For posterity…

Norm ‘Normblog’ Geras is running a posterity collection poll.

The story is that, civilization approaching its possible doom (not really, but it’s the premise of the poll), the normblog readership has been assigned the task of assembling for posterity a representative collection of the Arts of Humankind, to be preserved in a sealed container so that some future beings of intelligence, discernment and taste can discover it and be impressed. That’s you and me, and also you. What we all have to do is to nominate under the following 12 headings those artists whose work we would like to see going into the sealed container.

Well, here we go. Continue reading “For posterity…”

Memento mori

I went to the Wellcome Collection’s exhibition of London skeletons, mostly found during rebuilding and renovation works, on Euston Road. Perhaps unsurprisingly, it’s a rather sobering experience. Nearly two thousand years of life and death in the capital are displayed, from the probably overweight, bon-vivant William Wood (84) to an unborn child, its bones still lying within its mother even after death.

The bones tell us a remarkable amount about the lives of past Londoners. The scars left on the bones show lives of excess, through gout and arthritis, to lives of want and disease, through syphilis and rickets. Even the place of burial indicates social status, with the rich buried in Chelsea while the residents of the workhouse and the prison might have had their eternal repose in St Bride’s Lower Churchard. I wonder what tales are being told, not to be read perhaps for centuries until our bodies are dug up for some future building works, in our bones. Will future visitors wonder at the inequities and injustices of our time and decry the situation that allowed such differences between rich and poor as we now look back?

On the subject of the transience of human life, I’ve recently read a remarkable book called Last and First Men by Olaf Stapledon that deals with the future evolution of homo sapiens, through eighteen distinct, future species. It is remarkable both for the timespan it covers – two billion years – and for illustrating, despite all the advances we may make, that homo sapiens is a product of its evolution and that its end, although it may be delayed through skill and cunning, is inevitable. The ultimate message, in all this futility, is that ‘the good life’, if I may mix my metaphors, is in the searching for, but not the finding of, the Grail.

Respice post te! Hominem te esse memento!
– Look behind you! Remember that you are but a man!
Warning traditionally read by a slave to a victorious Roman general at his Triumphal march.

xD.

In answer to Chris Dillow

Chris ‘Stumbling and Mumbling’ Dillow asks five questions. Here are my answers; number two is the best. I’ve put Chris’s questions in italics.

1. The government wants children to learn about the slave trade. But in 18th century England, how much different were the living conditions of the average slave from those of the average unskilled worker? I mean, both got a bare subsistence living and neither had political rights. But slaves had more job security. So how bad was slavery compared to free labour?

I know the passage from Africa was horrific, and there are examples of terrible mistreatment of both slaves and workers. But I’m asking about averages. Anecdotes aren’t enough. And don’t give me any nonsensical effort to empathise from today’s perspective.

There is plenty of anecdotal evidence – the pictures of beaten slaves and of (free) children pulling heavy carts through narrow mineshafts – that life for most people in the 1700s was not pleasant. That, however, doesn’t answer Chris’s question. To do that, we’d need detailed breakdowns of the socioeconomic situation of the various types and classes of people at the time. They are not, so far as I know, available.

However, slavery was not just an economic condition. It is very much tied in to race and religion; the question of whether non-whites even had souls was prevalent. While the economics of the situation are worth studying, the moral justifications that were deployed and the attempt to keep slavery out of sight and out of mind are worth studying too; after all, “one Cartwright brought a slave from Russia and would scourge him; for which he was questioned; and it was resolved, that England was too pure an air for a slave to breathe in.”1

In any case, the eighteenth century was one of great change that saw the Agrarian and Industrial Revolutions and the move from the countryside to the city. I would add that, although villeinage had disappeared in England by 1700, villeins existed in Scotland until 1799.

2. The National Gallery of Scotland wants the tax-payer to buy some paintings from the Duke of Sutherland. Why don’t we apply Nice-style cost-benefit analysis here? Would £100m spent on art really produce £100m worth of increases in quality-adjusted life years (by improving the quality of life, not length of course)? And if we don’t apply such reasoning, why not? Why is the restrictive CBA of Nice only applied to drugs, rather than to all public spending?

Actually, NGS doesn’t want to do that or, at least, if they do they haven’t told anyone. I telephoned the NGS’s contact for the Sutherland purchase and they have not announced how they propose to fund it. Let us assume, for the sake of argument, that they want to take it out of general taxation.

Using QALYs would, in time, almost by definition suggest that the spending is justified. It is a one-off purchase of two paintings that will also secure a long-term loan on a further fourteen pieces of art. If we say that, on a scale of one to zero, one is perfect health while zero is dead, we can give a figure to the change in QALYs from the expenditure.
I quote from the entry on NICE’s website on QALYs:

Patient x has a serious, life-threatening condition.

If he continues receiving standard treatment he will live for 1 year and his quality of life will be 0.4 (0 = worst possible health, 1= best possible health)

If he receives the new drug he will live for 1 year 3 months (1.25 years), with a quality of life of 0.6.

The new treatment is compared with standard care in terms of the QALYs gained:

Standard treatment: 1 (year’s extra life) x 0.4 = 0.4 QALY

New treatment: 1.25 (1 year, 3 months extra life) x 0.6 = 0.75 QALY

Therefore, the new treatment leads to 0.35 additional QALYs (that is: 0.75 –0.4 QALY = 0.35 QALYs).

The cost of the new drug is assumed to be £10,000, standard treatment costs £3000.

The difference in treatment costs (£7000) is divided by the QALYs gained (0.35) to calculate the cost per QALY. So the new treatment would cost £20,000 per QALY.

Let me substitute a little.

Person y has a serious, life-threatening condition; they are alive and therefore will die in n years.

If they continue receiving standard treatment they will live for n years and his quality of life will be m, where 0? m ? 1 (0 = worst possible health, 1= best possible health)

If they receive the new drug they will live for n years (assuming that art doesn’t affect length of life), with a quality of life of m + b, where b is the benefit in terms of quality of life derived from viewing the art

The new treatment, art, is compared with standard care in terms of the QALYs gained:

Standard treatment: n x m = nm QALY

New treatment: n x (m+b) = nm+nb QALY

Therefore, the new treatment leads to nb additional QALYs

The cost of the new drug is assumed to be £50,000,000, inaction costs £0.

The difference in treatment costs (£50,000,000) is divided by the QALYs gained (nb) to calculate the cost per QALY. So the new treatment would cost £50,000,000/nb per QALY.

Let us say that a nice trip to the gallery to see the picture is equal to a positive change of one one-thousandth, or 0.001. We very quickly see that the cost, given that n is constant, per QALY is an astronomical number: 50000000000. That, however, is for one person. To bring it down to the £30,000 limit suggested by the NHS, 1,666,667 people would have to see the paintings. That’s not per year; that’s in total ever. NGS tell me that one and a half million people visit the National Galleries of Scotland per year, a million of which go to the National Gallery of Scotland where the Titian is.

It may be that my assumption of one one-thousandth of a QALY is too high. It wouldn’t matter; you’d have to wait longer to derive the benefit, but it would happen. It is also, of course, possible that it is too low. Not everyone who sees the paintings (the total is fourteen) is going to be someone off the street. Some will be schoolchildren on guided tours who may have a lifelong interest sparked in art; I’m sure you can think of other, equally unquantifiable examples.

You could also add into the calculation the benefit of the continuation of these major works of art to the local economy, including the increased publicity they will receive from the coverage of the possible purchase.

I wonder if Chris has been reading Bentham; the QALY method is the descendant of the felicific calculus and I’m sure that he would like to think he’s had an impact. The reason, I suspect, that this form of CBA is only applied to medical treatments for two reasons. Firstly, medical types tend to have a decent grasp of statistics and so are more likely to come up with ways of quantifying abstracts like ‘quality of life’. Doing the same thing for, say, Trident would be a lot harder as you have to make unprovable, untestable assumptions about the effect of having nuclear weapons. You could say that having a bell on a stick would prevent us from being nuked and it would be just as hard to prove. It is also hard to test the effect, if any, of things like prestige. I suspect, though, that the main reason is that the budgets for the NHS in general and medicines in particular are so large that they cannot be ignored and that, as the Government wanted to move responsibility away from itself, both to avoid the demands of political exigence and thereby to give a fairer result, NICE was set up and went about things in the best way it could.

3. How can academics be so quick to close down free speech? Surely, any proper teacher must know that the solution to mistaken beliefs is to correct them through discussion – that’s what teaching means. Academics must therefore support free speech, by definition. Does this episode merely corroborate my prejudice, that a close interest in the Israel-Palestine question is dangerous for one’s mental health?

Unfortunately, there are plenty of academics who don’t sign up to the scientific method; I point to many of the people involved in promoting creationism or intelligent design and, for some excellent rebuttal, Thunderf00t’s YouTube channel.

Mistaken beliefs should, in theory, be correctable by teaching so long as the belief is honestly held on a misappreciation of facts or misapplication of argument. Often, the aim is not to find any sort of ‘truth’ or answer but to ensure that your side wins; the fervour behind that aim, whether religious or secular, is such that any methods are justified leading to a lack of understanding in why what can be broadly termed the scientific method is important. That leads to lazy citation and research and quoting David Duke.

In answer to the final point, yes. I agree with much of Dave Osler’s thinking about the problems around discussing the area at the Eastern end of the Mediterranean.

4. Companies are moving their head offices to Ireland or Luxembourg to save tax. So, is there something to be said for a cut in corporation tax, financed by higher top income tax rates? The idea here is that companies’ head offices are more mobile than individual high-earners, and it doesn’t matter much anyway if a few of these leave or retire anyway. So we protect tax revenues without increasing inequality. What’s wrong with this?

In a unitary state, not much. However, in a country like the USA, where a slight rise in corporation tax could allow for a reduction in income tax in a given state, making people move to a state next to the state where they work. Indeed, it could make sense for a state to try to ride the Laffer curve if they have a nearby headquarters. Ultimately, it depends on whether the costs of moving justify the rewards of lower taxes for a given high-earner.

As to what might be wrong with this, we well know that the majority of the press will not report such subtleties other than as ‘tax rise’ or an attack on anything resembling progressive taxation.

I have wondered what would happen if we scrapped all taxes except income tax, adjusting the total take accordingly; I suspect, though, that whatever we did companies and other states would play the system to their advantage.

5. Merrill Lynch has lost a quarter of the profits it made in 36 years in just 18 months. Does this show that the profits to investment banking are a reward for taking black swan risk? You make decent profits, on average, in exchange for massive losses on rare occasions? Were Merrill’s profits (and those of other investment bankers) in good times merely a reward for taking this obscure risk? Did they – and their rivals – really fully understand what they were doing, or were they just lucky punters? What would count as persuasive evidence here?

Persuasive evidence here would be pretty hard to come by as we are only looking, for the most part, at the actions rather than the rationale. The turnover in staff may also mean that people came in without sufficient time to analyse the situation and those that did thought that the expectation of the low probability event given a short time at that company was low enough to take the risk. I would add that Merrill Lynch and others may have actually had a role in causing and worsening the crunch that has led to their losses.

Are there interesting, non-trivial answers here that are well-founded in evidence? Or is it that there’s a lot we don’t know?

Both, I’d say.

xD.

1 – cited from a judgement of 1569 by counsel for Somersett, a slave, in Somersett’s Case (R. v. Knowles, ex parte Somersett) of 1772 which “held that slavery was unlawful in England (but not other parts of the British Empire”

Fourth Plinth: and the winner is…

Model of Nelson's Ship in a Bottle by Yinka Shobinare MBE, courtesy of london.gov.ukThe next two installations for the Fourth Plinth have been announced; they are Antony Gormley’s One and Other and Yinka Shonibare MBE’s Nelson’s Ship in a Bottle. I’m delighted than Shonibare’s entry was chosen – I wrote about it here. As I said then, I think a model of HMS Victory would be particularly appropriate both because of the obvious links to Trafalgar and Nelson, but also because of London and Britain’s maritime heritage. The fabric used for the sails will be based on an African design, which seems to reflect the modernity of the city well, as does the irony of literally being ‘in a glass jar’ in an area used for demonstrations, festivals and, of course, statuary.

Model of One and Other by Antony Gormley, courtesy of london.gov.ukGormley’s entry, which consists of a series of members of the public standing on the plinth for an hour each, will only be installed (for want of a better word) for a hundred days, meaning 2,400 people will be able to take part. I’m tempted to have a go myself, mostly so I can take my camera and tripod and take some unique photos1. One of my projects at the moment (moment in the loosest sense of the word) is to try to photograph every statue in London and put them onto a searchable map; it would be fun to be part of the database.

I wonder how many people will use their hour to make a political or commercial point. ‘Vote for Me’ and ‘Eat at Joe’s’ on either side of a sandwich board seem like a good idea to me.

xD.

I’m thinking of getting a panoramic head anyway. Anyone have any experience with the Panosaurus?

Sir Keith Park

ACM Sir Keith Park, GCB, KBE, MC & Bar, DFC, RAF, photo courtesy of WikipediaAir Vice Marshal Sir Keith Park, later Air Chief Marshal, commanded No. 11 Group RAF from April to December 1940. No. 11 Group had responsibility for air defence of the south-east of England, including London, and so Park was in charge of the group that bore the brunt of Hitler’s attacks in the Battle of Britain.

There has been a movement to commemorate Park on the fourth plinth in Trafalgar Square. Boris Johnson initially indicated that he supported the idea, but in the end has decided to continue the Fourth Plinth project of changing artworks. As I have said before, I rather like the Fourth Plinth and I am glad that the project, for the time being at least, will continue. I expressed my support for Yinka Shonibare’s Nelson’s Ship in a Bottle for the next installation.

However, the fact that the Fourth Plinth is not available does not mean that that there cannot be a statue of Sir Keith Park in the centre of London. While I understand the logic of putting a senior RAF person on a square that has army and navy figures already, there is a risk that Sir Keith would become as famous as some of the other statues on Trafalgar Square. Can you tell me what Henry Havelock, Charles James Napier or Andrew Cunningham did? Equally, despite the campaign’s statement to the contrary, the plinth is not empty. From an artistic point of view, the Fourth Plinth is shaped and sized for an equestrian statue – in the north-east corner, George IV is on horseback.

It would be unfortunate if the campaign to commemorate Park were to end. It would be equally unfortunate if it were to focus on overturning a given decision, potentially annoying people who support the Fourth Plinth project, when there are other places that could be considered. Leicester Square is undergoing redevelopment; there are spaces on both sides of the Ministry of Defence Main Building. Situated between the Embankment and Whitehall, lots of people walk past on the way between Parliament Square and Trafalgar Square.

A final thought; I do hope that this campaign, worthy though it is, is not the first of a series to replace the Fourth Plinth with something permanent.

xD.

The fourth plinth

The shortlist for the new installation on the Fourth Plinth have been announced. They are The Spoils of War (Memorial for an unknown civilian) by Jeremy Deller; Something for the Future by Tracey Emin; One and Other by Antony Gormley; Sky Plinth by Anish Kapoor; Nelson’s Ship in a Bottle by Yinka Shonibare; and Faîtes L’Art, pas La Guerre (Make Art, Not War) by Bob & Roberta Smith. Clicking on a link will take you to the relevant page on the London government website.

Models of the pieces are on display at the National Gallery on Trafalgar Square until 30 March.

One and OtherAntony Gormley’s piece calls for 8,670 people to stand on the plinth for an hour each over the course of the year. Off the bat, I rather like the idea. I’m not entirely sure why, but something about putting ordinary people on the plinth is attractive to me. People could do whatever they want (I would probably take a table, chair and pot of tea) but it also emphasises the person on the street amongst the heroes of Trafalgar Square, particularly as some of the heroes aren’t very well known1.

There is also a comparison to be made with Tracy Emin. Gormley is known for his metal body casts that have been on the skyline around the Hayward lately, but moved on to come up with something new, particularly as something similar to the ‘Gormies’ had already stood on the Plinth – Ecce Homo. Ms Emin did not.

Something for the FutureI am not a fan of Tracey Emin. I have no problem with conceptual art, but I think the concepts Emin chooses to explore are uninteresting and her methods derivative. In fairness to Ms Emin, I was probably biased against her from the start. The rubric for Something for the Future reads

For some years Tracey Emin has been interested in the social behaviour of meerkats, small mammals that live together in an egalitarian order in the Kalahari Desert, southern Africa. She has noticed that ‘whenever Britain is in crisis or, as a nation, is experiencing sadness and loss (for example, after Princess Diana’s funeral), the next programme on television is Meerkats United’. Emin proposes to place a sculpture of a small group of meerkats on the empty plinth as a symbol of unity and safety.

This is an example of selection bias, as there are events as tragic that affected one person that did result in the meerkat effect (the death of Jean Charles de Menezes, for instance). It also misses the fundamental point about meerkats – they’re permanently at risk and so are always on guard. Meerkats are an example of perpetual terror, danger and flight, not unity and safety and certainly not anything I would like to feature in my future. Meerkats also have a hierarchical society, with alpha males leaving their scent on subordinates so that everyone knows who is in charge. It is also effectively nicking the aesthetics of a previous statue on the Fourth Plinth, Ecce Homo.

Make art not warThe Smiths’ piece could have been very interesting. Its size would rival Nelson’s Column and I like the idea of highlighting an anti-war message on a square named for a great battle and with statues and busts of military leaders, particularly as Trafalgar Square has been the culmination for several large rallies opposed to various wars over the years. I also like the idea of powering a dynamic installation with solar and wind power. However, it falls down on one significant point: aesthetically, it’s rubbish. It is displeasing to the eye and looks like a child has cobbled together some Meccano. I don’t see why it has to be in French, and the message could be slightly more subtle than ‘make art, not war’, particularly as the presence of a huge piece of art suggests that war isn’t preventing people from making art.

The spoils of warThe Spoils of War is trying to do the same as Make Art not War, but isn’t (to my mind) as interesting. Where Alison Lapper Pregnant or Hotel for the Birds challenge preconceived opinions, I don’t think people, given the amount of televisual and pictorial reporting, think that war is not destructive. It is interesting, though, that the shortlisting committee chose two pieces directly related to war, which I suspect is because of Trafalgar Square’s return to prominence as a place of protest following its pedestrianisation and redevelopment.

Sky plinthAnish Kapoor’s Sky Plinth could work and could offer some interesting photos, but I feel that something less abstract is needed following Hotel for the Birds. I would add that a brief examination of the model did not reflect the ceiling.

Nelson's ship in a bottleNelson’s Ship in a Bottle presses all the buttons for me. It is aesthetically both striking and interesting and has multiple layers of interest – the bottle, the ship and the sails, which will be made of designs based on batik. The sails are, apparently, presumed to be of African origin, when they are more accurately a product of the mix of cultures in London and it will fit in well with the history and name of the square. The ship in a bottle also appeals to me as something quirky, which seems appropriate for eccentric London.You can leave comments on the London government website as well as here. It will come as no surprise that my preferred choices are either Yinka Shobinare’s Nelson’s Ship in a Bottle or Antony Gormley’s One and Other. I would very much like to hear what other people think in the comments.

xD.

1 – While everyone has probably heard of Horatio Nelson, James II and George Washington, I wonder how many have heard of Henry Havelock, Charles James Napier or Andrew Cunningham.

Antony Gormley’s Blind Light at the Hayward

The advertised part of Antony Gormley’s Blind Light exhibition at the Hayward is a room full of very dense fog. It is a remarkable installation, but of that more later. There are other parts to it which are worth seeing by themselves.

I’ve seen a lot of exhibitions that seek to use the viewer as part of the art, but none as successful as this one. It involves you, the viewer, very directly but your experience of most of the pieces is dependent on the presence and actions of others.

The first installation, Spaceship, is huge – twenty-seven tonnes of metal that fills the room. Both irregular, looking like a hunk of technology torn off an orbiting leviathan hurled to earth, and highly regular, with holes aligned on a cubic grid, you can stand up close to it, peering into holes to see the interior, but the best effect is standing back, on the stairs, watching what could, for all the world, be Iron Age humans looking in incomprehension and disbelief at this monster crammed into a small space.

Another piece is a set of boxes, with holes to approximate human orifices, based on the sizes of inhabitants of Malmö from eighteen months to eighty years old. More than anything else in the exhibition, it depersonalises the viewer. You can find boxes of the same height as yourself, but the association is uncomfortable: reduced to boxes on the basis of phyisiognomy in a field of similar, pallid, stained figures I found reminded me of concentration camps. Now, it is at times (and I mean no offence here) hackneyed to make comparisons with the Holocaust but in this case it is, I think valid. There is a meme somewhere on the interweb about the time it takes for an online discussion to descend into comparisons with Hitler. The random positioning, crowdedness and ghastly similarity to humans along with, as I said, the hint of Eugenics left me feeling that I was standing in a field of half-humans, only their measurements in a forgotten archive to remind us of their existence.

I don’t think this was Gormley’s intent; another piece is a lost-wax cast of him in a cube, so that you can see the gaps where his head and hands were, which more successfully captures the dichotomy between something that protects at the same time as restricting your freedom.

It is often better to be in chains than to be free

-Franz Kafka

While I am not certain how successful Gormley was in his aim in the field of boxes, it is nevertheless a very worthy piece of art. The main installation, Blind Light, is excellent. In essence, it is simple: a glass box filled with fog. It is, though, the densest fog I’ve ever seen. Perhaps fifteen centimetres from your face, your hand is a shape and fully outstretched it is invisible. As I said before, the presence of others is essential. When walking around the outside, people come up against the glass and interact with you while you can do the same when inside. Walking across the box is the Gormley’s most successful means of picking up on the aforementioned dichotomy. There is no feeling of danger and the new experience is quite welcome, but you have to proceed slowly, with arms outstretched, to avoid running into people. The visitors were being terribly British, with occasional cries of ‘Oh, excuse me!’ as they touched one another. While that is all fun, the water underfoot, the lack of vision and the water condensing on your clothes and exposed skin means that you are slightly on edge.

As to the title, Blind Light, it is an interesting reflection, much in line with the protection-restriction, quod me nutrit me destruit, idea that the excess of light which we need to see makes it impossible to function as the sighted would normally do.

The rest of the indoor exhibition is worth seeing, but less effective, consisting essentially of casts of Gormley’s body in different suspensions and contortions.

Outside, the sculptor of The Angel of the North goes for another grand-scale work – casts of his body again, but on rooftops and ledges around the Hayward. I’m going to go back when it’s less crowded and wander around the area taking pictures of the casts that make up Event Horizon, so more of that in another post. I would say, though, that in keeping with the guide to the exhibition, the title seems pretentious. An event horizon is the maximum limit of light from a given event, such that in proximity to a black hole all light paths lead back to the centre. This seems very much at odds with the idea of appreciation of a single event in two, apparently contradictory ways.

Event Horizon is free to be photographed – they could do no other, given that it is outdoors and lends itself to photographs. It is a shame the Hayward or the exhibitor would not allow photos within the exhibition. There are no delicate paints to be protected and it would allow further interaction with the installations, later reflection on them and the creation of mini-artworks. It’d also be a lot of fun.

xD.