo d'Alesi's Mareorama incorporated two screens, each 2,500 feet long and forty feet in height, which were scrolled for the viewers present on board of the full size boat. The boat required hydraulic piston engines and pumps driven by electric motors to stimulate motion. 


Hugo d'Alesi's Mareorama
Hugo d'Alesi's Mareorama

Another immersive panorama at Exposition Universelle in Paris was Pavel Yakovlevich Pyasetsky's Great Siberian Railway Panorama in the Russian pavilion. It offered a 45 minute experience of Trans Siberian rail journey complete with stuffed polar bears on papier-mache icebergs, a dinner of caviar and sturgeon in a luxury imitation train with a library, gymnasium, marble bath, smoking and music salons.

This 45-minute experience was an essay in detail. It offered a chance to experience the 14-day journey by rail from Moscow to Peking, a 6300-mile journey over tracks not yet completed at the time of the Paris Fair of 1900.
There were three realistic railway cars, each 70 feet long, with saloons, dining rooms, bars, bedrooms, and other elements of a luxury train. Totally detailed and lavishly equipped, the cars were elevated a little above a place for spectators in conventional rows of seats. The gallery faced a stage-like arena where the simulated views along the train trip were presented by an inventive contraption.
The immediate reality of a vehicular trip is that nearby objects seem to pass by more rapidly than distant ones. So, nearest to the participants was a horizontal belt covered with sand, rocks, and boulders, driven at a speed of 1000 feet per minute! Behind that was a low vertical screen painted with shrubs and brush, travelling at 400 feet per minute. A second, slightly higher screen, painted to show more distant scenery, scrolled along at 130 feet per minute. The most distant one, 25 feet tall and 350 feet long painted with mountains, forests, clouds and cities, moved at 16 feet per minute.
Real geographical features along the way were depicted on this screen: Moscow, Omsk, Irkutsk, the shores of great lakes and rivers, the Great Wall of China, and Peking. The screens, moving in one direction only, were implemented as a belt system. Due to the inexact speeds of the scenery,the 'journey' never repeated itself exactly, providing an ever-changing combination of scenes and a reason to pay to see the attraction again.  (from The Past Was No Illusion  by Walt Bransford)

Pavel Yakovlevich Pyasetsky's Great Siberian Railway Panorama


Apart from the great spectacles at Exposition Universelle, 1900, there was a range of other - more common and more humble - weird and wonderful panorama devices. There existed pleoramas, dioramas, padoramas, myrioramas, phantom rides for public viewing as well as personal hand panorama reels, magic lanterns and peep-shows.
The Kaiserpanorama, 1900
Phantom Ride
Rotunda, Leicester Square
Coronation Procession of King George IV
Tableau of the procession at the Queen's coronation June 28, 1838
Myriorama or tableau polyoptique by Jean-Pierre Brès
(a set of cards that can be arranged in any order)


Here are a few of the contemporary moving panoramas that range between overwhelming digital installations of Tomas Saraceno to painted paper scrolls of Adam Cvijanovic.
Helen Douglas, The Pond at Deuchar
Tomas Saraceno, Cumulus at Barbican
Adam Cvijanovic, Rolling Panorama Number 1
Panorama of Achmedabad


The Trip to London scroll box is a story telling gadget that bridged book and upcoming cinema. It's situation is not dissimilar to the hybrid publishing projects emerging today as a result of media arts niche-ing themselves into the book market, such as FakePress and HybridBook. Moving panoramas were defeated by the cinema, of course. Which of the contemporary story telling gadgets are going to stay?


Printed book sources:
- Schwartz, Vanessa. Spectacular Realities: Early Mass Culture in Fin-de-siecle Paris . Berkeley: University of California Press, 1998.