Robert Fripp on Structures.

i) 1. One can work within any structure.
ii) 2. Once one can work within any structure, some structures are more efficient than others.
iii) 3. There is no one structure which is universally appropriate.
iv) 4. Commitment to an aim within an inappropriate structure will give rise to the creation of an appropriate structure.
v) 5. Apathy, i.e. passive commitment, within an appropriate structure will effect its collapse.
vi) 6 .Dogmatic attachment to the supposed merits of a particular structure hinders the search for an appropriate structure.
vii) 7. There will be difficulty defining the appropriate structure because it will always be mobile, i.e. in process.

i) 8. There should be no difficulty in defining aim.
ii) 9. The appropriate structure will recognise structures outside itself.
iii) 10. The appropriate structure can work within any large structure.
iv) 11. Once the appropriate structure can work within any large structure, some larger structures are more efficient than others.
v) 12. There is no larger structure which is universally appropriate.
vi) 13. Commitment to an aim by an appropriate structure within a larger, inappropriate structure will give rise to a large, appropriate structure.
vii) 14. The quantitative structure is affected by qualitative action.

i) 15. Qualitative action is not bound by number.
ii) 16. Any small unit committed to qualitative action can affect radical change on a scale outside its qualitative measure.
iii) 17. Quantitative action works by violence and breeds reaction.
iv) 18. Qualitative action works by example and invites reciprocation.
v) 19. Reciprocation between independent structures is a framework of interacting units which is itself a structure.
vi) 20. Any appropriate structure of interacting units can work within any other structure of interacting units.
vii) 21. Once this is so, some structures of interacting units are more efficient than others.

Let The Power Fall by Robert Fripp


On The Currency Of Forks

Passing by a Dublin Bike station the other day, I remembered a blog post I never wrote about currency – one of those. Yes, you see, I often wonder about such things.

As it happens, since I arrived in Ireland a while back I have been sharing accommodation with other people. One of the meaningless things I noted is that oftentimes forks and coffee spoons quickly run out on the clean cutlery drawer; there is high demand while supply doesn’t vary. They end up in the sink, or in the dishwasher at best, awaiting to be serviced. Curiously enough, spoons and knives tend to be less popular. So, what do you do when you can’t find one of these clean? You wash one, of course. You have to, really. But I wondered if adding currency to the demand – like printing more notes – would have any effect.

Yes, I tested it: I added a whole new set of 6, but only of forks and spoons. And what do you think it was the result?

Recently, the unexpected success of the Dublin City Bikes brought with it a minor downfall, a crack in the joyful experience of such a civilised engagement. Suddenly we the users realised that at certain times during the day, in particular locations, it was impossible to find a station to park. It defeated the purpose, as one had to travel to another station, perhaps far and inconvenient. But now we are offered a couple of solutions:

The first one: “In this case, log in at the terminal with either your Long Term Hire Card or 3 Day Ticket and you will be given 15 minutes free of charge to get to the nearest station with available stands and a list of nearby stations with availability.”

The second one, on top of that, is the addition of another 10 parking bays in many of these stations, to a total of 287 new bike stands.

And here, while passing by and taking that picture shown above, I thought about the paradox of the fork. The addition of that new set only proved to work depending on the number of users. The more users, the more likely to find a drawer with no forks. At the same time, the more users, the more likely the forks would be cleaned and placed back in the drawer. Is there an ideal number of users then?

I am sure there is a mathematical way to look at this, I just hope they talked to the right person about it.

Trouble of some kind

“On a chilly January morning 24 years ago, Corydon optometrist Jack Moss raised his new video camera to the sky over central Florida and captured one of the darkest moments in American space exploration the explosion of the shuttle Challenger.

In the videotape, a stream of white smoke behind the climbing shuttle shoots into view but Moss, his wife and a neighbor noticed immediately that More..something was amiss when the channel separated into two streams.

‘Thats trouble of some kind’, Moss can be heard saying. ‘That didnt look right.’

Moments later, someone is heard telling Moss that the Challenger had blown up.”

Via YouTube

‘EXHALE’ by Mandy O’Neill

EXHALE by Mandy ONeillEXHALE by Mandy ONeillEXHALE by Mandy ONeill

Norman Mailer has stated that boxing is a metaphor for life. Investment of time and energy in a tradition like boxing can be explained through the desire to achieve stability in a rapidly changing world. It may also engender a yearning for a more vital existence and a longing for authenticity. In this photographic work, Mandy O’Neill uses the world of the amateur boxer to explore such ideas and to examine aspects of the human condition.

These images were taken over a two-year period at St Saviours Boxing club, Dorset St in Dublin.

Mandy O’Neill is a Visual Artist based in Dublin. She graduated with a BA in Photography from the DIT College of Photography in 2005. She has recently exhibited at ‘RUA RED’ Dublin 2009 and the RHA Dublin 2009.

Alliance Francaise
1, Kildare Street , Dublin 2

Opening Thursday 26 November at 6.30pm
Admission free
27 November 2009 – 6 February 2010

The National Campaign for the Arts

The National Campaign for the Arts in Ireland is a broad and inclusive coalition that reflects the scale, reach and diversity of the arts in Ireland today. Its membership has a national reach that includes major festivals, venues, producers and representative organisations in visual arts, theatre, film, dance, music, literature, architecture and collaborative arts.

The National Campaign for the Arts asserts the fundamental importance of the arts to economic recovery and calls for:

  • Retention of Culture Ireland, the agency for the promotion of Irish arts worldwide.
  • Retention of The Irish Film Board, development agency of the Irish film industry.
  • Maintenance of existing levels of funding to the Arts Council.
  • Retention of the artists’ income tax exemption scheme.
  • Commitment to retain the arts portfolio at cabinet as part of a senior ministerial portfolio.

Why the arts are central to economic and social recovery.

  • The arts and our reputational capital
  • The arts and the smart economy
  • The arts and cultural tourism
  • The arts and employment
  • The arts and the national psyche

How can you help?

– Read more about it at The National Campaign for the Arts web site
– Become a Member: Register your membership of the Campaign
Sign the online petition.
– Follow them on Facebook and Twitter
Donate: help funding for the Campaign

Ru Kitch, Street Photography From The Punjab (1950-2000)

Copyright Gogi PehlwanCopyright Gogi PehlwanCopyright Gogi PehlwanCopyright Mohammad Amin Naveed

Until fifteen years ago the Ru Kitch photographers were a familiar sight on the streets of Pakistan. For the odd penny they photographed passers-by, in black and white, with the results available immediately. The term Ru Kitch – literally ‘extracting the spirit’ – refers to the way in which the photographer stuck his hand into the camera in order to pull out the photograph. In fact the camera was a darkroom on a tripod, in which a photo could be developed in two minutes. The popularity of the color photo drove this century-old tradition from the street scene. The British photographer Malcolm Hutcheson prepared this survey of it.

Copyright Mohammad Amin NaveedCopyright Mohammad Amin Naveed

RU KITCH, STREET PHOTOGRAPHY FROM THE PUNJAB (1950-2000) was part of the 13th Noorderlicht International Photofestival (Sep-Oct 2006, The Netherlands), comprised of work by three Ru Kitch photographers, of whom only Mohammad Amin Naveed is still active. In the old days, passers-by, friends and families were eager to have him do a photograph of them as a souvenir of a day out. Now he makes his living by pasting portraits of his clients on pictures of famous names from the film industry. Naveed turned out to have in his possession a dusty box with work of his late uncle Gogi Pehlwan. He was active for forty years as a wrestler and Ru Kitch photographer. Hutcheson fills out his overview with the work of old Babba Bhutta, who was a Ru Kitch photographer for sixty years. He learned his trade from his father and has a collection of photos that perfectly reflects the peaceful life in a small Indian village.

Copyright Babba BhuttaCopyright Babba Bhutta

Malcolm Hutcheson (Great Britain/Pakistan, b. 1966) is a photographer and teaches photography at the school for Visual Arts in Lahore, Pakistan. He devotes a huge amount of energy to setting up a photographic archive for the Pakistani province of Punjab.

Copyright Babba Bhutta