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301 posts categorized "Sound and vision"

01 April 2019

Recording of the week: well sick

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This week's selection comes from Jonnie Robinson, Lead Curator of Spoken English.

The widespread use among young speakers of sick [= 'great, excellent'] follows the pattern of several slang terms in which the conventional meaning is inverted by speakers who subsequently use it as an all-purpose term of approval. The Oxford English Dictionary (OED) records a similar process with wicked from the 1920s and bad from the 1950s onwards, for example.

Taken out of context this can, of course, lead to confusion between the generations as illustrated by a text message I once received from my then 18-year-old daughter. Having just seen one of her favourite bands at Reading Festival she texted: Peace just finished! fifth row! was sick! I chose to interpret this as good news.

Text-message

This positive meaning of sick was one of the most popular submissions to the Library's Evolving English WordBank, a crowd-sourced collection of dialect and slang created by members of the public in 2010/11, as illustrated by these two contributions, and is first recorded in the OED in 1983.

SICK [Manchester C1442/1917]

female (b.1987, Manchester) Sometimes with my friends I say that’s sick meaning that’s extremely good. I’ve got a feeling it comes from sort of Afro-Caribbean influences,  Asian British Asian influences as well, that’s where I seem to hear it the most.

SICK [West Midlands C1442/1332]

male (b. West Midlands) One of the most common phrases I use is sick for something really good it’s extremely common between me and my mates we would say oh how was the gig last night ... oh it was sick.

Follow @VoicesofEnglish and @soundarchive for all the latest news.

25 March 2019

Recording of the week: Peter Blake remembers the Royal College of Art

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This week's selection comes from Camille Johnston, Oral History Assistant Archivist.

This week we’re travelling back to 1950s London, where a young Peter Blake was learning to draw. Peter Blake is an English Pop artist who famously co-created the cover art for the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band. In the 1950s he was a student at the Royal College of Art with Frank Auerbach and Leon Kossoff.

339_richard_smith_peter_blake_as_students_photo_robert_buhlerPeter Blake and Richard Smith (right), as Royal College of Art students c. 1956. Robert Buhler, Courtesy Royal College of Art Archive. Image not licensed for reuse

In this clip from his life story interview, Peter Blake conjures up his memories of the busy life drawing room. In the life drawing room you might find artists sitting on 'donkeys' and there would be at least 15 life models – each surrounded by a group of students jostling for space. Some artists took up more space than others, and Blake picks out the artists that one would avoid... As well as capturing the characters of his fellow students, Blake gives a vivid account of his tutors, and of the professional models:

Peter Blake on life drawing classes (C466/168)

In the recording Blake describes his tutors both as ‘vultures’ and ‘sharks’ – who would hover around the many easels and lurch in to rub out the students’ drawings and make corrections. He’s right in saying that this wouldn’t be tolerated by art students now! Despite this, in his next breath he describes how wonderful it all was.

This clip features on the Voices of art website. Voices of art is a new British Library resource that explores the art world from behind the scenes. Extracts from oral history recordings accompany a series of essays by writers immersed in the art world of the 20th and 21st centuries. To hear Peter Blake’s clip in context, see Tom Powell’s article 'Why can't you draw the model like that?' Remembering the life room through Artists' Lives and Lisa Tickner’s article Playing it by ear: Kasmin in the 1960s.

Peter Blake was recorded by National Life Stories for Artists’ Lives in sessions between 2003-2005. The interviewer was Linda Sandino. Listen to the full interview on BL Sounds.

Follow @BL_OralHistory and @soundarchive for all the latest news.

20 March 2019

“The Acorn System One can be used to control a 22nd Century intergalactic spaceship”

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It's been 40 years since the release of the Acorn System 1. One of the earliest British personal computers, it was not much to look at, just a circuit board studded with electronic components, a keypad, and a digital display. Largely developed by Sophie Wilson, with contributions from Steve Furber, the System 1 was typically sold as £65 kit that had to be soldered together by the buyer themselves. The little machine couldn't do very much, but gave electronic enthusiasts the chance to play around with a personal computer of their own, a concept that was little more than science fiction a few years previously. Before the 1970s computers were large and expensive machines, electronic brains for scientists, number crunchers for corporations or Big Brother. It was thanks to affordable machines like the System 1 that computing began to come to the masses.

021I-C1379X0078XX-0001A0Steve Furber at work around the time of the BBC Micro development in the early 1980s
Photo courtesy of Chris Turner

Fittingly enough for such a futuristic idea, the System 1 would itself feature in science fiction a few years later, with an appearance as a spaceship's computer in the BBC television series Blake's 7. This was somewhat to the surprise of its developers at Acorn, as Steve Furber recalled in an interview for An Oral History of British Science.

Steve Furber on Blake's 7 and the Acorn System 1 (C1379/78)

After the System 1, Acorn's designers, led by Wilson and Furber, went on to develop a series of popular personal computers, including the Acorn BBC Micro, which introduced millions of school children to computing for the first time. In the mid 1980s they also developed the first ARM chips, a revolutionary family of computer processors. There have been over a hundred billion ARM chips manufactured since and this distant, but direct descendant of the System 1 can be found inside electronic devices the world over; there's probably one inside your smartphone. However, as Furber recalled, back in 1979 “I don’t think anybody really saw the consumer boom and the sort of computer in every house scenario.”

Steve Furber on the future of computing in 1979 (C1379/78)

This blog is by Tom Lean, National Life Stories Project Interviewer and the author of a book on the history of British home computing. Tom interviewed Steve Furber for An Oral History of British Science (reference C1379/78) in 2012 and he is featured on the Voices of Science website.

18 March 2019

Recording of the week: Will Montgomery - Submarine

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This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Camberwell Submarine_ Eva del Rey

You may have seen this extraordinary ventilation shaft known as the Camberwell Submarine on Akerman Rd. London SW9.

It was built in the 1970s as part of an underground boiler room and heating system for Myatt’s Field estates. It is regarded as one of a kind due to its dimensions and design. See urban 75 for more images.

The boiler room and heating system is no longer in use. The room is closed but there is a memento of its sound kept forever in the archives.

‘Let us cross a large modern capital with our ears more sensitive than our eyes’ wrote futurist maverick Luigi Russolo in The Art of Noises (1913).

Artist Will Montgomery made recordings of the machinery of the boiler room in action. He assembled them into a short piece and published it on Touch Radio website, 8th November 2008. He called it ‘Submarine’.

Touch Radio 036: Will Montgomery - Submarine

I went on location on a Friday afternoon last February and strolled along the site listening to Montgomery’s composition on my phone. White noise, a harmony of hissing sounds exhaling through the boiler's steel valves. It felt both eerie and calming as if the Camberwell Submarine had gradually come back to life.

Follow @BL_DramaSound and @soundarchive for all the latest news. Visit British Library Sounds to listen to more pieces from Touch Radio.

08 March 2019

International Women's Day: Oral History highlights

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To celebrate International Women’s Day, three colleagues from the British Library Sound Archive have handpicked three oral history interviews from National Life Stories collections.

Architect Angela Brady

“The women have got to be better than the men to survive in architecture.”

Angela Brady interviewed by Niamh Dillon C467/107 Track 5

This interview was selected for International Women’s Day by Niamh Dillon, who interviewed Angela Brady from 2013-2014 for the National Life Stories project, Architects’ Lives. Niamh reflects on Angela Brady’s career:

Angela Brady was born in Dublin in 1957 and trained as an architect at Bolton Institute of Technology. During her studies, she had her first encounter with the gendered attitudes within the profession. As a response, she determined to ‘work bloody hard’, successfully qualifying as an architect. During her early career she spent periods in Denmark working on housing and moved to London, working for large practices before setting up her own practice, Brady Mallalieu. She campaigned and won election as President of the Royal Institute of British Architects campaigning on a platform to increase diversity within the profession. She was only the second woman to achieve the position and presided over the organisation during the 2012 Olympics. In 2017 she was awarded an OBE for services to architecture.

Angela Brady's interview is listed on the Sound and Moving Image catalogue (reference C467/107). For more information about Architects' Lives see the NLS project page.

Artist Sheila Girling

“…trying to fit two lives. It’s a great strain on women I think really, to have to cope. Because children are not just things you can put down and put away.”

543_sheila_girling_with_tony_caro_portrait047 - small
Sheila Girling with Anthony Caro. Courtesy Barford Sculptures Limited. Image not licensed for reuse.

This interview was selected for International Women’s Day by Hester Westley, who interviewed Sheila Girling in 2009 for the National Life Stories project, Artists’ Lives. Hester describes Sheila Girling’s approach to her artistic practice and family life:

Sheila Girling’s life story addresses the challenges which restricted women artists before the days of equality movements and general awareness of gender inequality. Girling trained as an artist at the Royal Academy Schools at a time when women students were expected to treat such training, the same as any male student’s, not as a step towards a profession but more like a finishing school. Following her marriage to the famous abstract sculptor Sir Anthony Caro, Girling put her own practice as a painter on hold, raising their two sons before returning to her studio practice in later life. In this recording she discusses with frankness and compassion the difficult choices she made as she sacrificed her own needs for the needs of others; without bitterness, her candid discussion of what it means to be a woman artist will speak to generations of women as they navigate marriage, motherhood and a professional life.

In this clip, Sheila Girling discusses how she balanced her artistic career, family life, and the career of her husband, Anthony Caro:

Sheila Girling interviewed by Hester Westley C466/296

Sheila Girling features on the new British Library website Voices of art. To read more about Girling’s life and work, see Hester Westley’s essay Coaching from the side lines: Sheila Girling and Anthony Caro. Read a written summary of Sheila Girling’s interview on the Sound and Moving Image catalogue (reference C466/296).

Doctor Una Kroll

“...we’re partners and we should be equal and we should be contributing equally.”

This interview was selected for International Women’s Day by Lucia Cavorsi, Audio Project Cataloguer for Unlocking our Sound Heritage who has enhanced the catalogue records for Una Kroll’s interview. Una Kroll was interviewed by Rebecca Abrams in 1991 for National Life Stories. Lucia shares her experiences of listening to the interview and learning about Una Kroll’s life and work:

Getting closer to women coming from completely different paths of life is nowadays not only edifying, but crucial for women’s rights. That’s what happened to me when I worked with this collection item. I got captured by the words of Una Kroll; by her vision of the world; by her incorruptible idealism. A doctor, a feminist, a deaconess (at the time of the interview), an activist, a mother, Una Kroll channelled her anger for social injustice towards service and fight. As a doctor, she set up the first local services for cervical screening and breast analysis at her St. Paul’s Cray practice. As an activist she campaigned relentlessly and cleverly for the ordination of women. As a deaconess and profoundly religious person she challenged the patronising attitude of a male dominated Church.

As a feminist she didn’t conform to given rules and started wondering why women had handed so much power to men; why rules were made by men to hold up women. As a mother she was concerned to see justice and harmony for people who were oppressed, so to offer a fairer world to her daughter. As a woman, she wanted to show how good it was to be a woman; how women’s role in society is to explore better ways to live in harmony, without anyone undergoing segregation. She taught me that opposition to men is a necessary phase both for our political struggles and our growth as women, but it’s just a phase. That what we all need to aim for, is to truly recognise the equal nature of all human beings. To appreciate and understand the inherent dual nature, feminine and masculine, of God. Whatever this is.

To listen to Una Kroll speaking about the stuggle for the ordination of women, head to the Sisterhood and after website. Una Kroll’s interview has very recently been digitised by Unlocking our Sound Heritage. It can currently be accessed at the British Library through the Listening and Viewing Service and will be available more widely soon. Read a written summary of Una Kroll’s interview on the Sound and Moving Image catalogue (reference C464/10).

04 March 2019

Recording of the week: spontaneous mimicry on a yorkshire moor

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This week's selection comes from Cheryl Tipp, Curator of Wildlife & Environmental Sounds.

Though many songbirds are capable of mimicry, it’s fair to say that some are more talented than others. The European Blackbird is one such example.  From the songs of other birds to the sounds of car alarms, the blackbird is not afraid of stepping up to the mark and having a go.

But why bother wasting time mimicking other sounds when you’ve got a perfectly good song of your own? If you’ve ever listened to a singing blackbird, you’ll know that its voice is a wonderful thing, full of passion and flair. But that doesn’t mean it can’t be improved. As male birds use their songs to attract a mate and ward off potential rivals, it never hurts to have a few tricks under your wing. Being able to mimic other sounds and incorporate them into your song could mean the difference between a successful breeding season and a frustrating few months.

2021012_app_si_C_IV_909Male Blackbird by Wilhelm von Wright (Finish National Gallery, CCO via Europeana)

The following recording of a blackbird, made by Richard Margoschis in 1992, is a special one, not just because the male is able to accurately mimic the call of a nearby bird, but that he appears to do so spontaneously. While singing from a hawthorn bush on the edge of a yorkshire moor, our blackbird is accompanied by the mournful 'pu-we' whistles of a nearby Golden Plover. As the plover continues, our male stops, listens and then gives his own rendition of the call.

Blackbird spontaneous mimicry of a Golden Plover (BL ref 33668)

Was this just a one-off? Or was our blackbird so chuffed with his efforts that he decided to make this imitation a permanent feature of his song? Unfortunately we'll never know. But what we can say is that this little bird gets ten out of ten for effort.

Follow @CherylTipp and @soundarchive for all the latest news.

This recording has been digitised as part of the library's Unlocking our Sound Heritage project.

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25 February 2019

Recording of the week: rabbits and chickens by post!

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This week's selection comes from Dr Rob Perks, Lead Curator of Oral History.

I recently went to post a letter in my local post-box and discovered that it had disappeared! Gone without warning or explanation. It had been there for as long as anyone could remember and it made me think about how post-boxes are such a fixture of our environment, both in the town and in the countryside (where I live), that we take them for granted. And behind every post-box is an amazing network of people and systems carrying our letters, packages and postcards all over the world. 

Postbox_and_gatepost _Wainsford_Road _Pennington_-_geograph_org_uk_-_253116Postbox and gatepost, Wainsford Road, Pennington / Robin Somes / CC BY-SA 2.0

National Life Stories’ ‘An Oral History of the Post Office’ interviewed 117 people working for Royal Mail from the 1930s (or the GPO, General Post Office, as it was then known). Working for the GPO was ‘a job for life’ and being a postman often ran in families. Seamus McSporran was Postmaster on the remote Isle of Gigha off the west coast of Scotland in the 1960s where people (long before Amazon) relied on mail-order catalogues for parcel post deliveries of everyday items. And at certain times of the year rabbits and chickens would also go through the post!

Seamus McSporran (C1007/09)

Follow @BL_OralHistory and @soundarchive for all the latest news.

20 February 2019

Creative States of Mind: a new collection of interviews exploring artists and the creative process

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Artist Patricia Townsend writes about her collection, 'Interviews exploring artists and the creative process', recently deposited and made available at the British Library.

What does it feel like to be an artist? Are there common threads between the experiences of individual artists or does each artist work in his or her own idiosyncratic way?

As an artist myself, I began to think about what happens in my mind as I create new artworks and to wonder whether my experiences are shared by others. Do other artists also begin with a vague intimation of what they want their subject to be, but with little sense of what form the potential artwork might take? Do they also sometimes have the experience of an idea for a new work bursting suddenly and unexpectedly into their minds? And if so, do they, like me, initially feel a sense of elation as if the new idea is perfect even though they know from experience that sooner or later (and usually sooner) this elation will evaporate and the idea won’t seem so wonderful after all? I set out to explore these questions and more in a series of interviews with professional artists working in a variety of media. These interviews, many of which are now archived in the British Library, formed the basis of my research for a PhD at the Slade School of Fine Art and for the book ‘Creative States of Mind: Psychoanalysis and the Artist’s Process’ (Routledge 2019).

BookCover

When I began this project I didn’t know whether the artists I interviewed would be able to put their experiences into words. After all, I was speaking to visual artists who have deliberately chosen a non-verbal medium in which to express themselves. Many of them were accustomed to being asked about their material processes and their motivations but I was asking them to talk about how it feels to make a work of art, something they might not have considered in depth before. Would it be possible to express this verbally? If the answer had been no, my whole project would have fallen flat, but as it turned out I needn’t have worried. Many of the artists were wonderfully articulate, often finding poetic images that vividly conveyed the qualities of their experiences. For instance, painter Hughie O’Donoghue used the metaphors of archeological digs and of dredging to describe his process of unearthing something from the subconscious as he paints:

Hughie O'Donohue interviewed by Patricia Townsend (C1801/17)

This recording adds another dimension to the understanding of O’Donoghue’s work that we might not have gained through the written word alone. His reflective way of speaking mirrors his deeply thoughtful engagement with his developing painting.

Another example is provided by photographer Sian Bonnell who describes how it feels to be immersed in her work, even to the point of making herself ill:

Sian Bonnell interviewed by Patricia Townsend (C1801/03)

This recording takes us, as listeners, inside this artist’s experience. Through the way in which Bonnell speaks, as much as through her language, we get a feel for the intensity of the state of mind she is in.

These examples attest to the individuality of each artist’s experience. And yet, the interviews reveal many shared threads too. O’Donoghue speaks of his painting as acquiring ‘some kind of life’ through his work on it. A number of other interviewees also speak of a point in their process when their developing artwork begins to come to life. And the state of complete absorption described so vividly by Bonnell is also referred to by many other artists, each of whom finds his or her own particular way to convey the quality of the experience.

In conducting the interviews, I wanted to find out whether there would be enough common threads in the artists’ accounts to enable me to trace the journey from the artist’s first inkling that he or she is onto something, through the artist’s work with a medium to the completion of the artwork and its launch into the outside world. It seemed clear to me that the making of a work of art involves unconscious as well as conscious processes but, of course, neither I nor the artists I interviewed could provide information about processes that are out of our awareness. Therefore I looked to psychoanalytic theory to try to fill the inevitable gaps and to shed light on the artists’ narratives. But in the interviews I was not attempting to analyse the artists as individuals (something that psychoanalysis has been accused of in the past). Rather I wanted to use psychoanalytic theory to analyse the creative process through factors in common across many interviews. This is what I aimed to do in the book ‘Creative States of Mind; Psychoanalysis and the Artist’s Process’.

It was a great privilege to have the opportunity to interview these artists and each encounter gave me enormous pleasure. I am delighted that 25 recordings are now available through the British Library so that others can hear the voices of these remarkable artists for themselves.

Patricia Townsend
www.patriciatownsend.net
www.routledge.com/9780367146160

To find 'Interviews exploring artists and the creative process' search C1801 at sami.bl.uk. For other collections of oral history interviews with artists, sculptors, craftspeople, theatre designers, photographers, and fashion designers explore our collection guide to Oral histories of visual arts and crafts.