David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.


25 February 2015

The Times they are a-changin'


Tired of watching others read The Times while you wait and wait and wait your turn? 

 Why not have your Gentleman's Club install wifi, then catch up on bLOGOS/HA HA while you wait.
   
This 1831 performance of 'Waiting for The Times' for Theatre of the Actors of Regard long precedes the artlife of Gilbert & George. It is recorded here by the artist Benjamin Robert Haydon*. 
 

Theatre of the Actors of Regard  
detail
A Person Looks At A Work Of Art/
someone looks at something...

LOGOS/HA HA
       
*You might recall the impecunious and constantly unhappy Haydon in the film 'Mr Turner'. In one scene, we saw him upset that his 'A Sicilian Ass' has been installed in the back room of the Royal Academy. The following sequence extracts are from Mike Leigh's screenplay here :

In the ante-room we are looking at a painting of a donkey. 

PICKERSGILL : Can you explain your rendition? 
HAYDON : It needs no explanation, sir. ‘Tis our Redeemer’s conveyance into Jerusalem, plain as day. 
PICKERSGILL : Blasphemy! 
(Turner has returned.)
TURNER: You faring well, Mr. Haydon? 
HAYDON : This will be the finish of me! (He storms out.)
TURNER : Fifty pounds! 

Turner shakes his head, and shares the moment with Soane, who is adjacent. 
Haydon marches into the main gallery. He goes up to Leslie, who is standing with Eastlake and Callcott...

PICKERSGILL : Haydon, can I point out that I too hang in the inferior chamber?
HAYDON : I care not for your work, sir. I care not a fig.
PICKERSGILL : At least my work does not represent self-portrait as ass. 
SHEE : Mr. Pickersgill...! 
HAYDON Give me those... 
(Haydon knocks Pickersgill’s hat off. A general struggle ensues.)
HAYDON : Unhand me!
SHEE : Remove this man!
HAYDON (shouting) : You swines! You swines! 

Turner quietly leaves the gallery.