"The analysis of the discursive field is orientated in a quite different way; we must grasp the statement in the exact specificity of its occurrence; determine its conditions of existence, fix at least its limits, establish its correlations with other statements that may be connected with it, and show what other forms of statement it excludes. We do not seek below what is manifest the half silent murmur of another discourse; we must show why it could not be other than it was, in what respect it is exclusive of any other, how it assumes, in the midst of others and in relation to them, a place that no other could occupy."
1). Michel Foucault (1969) "The Archaeology of Knowledge", publ. Routledge, 1972.
The Victoria Line that opened between 1968 and 1971 "provided the opportunity to produce a new and consistent look across the whole line, from the trains themselves to the stations and platforms. All aspects of design were overseen by Misha Black, the Design Consultant for London Transport (1964-1968), who previously had a similar role with British Rail. He employed the talents of the The Design Research Unit (DRU) - a collective of designers, artists and architects who designed all aspects of the VIctoria Line.
Each platform was designed with a very muted colour scheme, described by some of the press at the time as the 'late lavatorial style' (1, P58). The tiled designs in each seat recess provided much needed colour and decoration, and gave each stop its own visual identity. The results were a mixture of direct inspiration from the station name and references to historical details of the local area."
(Ian Moore, Design Assembly, 3 May 2010)
Fig.1 Stockwell by Abram Games - a semi-abstract swan, representing the nearby pub of the same name.
"n 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon's hotel room in Toronto and convinced John to do an interview. This was in the midst of Lennon's "bed-in" phase, during which John and Yoko were staying in hotel beds in an effort to promote peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative which tenderly romances Lennonís every word in a cascading flood of multipronged animation. Raskin marries traditional pen sketches by James Braithwaite with digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennonís boundless wit, and timeless message."
Fig.1 'I Met The Walrus' (2007). Josh Raskin - Animator, Josh Raskin - Director, Josh Raskin - Editor, Josh Raskin - Composer (Music Score), Alex Kurina - Cinematographer, James Braithwaite Computer Illustrations - Cinematographer, Jerry Levitan - Producer, Josh Raskin - Screenwriter, James Braithwaite - Illustrator, Alex Kurina - Illustrator [6 minutes].
"The Computer History Museum offers many online exhibits on a variety of topics related to the history of computing. Some online exhibits like Visible Storage and Mastering the Game complement physical exhibits you can also experience when you visit the Museum in person. Other online exhibits are available only through the Internet and extend the reach of the Museum to virtual visitors around the world."
(Computer History Museum)
"Can I Get An Amen? is an audio installation that unfolds a critical perspective of perhaps the most sampled drum beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60's soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a 'B' side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno-utopian notion that 'information wants to be free'- it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law."