Tales from the river to the ocean

Brest Maritime International Festival

I am currently living in Atlantic Wharf on the banks of London’s Thames, and September’s Totally Thames festival is in full swing. This timing is a perfect opportunity to make connections; London and Dalmatia; the Atlantic and Adriatic; industry and artistic endeavour; environment and exploration. It is clear that we can learn from those who spend their lives on and around water. Teamwork, effective communications, information sharing, and contingency planning are all essential.

From the archives: Bill Fontana's 'River Sounding'

I was checking through some ancient work and found this about River Sounding, which was a joint venture between The Somerset House Trust and Sound and Music (SAM). The remit of both are very different; the Trust is keen to “open up its spaces to the public by presenting and commissioning work that places the building firmly at the centre of their activity”. SAM’s mission is to “present leading sound based art work to the widest possible audience”. Both were drawn to working with internationally renowned sound artist Bill Fontana, not least because of his previous work in key industrial and nautical locations in London, most notably at Tate Modern and the National Maritime Museum in Greenwich. 

The River Effra’s Vanishing Act

 

"Yes," said Mr. Fawnhope. "There will be verdure, and that, I think, is what my soul craves. I, with my fair Cecilia, to Merton now will go, Where softly flows the Wandle, and daffodils that blow--What an ugly word is Wandlel How displeasing to the ear!"

Whenever anyone mentions vanished London rivers to me, I can't help thinking of Georgette Heyer's 'Grand Sophie' where I first read about the Wandle. So when there was an opportunity to find out about another of South London's rivers, I decided to make like Mr Fawnhope and jump unbidden into a carriage, in search of verdure, watery pleasure and poetry. Even the musical name 'Effra' conjures images of bucolic enjoyment, and according to Mr Ackroyd, 'is named from the celtic word yfrid, or torrent'.

London's Sailortown in the 18th Century

I fulfilled an ambition at the weekend; to run down The Cut to Limehouse Basin, head on to Narrow Street via Ropemaker Fields, and then on round the Isle of Dogs, using as much of the Thames Path as possible. I was glad to have done it on Monday as the Greenwich Tall Ships hooted their welcome on reaching Island Gardens, and I paused to enjoy the atmosphere. As luck would have it, the river theme continues in to September with the Totally Thames festival and its 150 events over the coming month.

 

As the festival launched, I was lucky enough to catch Derek Morris at the Guildhall Library today, and listened avidly as he trounced history academics from the past couple hundred years, and wrote off the library's collection of books about the East End. As an opener, it certainly got my attention. He has just completed his own history, with his book 'London's Sailortown 1600–1800, A Social History of Shadwell and Ratcliff, an Early-Modern London Riverside Suburb' (2014) by Derek Morris and Ken Cozens. 

The London Mappers: Thames Festival Talk

Stephen Walter 'London Subterranea' (2012)

After spending a virtual week in the troll-inhabited unmannerly wilderness of the internet, Friday took a turn for the civilised and I entered the world of maps and the City of London. As part of the Thames Festival 2013, Renaissance expert Jerry Brotton and map dealer Daniel Crouch told a cartographic story of London and its iconic river, from the first printed map of the city to recent artistic attempts at mapping the capital.

Jerry opened with statements regarding the different directions in which his and Daniel's experience of maps go. From a renaissance studies point of view his focus is the 'idea' or philosophy of maps, with emphasis on depicting the civil v barbaric. He is also interested in how maps define our identity or even imagining how the early moderns used maps. Daniel's interest is the materiality of maps - how they are presented aesthetically or how rare they are. This duality should have made for an illuminating partnership.

From Thames to the Tagus

This third posting took us from a classroom in Bloomsbury to a sunny City square in Lisbon. I adore Lisbon; that sweepingly elegant capital, with its varied architecture, network of classic trams and astonishing vistas, the friendly people and the food...I shall stop before I get carried away with the sensory memory of a couple of weeks in Portugal too many years ago. Given that the class began with traditional poetry and literature, it was with great pleasure and interest that we heard about the importance of early modern Lisbon's river and the part it played in shaping the style of architecture beloved by the outward looking, trade obsessed royalty.

Mapping the Thames at the British Library

The second 'On the River' Summer School post concerns portrayals of rivers in maps. Having the foresight to do some quick research on this, I found that the curator had already collected the images with commentary from this session. However I think it is still useful to do a short post, even if it is to praise the map librarians and highlight the incredible map resources of the BL.

This is the second year that a group of Birkbeck students have attended a 'hands on' session at the BL. The topic last year was cities but if they had plenty to show us then, they were able to totally spoilt us with this wide remit. As the curators of the national map collection, they hold over four million maps and they are free for anyone with a BL reader card to request, view and consult. 

Reflections reflected: Chris Orr at the Geological Society

Chris Orr RA. On the Road to Damascus

Heraclitus has entered into my life twice in the past week, both times relating to discussions of space, change, art and rivers. He states that “no man ever steps in the same river twice, for it's not the same river and he's not the same man.” He essentially believed that nature was in a state of constant flux, with things changing spontaneously without any external prompting. This is a very interesting place to start when talking about the artistic presentation of the built environment. Any landscape which has had repeated encounters with people will be undergoing constant change, both natural (through flooding/water, possible subsidence, vegetation growth etc) and unnatural (new buildings, changes in land use, pollution etc).