The diseases of Tamsin van Essen


Psoriasis (detail) from Tamsin van Essen’s collection “medical heirlooms”
Psoriasis (detail) from Tamsin van Essen’s collection “medical heirlooms”

The cover story in this month’s issue of Ceramic Review is about Tamsin van Essen’s work in her project “medical heirlooms”. It’s a fabulous project at the cusp of art and science, reflecting in clay various human ailments. Her idea is in the ether at the moment as I’ve seen it picked up in other craft/art disciplines (for example Laura Splan’s lacework doilies depicting the SARS, HIV, Herpes, etc. viruses)

One of Laura Splan’s 2004 freestanding computerized machine embroidered lace doilies mounted on velvet, depicting the SARS virus.

Reading the Ceramics Review article I was taken back to 2007. At work we do a lot of research about the interplay of computing, social science, and design and so every year a few of the team (myself included) try to visit as many of the degree shows as we can, plus combined shows like New Designers. Central Saint Martins is always a high-spot, and I make sure I climb the stairs to visit the work of Kathryn Hearn’s Ceramic Design BA.

Tamsin van Essen - Medical Heirlooms
My snap of Tamsin’s medical heirlooms at her degree show in Central Saint Martins in 2007

Tamsin’s work was tucked in the corner in the 2007 show, and like so much of the work coming out of the CSM Ceramic Design BA it redefined what I thought was possible at BA level, it must have given the masters students a shock! This week Graham Pullin, Jon Rogers, Richard, and I are writing up our thoughts about two years projects from Dundee design undergraduates in Microsoft’s Design Expo, and were reflecting there on how sometimes undergraduate work, when placed alongside higher level work, can really pull its weight.

The pictures taken by Tamsin of her work and used in the Ceramics Review article are amazing. She’s just finished an exhibition at the Wellcome Collection and it will be worth keeping an eye on her site to watch for forthcoming exhibitions:

Handel’s Judas Maccabaeus at Kings


Judas Maccabaeus menorah 2008 by Sara Hopkins on flickr
Judas Maccabaeus menorah 2008 by Sara Hopkins on flickr

I while back I wrote a blog post in response to the amazing production of Britten’s “Turn of the Screw” put on by the Cambridge University Opera Society. One of the things that made that production so magical was the lad playing Peter Quint, one Matt Sandy. I’ve just picked up the Cambridge University Musical Society brochure for the 2010-2011 season from our post room and notice that Matt (now listed as Matthew – this must be posher) is singing in the CUMS Chorus performance of Handel’s Judas Maccabaeus. It will be at 20:00 on Saturday the 13th in Kings College Chapel. If you don’t know Judas Maccabaeus (I don’t) Spotify has at least two versions: the Sir Charles Mackerras (with the English Chamber Orchestra, Felicity Palmer, Dame Janet Baker, John Shirley-Quirk, …) and the Nicholas McGegan with the Philarmonia Baroque; plus there’s an informative Wikipedia page.

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Darn it – I cannot go. It clashes with a concert by the Cambridge Concert Orchestra at Comberton Village College which I’m playing in.

Looking an svn_dump file in the mouth


from the horse's mouth.. by Sarah McD on flickr
from the horse’s mouth.. by Sarah McD on flickr

Crispin, the web master at the orchestra I play in (the Cambridge Concert Orchestra) is leaving us (and the UK) and so I’m taking over as web master. Crispin managed the website versioning in Subversion and so handed over the SVN dump file. I’m more of a Team Foundation Server  person, so it’s been a bit of a journey to get Subversion working on my Win7 box, though now I come to write some notes just-in-case I need to do it again the steps look easy. Big thanks to Dinan and a cast of thousands on the interweb for their help!


I started off trying Subversion via Linux, using either VMware + Ubuntu or Slax to get Linux up and running on my Win7 box. However that seemed overkill, so I looked around for Windows versions of Subversion (there’s a list on the Subversion site here: and settled on SlikSVN


Once SlikSVN was installed I made a suitable directory, put Crispin’s SVN dump file in it, and from the command typed

>svnadmin create repository
>svnadmin load repository < svn_dump

That gets me the SVN repository unpacked. Next I need a working copy and so this was the command:

>svn checkout file:///C:/Users/timregan/CCO/repository website

That’s it for the command line.


To edit the files it was easier for me to use Visual Studio 2010 as it’s powerful and I’m familiar with it. I used a Subversion plugin for Visual Studio called AnkhSVN which I installed.

Under the view menu AnkhSVN includes a repository explorer and a working copy explorer. I’m yet to figure out how to get it so that double clicking an shtml file in the working copy explorer opens the file in that instance of visual studio, and marks it as changed if it’s edited, but I’ll note those tips down to when I’m done.

The SVN book online is also fantastically useful:

Bridges between Design & Philosophy


Short Position Paper for the International Exploratory Workshop on “Design Philosophy Dialogue”

"I Ain't Lying" by Dead Air on flickr
I Ain’t Lying by Dead Air on flickr

Gilbert Cockton, Annamaria Carusi, and John Mullarkey  organised a one day workshop on the Design Philosophy Dialogue at Northumbria University’s School of Design, and each participant was invited to write a brief position paper. This is mine. It is more a reflection of my current concerns, questions, and confusions about the intersection of design and philosophy than a position.

Before starting the word ‘design’ needs clarifying. I had trouble categorising the type of design I wanted to talk about until Nathan Crilly suggested the term ‘art school design’, i.e. the various design disciplines taught as design in art schools (graphic design, product design, interaction design, etc).

The Lure of Other’s Disciplines

"The bridge" by quasarsglow on flickr
The bridge by quasarsglow on flickr

Bridges create possibilities. The rickety old bridge across a forest river pictured represents a temptation, a temptation to cross to an unknown world. But it also suggests danger in the crossing.

My own discipline, Human Computer Interaction (HCI), started life as an amalgam of two disciplines, computer science and psychology, and ever since has periodically renewed itself by alighting on new fields. Philosophy has been repeatedly visited for inspiration and for guidance, from before Winnograd & Flores’s 1986 book “Understanding Computers and Cognition” (which, amongst many other things, applies Heidegger, Gadamer, and Dreyfus’ ideas to the design of computer based office management systems) through to recent work including, for example, my colleague Alex Taylor’s project on everyday understandings of (machine) intelligence.

Design and philosophy are far older disciplines than HCI; what might be the appeal in each for each? For designers, philosophical theories and ideas may serve as inspirations, either in general methodological terms, or specifically project brief by project brief. And philosophy also serves to provide designers with the tools they need to discuss their foundational work. Both of these are problematic, as I’ll argue, which will bring us to what design may offer philosophers.

Building Bridges

"First Tanks Across Bridge" from historian505th on flickr
First Tanks Across Bridge from historian505th on flickr

When people from different disciplines collaborate, each has a different specialist language. In their paper “Languages of InnovationAlan Blackwell and David Good talk about this coming together of differing languages and show how successful long term collaborations move through misunderstanding, through pidgin use of each other’s language, to a full Creole – a new language forged by the two disciplines involved.

Design is not a textual discipline. The language of design is the designed objects and their precedents, their form and their embodiment in the world, and though we use the term “the language of design” I am not sure it is a language.

Philosophy is textual, fundamentally so. When design turns to philosophy for inspiration, the depth and texture of the philosophical arguments plundered appear lacking from the design renderings. There’s little fidelity in the transfer. When philosophy is used to explain the underpinnings of design other problems ensue.

What Counts as Knowledge? What Counts as Inspiration?

"Gateshead Millenium Bridge, Newcastle-upon-Tyne" by Xavier de Jauréguiberry on flickr
Gateshead Millenium Bridge, Newcastle-upon-Tyne by Xavier de Jauréguiberry on flickr

Last year a scarecrow was awarded a Nobel Prize. Why? Because he was out standing in his field.

Joking aside, each discipline has its own ways of establishing excellence, of deciding which work is considered seminal, which work is worthy of study, etc. For design these things are measured from a craft or a commercial perspective, or other perspectives that include the context of use, the engagement with the consumer of the design. But academic research in design has to stop and think deep thought to justify the term “research”, and thus turns to philosophy. And it is here where I fret that the obtuse nature of some continental schools veils a simpler and more direct practise based research.

Negative Capability

"Golden Gate Bridge x9" by Area Bridges on flickr
Golden Gate Bridge x9 by Area Bridges on flickr

This is the second workshop on philosophy I’ve attended recently. The first was at the OII about Internet Ethics. In it, one philosopher, troubled by my stance on knowledge, said “we don’t want to talk shit”. I feel I almost do.

Designers, especially in the early phases of a design, seem perfectly happy to maintain contradictory standpoints, to adopt profligate beliefs in order to produce a wealth of overlapping and contradictory design ideas, to fill out the design space with as many creative possibilities as they can. Keats’ “negative capability” stands against “irritable reaching after fact & reason”. It is overly simplistic to characterise design and philosophy as either side of Keats’ analysis, but can a philosopher’s notion of rigour work alongside a designer’s view of possibility?

Perhaps we could approach this from the other perspective. If philosophy adopted the experimental approach based in objects in the world, what would the implications be? Am I wrong in perceiving philosophy as descriptive?


"The 'old' bridge" by The_lucas on flickr
The "old" bridge by The_lucas on flickr

I work in a fundamentally multi-disciplinary team, but unlike many multi-disciplinary teams embedded in technology companies ours is run by social scientists. As one of the few technologists in the group my role is shifted from being the intellectual focus to being a service skill: the intellectual critical mass of our work is not technological. This exposure to new ways of thinking is exciting, and so I understand the lure of new disciplinary perspectives. What troubles me, and what I hope I’ve laid out in this position paper, is that what I enjoy about design, and what I enjoy about philosophy, may be mutually exclusive.

Brief quote from John Heskett’s “Design: A Very Short Introduction”


Design: A Very Short Introduction

John Heskett’s “Design: A Very Short Introduction” was published by the OUP eight years ago in 2002. Here’s a quote from Chapter 7 on Identities:

A new visual identity can also be a signal of a major change of intent in corporate strategy. In the year 2000, British Petroleum (BP) unveiled a new identity programme that featured a dramatic image of a stylized sun-symbol in the long-standing corporate colour scheme of yellow and green, again by Landor. Accompanying advertising signalled a move to a wider pattern of activities, under the slogan Beyond Petroleum. This brought down on BP the wrath of environmentalists, who pointed out that the corporation’s business remained overwhelmingly petroleum based. Whether the new image will be sustainable depends in great measure on the behaviour of BP in the future and the extent to which it can be judged against its claims for itself.

The All-Seeing Lipid Rides Again


"Scallop Fisheye #2" by slimmer_jimmer on flickr
"Scallop Fisheye #2" by slimmer_jimmer on flickr

Last year was the first year I joined in The Omniscient Mussel‘s #operaplot competition, and I wrote up my entries as a blog post. This week it’s on again for a wonderful third year.

Here are my attempts so far; the second two and a few of the last ones are reposts from last year – that’s allowed 🙂 and my first was the first entry (though I had to delete it and repost as it made no sense with the commas stripped out to fit in a tweet)

Dr Atomic, by John Adams
Batter my heart, three-person’d God, I, except you enthrall me, never shall be free, nor ever chaste, except you ravish me *BOOM*

Peter Grimes, by Benjamin Britten
Sailor abuse; sea; sailor abuse; sea; teacher abuse; sea; child abuse; sea; death; sea

Acis and Galatea, by George Frideric Handel
♀ ♥ shepherd. Shepherd ♥ ♀. Giant ♥ cherry lipped ♀. Giant kills shepherd. ♀ now = divinity who turns dead shepherd into fountain

Káťa Kabanová, by Leoš Janáček
My husband is cold and away. My mother-in-law is a dragon. Would it be vulgar to snog a friend? It was so I’ll drown in the Volga

Noye’s Fludde, by Benjamin Britten
A very cute storm in a teacup, with audience participation

Dido and Aeneas, by Henry Purcell
@belinda Remember me but oh do not archive my tweets.

Bluebeard’s Castle, by Béla Bartók
Do not open

Tosca, by Giacomo Puccini
3 acts. Key character from Act 1 not seen again. In Act 2 main baddie dies. PLOT FAIL. Quick recover: fake fake death then death

Così fan Tutte, by Wolfgang Amadeus Mozart
Women eh! You recon? You’re on. ‘Told ya.

Rusalka, by Antonín Dvořák
Fishy tale of bored teen seeking love. Čury mury fuk. Teen silenced, but her chatty lover lacks constancy. Watery graves for all.

La Traviata, by Giuseppe Verdi
I cannot help falling for an arrogant youngster. Boy does his dad hate me. OK I’ll leave. Wait till I’m dying to love me. Operas!

Pelléas et Mélisande, by Claude Debussy
Rescued you from fountain sorrow why torment me with lust for brother? I’ve killed him. Whose baby is this? What illness is that?

You can follow people’s plotting live on twitter at and you can find out more about the amazing judge she’s got this year (Jonas Kaufmann), the truly amazing prizes, and how to take part on The Omniscient Mussel’s blog, but be quick, it ends on Friday the 30th of April 2010:

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And here are the list of entries:

Internet Ethics OII Seminar: Think Piece


I’m attending a seminar on Internet Ethics on Friday 30/04/10. Before the seminar all the attendees are sharing position papers. This is mine.

American Cemetery TtV Triptych by dumbledad on flickr
American Cemetery TtV Triptych” by dumbledad on flickr

“History is written by the victors” (attributed to Winston Churchill)


The history of the Spanish Civil War shows us that Churchill’s quote above was wrong, that in fact history is written by the best writers. The internet changes the way we are brought together to reflect on who we are and what we are doing; and thus our perception of ethics and our ethical actions themselves. I would like to take one specific ethical concern, and use that to explore my research position on ethics and the internet.

I am a computer scientist (or perhaps more honestly a software engineer) and much of my research life has been focussed on social software, that is on technologies that help bring people together. I have worked on online virtual worlds, co-located groupware, mobile media sharing, and home communication applications, amongst other topics. The social software movement has been hugely successful, setting the agenda for Web 2.0 and the wealth of social networking and social, community, or communications services online.

Case Study: work with the Internet Watch Foundation

Alongside the benefits brought by these applications – allowing friendships to be maintained made, or cemented online, social software also allows baddies to contact goodies, or baddies to form self-normalising cliques where their behaviour may feel OK. I have used the tongue-in-cheek term baddies but to be more concrete, example concerns have been raised about such echo chambers where anorexics gather to swap tips, or where paedophiles gather to swap images.

The Internet Watch Foundation (IWF) was formed to tackle this latter issue, more specifically they have a remit to provide the UK internet Hotline for the public to report criminal online content in a secure and confidential way.

Ring by Pete Ashton on flickr
Ring” by Pete Ashton on flickr

The goal of the IWF is summed up neatly in their vision: to combat child sexual abuse images online. At the heart of their process is the reporting system and the hotline staff. Anyone who stumbles upon online content they are worried may be illegal can report it to the IWF through their website, and then the IWF hotline team check the severity of the content, and if it is illegal report it to the relevant law enforcement agency, here or abroad. For UK hosted content they also alert the ISP, who remove the content. More recently the IWF’s list of illegal content has been used by UK ISPs to filter their customers’ page requests.

Once we have made applications that bring people together, for good, we also have a moral obligation to explore techniques to curb those same applications use for evil. For me that is exactly what the IWF work represents: an honest attempt to make it harder for paedophiles to share content online.

My involvement in the work of the IWF has been only small, but represents how I think we should engage these ethical debates: by building things. I have helped the IWF with one of the tools their hotline team use, a bulk image viewer for quickly scanning, selecting, and reporting images form highlighted nntp groups. I have also given technical advice on the implementation and audit of their blocking service.

This is just one ethical concern, and does not really address Yorick Wilk’s call in the seminar proposal “to consider the moral dynamics and implications of the Internet upon the whole human being”. But I believe that while commenting, philosophising, and influencing government and society are useful aspects of the process Yorick appeals for, it is only really by getting our hands dirty, by joining in and by building that we gain fully rounded insights.


Wittgenstein’s Grave by billt on flickr
Wittgenstein’s Grave” by billt on flickr

As Yorick’s proposal for this workshop suggests, we are at an exciting moment in the study of ethics and the internet, and I wanted to reflect briefly on the role different disciplines play in that study.

One problem I perceive is that social scientists and philosophers are rightly weary of technological determinism. They should also be weary of social determinism. I want to urge people in those disciplines not to shy away from working directly with technologists to experiment and to effect change. Such collaborations provide needed apparatus to support pragmatic philosophical investigation.

There are also issues around the language and style of different disciplines that I hope we get a chance to explore in the seminar. For example I worry that in an effort to provide concrete evidence the balance between qualitative and quantitative methods in the social sciences can favour the quantitative too much.


In conclusion, I would like to see the study of ethics and the internet not as descriptive (studying the interplay between people’s ethical behaviour, their ethical stance, and their internet use) but also experimental. Experimental in the sense that researchers test their ideas by building new stuff (or by changing the way old stuff works).

The internet, as a medium, is malleable.

Phidgets board and breadboard by tristanf on flickr
Phidgets board and breadboard” by tristanf on flickr

References and Links

Yorrick’s description of this Internet Ethics Seminar is at and another attendee, Aleks Krotoski, has posted her position paper on her blog.

The Internet Watch Foundation’s website and Wikipedia article are at



I mentioned my work about online virtual worlds, co-located groupware, mobile media sharing, and home communication applications. Example papers on these are:

· “Experiments in inhabited TV”, Benford, Greenhalgh, Brown, Walker, Regan, Morphett, Wyver, & Rea. CHI 98

· “Media center buddies: instant messaging around a media center”, Regan & Todd NordiCHI04

· “Trafficking: design for the viral exchange of TV content on mobile phones”, Harper, Regan, Izadi, Al Mosawi, Rouncefield, & Rubens. MobileHCI07

· “HomeNote: supporting situated messaging in the home”, Sellen, Harper, Eardley, Izadi, Regan, Taylor, & Wood CSCW06

The pictures used to illustrate this piece are all from flickr, where they have a creative commons licence:

· “American Cemetery TtV Triptych” by dumbledad

· “Ring” by Pete Ashton

· “Wittgenstein’s Grave” by billt

· “Phidgets board and breadboard” by tristanf

Eighteenth Century Mashups


"Capriccio: St Paul's and a Venetian Canal" by William Marlow
"Capriccio: St Paul’s and a Venetian Canal" by William Marlow

A while ago Kate and I were watching a TV programme on history (or was it art) looking at Londoners’ fascination with Venice. They referenced the picture above ("Capriccio: St Paul’s and a Venetian Canal" by William Marlow). It’s a mock up of what Venice might look like if St Paul’s Cathedral had been built there (or what St Paul’s Cathedral would look like if it had been built in Venice). It’s stayed with me. It’s a striking image, a well loved and well known building so successfully moved out of it’s usual context that the artist helps us to see the building afresh. I wonder two things. Firstly is this an early example of mash-ups – two unrelated media pieces (albeit a city and a piece of architecture) juxtaposed creatively. Obviously neither media encourages such reuse, and mashing them together required considerable skill, but it has something of that feel. Secondly is this idea common? Are there lots of examples of transplanted buildings?

Little people care about science and their universe


I just came across via one of Penny’s tweets Definitely tugs at the heart strings.

Madeline's Pluto Letter on PBS' NOVA
Madeline’s Pluto Letter on PBS’ NOVA

Making Marks: Lutz Becker’s "MODERN TIMES responding to chaos" at Kettle’s Yard and the De La Warr Pavilion


Karoline Bröckel: Ohne Titel (Schnee) (2005)
Karoline Bröckel: Ohne Titel (Schnee) (2005)

There’s only five days left to see the exhibition put together by Lutz Becker at Kettle’s Yard called MODERN TIMES responding to chaos before it heads off to the De La Warr Pavilion. It’s a marvel: a vibrant, exciting, and exceptionally varied collection of modern (mostly abstract) drawings.

The exhibition is also a wonderful opportunity for the that’s-rubbish-anyone-could-draw-that brigade. I’ve been along three times now and each time, alongside the devoted modern art fans, there were visitors guffawing at the work. One of my favourite pieces in the exhibition, Cy Twombly’s Untitled from 1971 attracted some of that criticism. One group of young Italians were having a great time rubbishing the work. I couldn’t help feeling that although Lutz’ taste in art differed from theirs, he’d given them a fun half hour regardless!

Cy Twombly: Untitled (1970)
Cy Twombly: Untitled (1970)

For me the Twombly work shows wonderful child-like exuberance. It’s like one of those exercises artists sometimes do to overcome fear of the blank page, or calligraphers do to loosen their hands before working. Unfortunately I found out from one of the guards (guides?) that Twombly practised for ages to get the strokes just right, which lessens the piece for me. I’d prefer it were visceral and explosive to prissy and precise. There is however some beautiful precise careful work in the exhibition too. Take Katharina Hinsberg‘s piece Nulla dies sine linea 4. As with her earlier piece below, Nulla dies sine linea 4 is a stack of paper. On the first sheet Hinsberg carefully draws a straight line, with a ruler. Then she lays the second piece and carefully traces the line freehand through the paper. This gets repeated over and over again hundreds of times until, like a game of Chinese Whispers the line has drifted far from its original path.

Katharina Hinsberg: nulla dies sine linea (1999)

I said the exhibition was mostly abstract, but there were a few figurative pieces, for example Rachel Howard‘s Untitled Drawing 5 below. I was a little surprised by this. Compared to, say, Emma Dexter‘s Vitamin D: New Perspectives in Drawing where figurative, or drawings with figurative elements, play a strong part. Similarly cartoon-like work is not represented, though I’m being unfair expecting a survey of modern drawing; the exhibition is billed as drawings and films which "explore the urge towards abstraction and its ongoing dialogue with figuration, and the conversation between the geometric and the gestural".

Rachel Howard: Untitled Drawing 5 (2007)
Rachel Howard: Untitled Drawing 5 (2007)

Several recent topics of interest for me came together in this exhibition, several that Tracey Rowledge‘s work had first got me thinking about. Stuart and I have been talking with Tracey recently about possible joint projects around the future of paper and the future of the book, so I’ve been thinking about her work a lot recently.  Rowledge is not represented in the exhibition but she easily could be. Take her recent automatic drawings done on an Crafts Council supported trip in 2008 to Disko Bay like No. 11 from Arctic Series 3 below. Tracey took paper, infused it with arctic water, and then used kid’s felt-tip pens hung under the chair in her shared cabin to record the constant rocking of the ship Cape Farewell

Tracey Rowledge: Arctic Series 3 No. 11 (2008)
Tracey Rowledge: Arctic Series 3 No. 11 (2008)

Included in the exhibition is another finespun automatic drawing, William Anastasi‘s Subway Drawing of 1967. Anastasi completes the piece by resting two pencils, one in each hand, on a piece of paper while he completed a subway journey.

William Anastasi: Subway Drawing (1993)
William Anastasi: Subway Drawing (1993)

Julije Knifer‘s piece Meander from 1982 also reminded me of Tracey’s work. Though Knifer clearly intends the work as an exercise in geometric abstraction, the thick layer of graphite could act as a mirror (were it not behind the glass of the frame) in the same way as Rowledge’s wonderful piece Notes for a Future Work: a huge graphite covered gesso board, which acted as an imperfect almost ghostly mirror in Siobhan Davies dance studio

Julije Knifer: Meander (2003)
Julije Knifer: Meander (2003)

Tracey describes her layer of graphite on a gesso ground as a "graphite drawing" but it was another term I’d heard her use that rung in my head as I walked around the exhibition: "mark making". When Tracy mentioned her fascination with mark making I could see what she meant. The painstaking work required to render a seemingly fluid abstract stroke in gold on leather on one of her book bindings is awe inspiring. And mark making is a clear theme in her fine art work too. Take, for example, the collaboration Thrown with Clare Twomey and David Clarke where lead and silver pieces by Clarke were thrown onto sheets of carbon paper laid over gesso covered paper. I assumed "mark making" was an artists’ rarefied term, and this seemed confirmed when Lutz uses the phrase in the exhibition catalogue (though I cannot find it now!). But chatting to Kate on the way home it turns out to be a commonplace term in early years provision.

For me the exhibition is at it’s best showing the diversity of abstract responses to drawing, from the process driven subtle work of Katharina Hinsberg mentioned above, through the delicate constrained Agnes Martin work mentioned below, and taking in explosively creative works like the Cy Twombly, or this Mark Tobey.

Mark Tobey: Night Celebration III (1971)
Mark Tobey: Night Celebration III (1971)

Agnes Martin: On a Clear Day (1973)

The Modern Times exhibition is also an exciting pointer to an exhibition coming up from May to July in Kettle’s Yard of Agnes Martin’s work. There’s one untitled piece of hers in the Modern Times exhibition, similar to "On a Clear Day" on the right.

[N.B. The exhibition catalogue has lovely reproductions of all the work in the exhibition, plus some interesting essays, but the exhibition web page does not. So to illustrate this blog post I’ve scowered the interweb for gallery pictures of either the works on display, or similar works often from the same series. If you click on the image it should take you through to the page I found it on.]