Benin bronzes and African music

A parallel to the west's culture-centric response to the Benin bronzes can be found in the history of our appreciation of jazz and African music. Jazz was originally seen as primitive, as “natural” for the kind of people who had a natural sense of rhythm. Any sophistication in it was simply missed to begin with. It was particularly difficult for western students of music as it challenged the resources of traditional notation, as well as traditional ways of playing instruments. If you can't write something down, in our western research tradition, it is very difficult to study it.

The same problem was evident with African music. Western musical notation did not deal well with the “complicated polyphonies of African ensemble music, in which often each of twelve of more voices will go its separate way, weaving and interweaving.... nor could European ears catch the small rhythmic differences that were crucial to the correct notation of African song, as intervals of a twelfth of a second or less were routinely deployed by the African performer. European music simply did not operate with such small rhythmic intervals, so European-trained notators made errors.” Quote from Nussbaum, M (1998), Cultivating Humanity, Cambridge, Mass: Harvard University Press, p 163.

The seaside

Just some shots I took at Eastbourne the other day.

They make a different class of beach hut there (running water and gas supplied).

They have their own tea chalet round the back. The Union Jack provides an extra touch of something.

And a Dotto train.

There's a very nice pier, and some winches. These are not like the winches at Hastings, which will be illustrated later.

Judging from the rust on the wire, these winches don't get used much.

This is an exercise in the creation of a seaside place and experience. The tea chalet, the train, the pier, and the winches all recall the nineteenth century creation of the seaside atmosphere. It's soggy with nostalgia, to quote Tom Lehrer. For AA100 students there's a lot here than resonates with the material in Book Four.

Bignor Roman Villa as a tutorial venue

I tutor a variety of courses for the OU. My portfolio illustrates my claim to be a tutorial jack of all trades. Currently I am teaching AA100 The arts past and present, B201 Business organisations and their environments, and U116 Environment: journeys through a changing world.

My background is eclectic. My first degree was in classics, so when the staff team for AA100 suggested field trips as a possible substitute for dayschool appearances, I thought about doing a villa. Classics is one of eight disciplines covered in AA100 and they go large on villas and leisure in the final block. So I fixed up a trip to Bignor Roman Villa, and went there to do the risk assessment visit. That was in March when the ground was muddy. The AA100 dayschool visit happened in May and was a success. I dressed in a toga (an authentic one by the way, sewn and stitched in authentic Roman Lewes, none of this cheap fancy dress rubbish). See the photos here. One of the students commented afterwards that when they first saw it, they thought it was just a gimmick but they were impressed that I used it as a teaching tool at various points during the day to illustrate how things like dress demarcate social boundaries. The toga is not designed for manual work, so anyone wearing one is marked out as above that sort of thing. Some of the students also tried it on during the day, and came to realise quickly what a pain it is to get on – another factor in it not being a manual worker's garb.

The villa has plenty of evidence about daily life for both the manual classes and the leisured. We had the opportunity as well to consider how evidence survives and is interpreted. What can you tell about Roman society from this pot, sort of thing. We were able to look at how the Romans used the landscape and the way they farmed. Interestingly, much of that area is being repopulated with vines, so we have come full circle as the Romans introduced viticulture to this country. We were able to look at mosaic techniques; I had a small mosaic set for the students to experiment with. We were able to look at manufacturing techniques and I impressed upon them how differently everything had to be done in an age with no electrical or even steam power. We looked at diet (for the upper classes fish sauce in practically everything, yuck) and farming practices.

So all in all an excellent venue for a dayschool. As one would expect. Good coffee and wonderful cake in the café too.

My next move however was serendipitous. I had a problem with the date for a tutorial for my environment class. When this problem occurred the only available alternative I had was Easter Saturday. I knew that all the colleges we use as venues would be closed, so what to do. I thought of Bignor, and we duly held a tutorial at Bignor. This was remarkably successful, although when I booked it, it hadn't occurred to me why it would be. The key factor was that we could look at the piece of land on which Bignor stands and compare two utterly different ways of relating to it – ours and the Romans'. Geologically the land between the south and north downs is very interesting. It is part of the Weald-Artois Anticline. The south downs (a few hundred yards south of Bignor) are made up of the edges of layers of terrain broken by a massive upward thrust tens of millions of years ago. The north downs have similar edges. The bulge in between was worn away and an accumulation of soil has formed rich and flat agricultural land which has been farmed continuously since before Roman times. Apart from minor changes in temperature that have affected our summers and winters, there has been hardly a visible change over two thousand years. So this was a magnificent opportunity to observe how two entirely different cultures and technologies interacted with the same piece of land.

One of the key changes happened not exactly at Bignor but east and south of it. Stane Street is a well known Roman road that went just east of Bignor from Chichester to London. In Roman times it was a very important road. Nowadays this part of it is simply not used. So what caused the change? In Roman times Chichester was an important garrison, and the road was intended to allow for the swiftest possible movement of troops and equipment to London. Since then Chichester has ceased to be strategically important, for two reasons. Firstly a gradual silting of the harbour has meant that access to all but small boats has become impractical. Secondly boats have got bigger. With advances in technology in early modern times warships in particular got so big that Chichester, even at its deepest, became useless – deeper water ports were found along the coast at Portsmouth and Southampton, which is where the main roads past Bignor now point.

It was particularly interesting to look at ways in which people in Roman Britain might have had to look after their environment despite their small numbers and relatively low impact way of life. The population of Roman Britain at the height of the occupation is estimated to have been around 3 million. That's about four times the size of the population of West Sussex today. Plenty of room then. We had a look at the furnace for the underfloor heating (used mainly in the dining room). It was a salutary reminder about conditions of life. While the family were enjoying their three or four hour meal with friends, some slave or low paid farm worker was standing possibly barefoot in freezing mud, feeding charcoal to the furnace. The evidence points to charcoal being used rather than just baulks of wood. Charcoal production itself was a big industry, demanding technical skill on the part of the burner to get the temperature of the cooking wood just right – too hot and you got ash, not hot enough and you got very hot wood, but not charcoal. The amount of heating needed meant that an awful lot of wood got used to make the charcoal, and that meant that the wood growing round about had to be replaced if the workers were not to go more and more miles to find it. So the basic art of coppicing – sustainable management of stands of trees - was organised, and ensured the villa owners a plentiful supply of heat when necessary.

We also considered windows as a key feature in the relationship of people and nature. Having looked at the basic Roman art of underfloor central heating, we considered what happened as far as light and holes in the wall were concerned. The question is what did Romans put in their windows. They did have glass, but it was translucent rather than transparent – it admitted light but not vision. They might have had glass in the important rooms in the house – the dining room - but probably not elsewhere. Shutters were employed, but otherwise it was just open air. People were simply used to much greater variation in their living temperature, and having no, or very little control over it. That kind of thing makes for a very different relationship to nature than what we have now.

I wasn't sure whether taking my business students there would make sense, but Bignor is after all a business, and in fact currently has plans for an expansion of the operation with a new visitor and education centre. (Being private ,it hasn't been squashed by a lack of public money.) So I took them there. I gave them half an hour to look round the site, so that they could understand what the business was, and then we had a presentation from the site manager, Lisa, about the new business plans. We had a discussion about what they had learned and what they could see of the business. The most fundamental part – what does the business actually do – was one of the most interesting. It is easy to think of the villa as a historical site, in other words, its historical nature forms its business. But in terms of what people actually come for, it makes more sense in many ways to think of it as a small part of Britain's very large leisure sector. That alters the way you look at what the business needs to offer in order to be successful, because you look at what sort of things people expect to find when they visit a site. It's about “experience”, not just something to see, which forms the focus, but how people are treated while they are there. That gave rise to some fascinating discussion. It related neatly to the course theme “ways of seeing”.

I was then really cruel. I divided them into groups. I gave each group a theory out of those we had worked on over the previous few weeks, and I gave them the task of applying that theory to the business, and coming up with ideas for business plans based on their findings. (One of the theories was isomorphism - perhaps that was a bit over the top.) They spent about half the tutorial on that, an hour and a half altogether, while sampling the café's delicious coffee and cake. At the end of it, all the groups had some clear and pointed ideas for how to develop the business, but many of them said how difficult it had been to apply the theory. I thought they were right on target. They've been working through a variety of theories and a variety of approaches to the business world and their own experience, and about now is time they were getting into applying theories thoroughly to real cases. It's not easy (it is after all a level two university course), but it does repay effort.



The toga seemed suitable attire for teaching B201

One of my students overheard a visitor say to his partner, "Hey, there's a bloke in a toga!!" which gave rise to some discussion about the sales potential of dressing up....

So there you have it. One venue. Three entirely different groups of students, three entirely different subjects. And all found something of value. And great cake.

Bignor Roman Villa

It was a glorious day for an AA100 dayschool at Bignor Roman Villa.





That was lucky because the toga is not the warmest of garments.





Looking good, though the glasses are a bit of a giveaway.


After sending the students round on a tour by themselves (difficult to do a guided tour with the whole group because the rest of the punters can't get past), we spent some time looking at the details of archaeological method. Bignor has a nice little photo album showing how dedicated archaeologists are, with a number of people in wet weather gear digging away in the middle of winter. They reminded me of all the OU tutor-in-a-kagoul videos that we know and love.

The we looked at what sort of deductions we could make about daily life from the evidence we had in the villa. And I pointed people to Lindsay Allason-Jones's book "Daily Life in Roman Britain", which is a very accessible read. I also pointed them to Sheppard Frere's article on Bignor, which demonstrates the kind of academic endeavour that underpins a book like Allason-Jones's. The Frere article is 60 pages long and carries a minutely detailed record of the excavations at Bignor, and is therefore largely indigestible unless you're really determined. But without that kind of work we wouldn't get books like Daily Life in Roman Britain. (Sheppard Frere, C. M. Kraay, Francis Grew, Dorothy Charlesworth, B. R. Hartley, M. G. Wilson, Martin Henig, Christopher Salter, The Bignor Villa, Britannia, Vol. 13 (1982), pp. 135-195. Accessible via the Open University Library.)

I gave the students as exercise to do on continuity and change. Looking at what has changed and what is different is a good way of getting to grips with what life was really like and how it works. One very tiny example is the lack of buttons and zips in premodern times - the way clothes work is completely different now. On a larger scale we looked at Stane Street, one of the principal roads of Roman Britain which passes just east of the villa on its way from Chichester to London. It's almost entirely out of use now. There are roads between Chichester and London, but they are by no means the most important in the country. So the question I asked the students was why. The answer is a variety of things but one of the key ones is that Chichester functioned as a very good port in Roman times and hence was a good place to garrison. As the harbour silted up (so now it does a very good trade in pleasure boats) and as ships got bigger, so the natural places to go became the deeper harbours of Portsmouth and Southampton further along the coast.

We had a look at a map of the whole Roman Empire in my trusty atlas of world history, so we got a good look at how trade functioned to unite the empire and to provide ways of funding the imperial apparatus.

Then we had a few goes with the toga.




This is me doing a bit of open air oratory.






This is Miles, one of the students, looking very senatorial. A purple stripe along the edge signifies a senator. Miles already knows that his name actually means "soldier" in Latin, hence "military" etc.

We had a good look at the theme of leisure and work, given that part of the block material in "Place and Leisure" is about leisure in the Roman villa. One of the issues I wanted to get across was the whole idea of someone's leisure being someone else's work. Supplying food and heat for the owner and his family was a full time occupation for quite a few people. This is nicely illustrated by the furnace outside the winter dining room that supplied the hypocaust. While the family were entertaining inside, some poor sucker was outside, probably barefoot in the mud, feeding charcoal into the furnace. (No photo of that, must get one next time I go.) That issue alone organises a lot of the economic and social structure of Roman imperial times, and to be honest, any time that doesn't have electricity. The daily business of life takes up a lot of effort on somebody's part. The Romans were a highly organised society, with a great ability for large scale and accurate engineering works like roads and aqueducts, and they had a very capable bureaucracy, able to keep the empire functioning for hundreds of years. But nearly everything still worked on muscle power, either human or animal, which makes their achievements all the more remarkable.

Our final activity was a quick look at mosaics; I have a little kit. We looked at the process of making the tiles, then constructing the mosaic. Again one of the issues is the time it took to do everything manually. They reckon that the whole of the long corridor (about 50 yards altogether, of which we can see about half) would have taken six people six months to lay, and the much smaller but more complicated box mosaic, would have taken a person eighteen months. Nice work if you could get it, I suppose, compared to being outside feeding a furnace.

A pretty good day altogether, I think, and thanks are due to Lisa and Karen at Bignor for helping it to happen.

How seriously should we take Avatar?

This is cross posted from my other blog. This is the first time I've cross posted, but I just couldn't decide where to put it. Film goes in A Comfortable Place, stuff about learning goes here. And there are also issues about nterpretation and critique of works of art which will probably bore my AA100 students to tears. So it's here as well as there.

"Avatar" is on my list of all time favourite films. I don't think it's the greatest film ever made, and to be honest I wasn't very taken with the 3D effects. But you don't need 3D to be immersive.There's been a lot of stuff around in education recently about immersive worlds and what they can or can't do for education. The less reflective writing tends to assume that places like Second Life are unproblematically immersive and other environments are equally unproblematically not immersive. But SL isn't immersive if it doesn't engage you. You can be there, and your avatar can be stunning and you can be talking to and interacting with other people, but you can still be aware of the world outside the computer, and you can still be bored, and you can still be checking when the tutorial is going to end, and it is not being immersive in the slightest. By the same token a plain bog standard class in a plain bog standard classroom can be totally immersive if the teacher gets it right. People seem to forget that.

By the same token I found Avatar a totally immersive experience, and that was without the 3D specs on most of the time (because I found them uncomfortable). I thoroughly enjoyed it. I forgot the passing of time. I identified with the characters. I didn't want it to end, and I felt slightly bereft when it did, just like I always used to feel as a kid when I walked out of a cinema.

This is partly about fit between film and viewer. As a viewer, I am very happy to be entertained. I don't need to be thought-provoked in order to enjoy a film. I don't need a deep message. My ever shifting and ever expanding top one hundred contains a lot of films that would make other people wince. They're not in my top one hundred because I think they're great films, but because I like them. I think there are two reasons why I like Avatar. The first is the special effects. Everything works beautifully. Interestingly, the world of Pandora and the Na'vi works better than the rude mechanicals - the diggers, helicopters and firepower - which you might think would be easer to model. And the second reason is the story. Stories don't have to be big and complex in order to succeed In fact very often the simpler the better. And here we have two very simple stories interwoven - boy meets girl and culture clash. Boy meets girl is the simplest of all. Boy meets girl, boy conquers obstacles in the way, boy wins girl. Culture clash is marginally more complex but not much. Boy meets alien culture, boy is attracted by good side of alien culture, boy confronts bad side of own culture, boy and aliens unite to defeat bad side. And that's all there is to Avatar. The green message is there but it's part of the conflict that's there to make the story work, not because James Cameron had a message. So for me it's great entertainment and the right people win.

The question arises of how seriously to take the film. I have to say I don't take it very seriously, though in some circumstances people are right to take it more seriously (see below). James Cameron himself is quoted in the Telegraph: "It's about how "greed and imperialism tend to destroy the environment," he said in a recent interview. "It's a way of looking back on ourselves from this other world."" But this should not necessarily be taken at face value. It is a press interview with a man who knows all about putting bums on seats. I don't believe he really takes the politics of the film all that seriously. And neither do I. It has a "green" message, but the message is there for plot functionality and because it resonates with the market demographic.

I'm now finding other people's reactions to the film very interesting, and wondering whether I need to re-evaluate simply because of the number of people it has upset. The first upset is, I think, badly founded, and based on a misinterpretation of what happens. Progressives are upset at the racist subtext that shows a "primitive" tribe needing a white man to save them. You could read it that way if you wanted to, but I don't see it. What I see is our hero Jake growing through his contact with the Na'vi in such a way that he becomes a different creature. The hero who returns to lead the Na'vi is a synthesis of the best of Jake with Na'vi beliefs and ways. So it's not about western capitalist superiority at all. If anything it's about its limitations. I had a similar dispute once with someone over Tootsie. It's surprising what a ding dong we got into over such a slight film. (It's not in my top one hundred; it would probably be in my top three or four hundred.) The story is difficult and currently out of work actor Michael Dorsey (Dustin Hoffman) dresses up as a woman to land a short part in a soap, is surprisingly successful, so they extend his contract, leading to the dilemma of how to get out of it, which is eventually resolved. My friend thought it was deeply sexist because it showed a man being more successful as a woman than women could be. I thought it showed that becoming a woman made him learn about the female viewpoint, confront his own masculinity and anger, and emerge a better and stronger person. Hence again it was not "being a man" that made the difference. It was "learning about the opposite". So, although, quite a lot of people have picked up on this idea of Avatar being racist, i don't buy it.

I'm more impressed by the fact that Avatar has upset the American right, the Chinese Communist party, and the Vatican. Any film that can upset those three must have something going for it.

The American right don't like it because of fairly overt references to both the Vietnam and Iraq wars in the context of asking the audience "to root for the defeat of American soldiers at the hands of an insurgency. So it is a deep expression of anti-Americanism-kind of" - John Podoretz, in the ABC News link above. OK, but if you're going to get upset about it, try being a little less imperialist when you do go to war in places like Iraq.

The Chinese don't like it because the theme of forced migration is too close to home for a regime that regularly shifts people off places it wants to dam up or build on. I don't know if the film has actually sparked protests, or just that they have moved pre-emptively to ban it. They've been quite clever though, taking it out of 2D cinemas while allowing it to remain in 3D. That way they can say they haven't actually banned it, just that it wasn't doing well in the 2D cinemas. I assume that there aren't that many 3D cinemas and they are located away from potential trouble spots. It's a very good illustration of the dance of power that the Communist party in China is constantly engaged in with its own people. While remaining quintessentially authoritarian, in fact downright repressive in outlook, it is realistic enough to know that it can't upset too many Chinese too often.

And finally the dear old Vatican. Some headlines say the Vatican hates Avatar. Here is what Osservatore Romano actually said: "It has a great deal of enchanting, stunning technology, but few genuine or human emotions.... Its significance is in its visual impact rather than in the story, and in its messages, despite the fact that they are hardly new... The plot descends into sentimentality... and "a rather facile anti-imperialist and antimilitarist parable which doesn't have the same bite as other more serious films." But it ended by saying the spectacle was worth the price of a cinema ticket. All that from the Telegraph. There's not much there that I would disagree with, apart from thinking myself that there's nothing wrong with going to see a film just in order to be entertained. At least they haven't ordered the flock to boycott the film with missionary zeal as they try to turn the world back the way they think it should be - medieval. So basically the Vatican isn't being as reactionary about Avatar as it is about many things.

Doing things to women's bodies

In pictures I mean. We've had a bit of a debate in AA100 this year about the relationship between art and reality, focussing particularly on male artists' treatment of the female form. Nowadays that sort of concern focusses less on painters and more on photographers, and their ubiquitous use of Photoshop.

This was very well illustrated lately by Hacker Factor, who went into the technicalities of how you could tell when something had been Photoshopped, using an illustration from the Victoria's Secret catalogue highlighted by "Photoshop Disasters", in a post entitled "Body by Victoria". It's a very instructive read from the point of view of seeing how it's done.

It also raises important issues about what women are and what we are trying to make of them. Much of the Photoshopping was just tidying up (depending on what you think about nipples showing through clothes). But Hacker Factor demonstrates that they lightened her skin tone. The unanswered question is why.

It's also instructive to compare how the owners of the images react. Victoria's Secret reacted openly and fairly. Following the exposure by Photoshop Disasters and Hacker Factor, they revised the image. They left some of the Photoshopping in but it wasn't as bad as before. See also "Still A Secret".

That is in stark contrast to the behaviour of Ralph Lauren, when found by Photoshop Disasters to be indulging in similar behaviour - they slapped a DCMA take down notice on them. You can't see it there any more, but you can see in on Boingboing. So Ralph Lauren are saying they can make women look any way they want, regardless of the woman's real shape, colour, or anything else.

It's interesting that the Liberal Democrats' recent campaign on Real Women was derided in the usual quarters as meaningless. But when photographers and companies are routinely doing this kind of thing to women's bodies, there must be serious implications for gender and power issues. And those impications must be taken into account when studying those issues in book 1 of AA100. (And I note that a couple of weeks ago the Advertising Standards Authority ruled that the Olay advertisement featuring Twiggy, which was one of the targets of the campaign, was indeed misleading.)

Prisons wot I know

At the start of AA100, I had three students in Lewes prison.



They got on very well together, and it was fun doing a proper group tutorial, which they all participated in intelligently and enthusiastically. They also all, in their individual ways, did well on the course. They get decent marks on assignments; they have plans for continuing. One is thinking of doing philosophy, one philosophy or art history,a nd one art history or criminology.

My group broke up though when one was transferred to Parkhurst, and then a fortnight later another was transferred to Ford. It happens, apparently, on "transfer Tuesday" and the prisoner is given little or no notice, but is just told to tidy up their belongings and get in the van. It must be incredibly disruptive, but both students survived the experience, and have continued with their assignments. I went to visit today. I visited Ford first.



It's an open prison. They do try to remind the staff that there is some security. This sign is in the car park, quite a way from the prison entrance.



Then I went to Parkhurst, being rained on all the way. The ferry over was grim.



And Parkhurst is frightening. Huge horrible concrete walls with no relief. Inside, pictures of the weapons found in various prisoners' cells.



But my prisoner was doing OK, and we discussed his ECA, which he had already started planning, and had some good ideas about.

And the ferry back was much nicer - we even saw some sunshine.

Antigone and Oedipus in the Age of Terror

This is advertising, pure and simple:

Pitchy Breath Theatre in partnership
With The Open University presents:

Antigone and Oedipus in the Age of Terror


Hawth Theatre, Hawth Avenue, Crawley West Sussex RH10 6YZ

2nd to 4th April 2009
First performed in the rubble of a bombed out theatre during the Bosnian civil war this version of the Oedipus and Antigone tragedy is a celebration of drama, music, and humanity in a time of war, economic collapse, and conflict.

There is darkness on the edge of town moving slowly and inevitably to destroy our way of life. But who is to blame, those in power or those who suffer at the hands of tyranny? And why is it always the next generation who pay the price. Is redemption possible?

All will be revealed in this festival of theatre magic from Pitchy Breath Theatre Company in partnership with The Open University.

The production is, of course, open to all and might be of particular value to students studying on the Open University’s exciting new course ARTS: PAST AND PRESENT (AA100)

Promenade Optional at some points.

Running time approx 2½ hours including two 20 minute intervals. Performances at 7.30 on Thursday, Friday and Saturday. Also at 2.30 on Saturday.

Reworking history - the Versailles Treaty

A good example of the constant reworking of history. For this year's Armistice Day the BBC carries an article by Professor Gerard De Groot revisiting the reasons for the rise of Nazism in Germany, and suggesting that the settlement at the end of World War One is not as much to blame as is usually suggested. The principal reason, he says, for Germany's abilityto act on its resentment was the decision of the USA to absent itself from European affairs - isolationism.

Perhaps this interpretation is influenced by the fact of America's current wars in Iraq and Afghanistan, the ultimate interventionist wars. Perhaps the issue of whether or not to intervene has been made so salient by these wars that it influences our historical thinking, and makes us re-evaluate the reasons behind the rise of Nazi Germany.

Reading history 2

Another gem from Brown and Duguid, p 187:

"The Irish writer Flann O'Brien imagined a book handling service for the culturally insecure. For a fee, book handlers would crease the spines of your books, turn down pages, mark passages, put intelligent comments in the margins, or, for a slightly greater sum, insert tickets from operas or classic plays as bookmarks."

Apart from the image it creates, and particularly the idea of a price differentiated service, this is a good marker for the handling of historical evidence. I am not suggesting to budding historians that they should view every document or item as inherently false, designed to give a wrong impression, but just that every document or piece of evidence should be read with a spirit of critical curiosity. One need not assume that an opera ticket in a book is designed to mislead, but also one cannot assume that it means that the owner of the book went to that opera. And if he did, one cannot assume that he was "an opera goer" as opposed to someone who just went to that opera, and maybe slept right through it. The ticket and the book must be examined more critically than that, with attention to the possible and probable explanations, and to the context provided by other similar pieces of evidence.

Reading history

While reading Brown and Duguid's "Social Life of Information", I came across this brilliant example by Paul Duguid of witting and unwitting testimony (2002 edition, p173).

"I was working in an archive of a 250 year old business, reading correspondence from about the time of the American Revolution. Incoming letters were stored in wooden boxes about the size of a standard Styrofoam picnic cooler, each containing a fair portion of dust as old as the letters. As opening a letter triggered a brief asthma attack, I wore a scarf tied over my nose and mouth. Despite my bandit's attire, my nose ran, my eyes wept and I coughed, wheezed and snorted. I longed for a digital system that would hold the information from the letters and leave paper and dust behind.

"One afternoon another historiam came to work on a similar box. He read barely a word. Instead he picked out bundles of letters and, in a move that sent my sinuses into shock, ran each letter beneath his nose and took a deep breath, at times almost inhaling the letter itself but always getting a good dose of dust. Sometimes, after a particularly profound sniff, he would open the letter, glance at it briefly, make a note and move on.

"Choking behind my mask, I asked him what he was doing. He was, he told me, a medical historian. (A profession to avoid if you have asthma.) He was documenting outbreaks of cholera. When that disease occurred in a town in the eighteenth century, all letters from that town were disinfected with vinegar to prevent the disease from spreading. By sniffing for the faint traces of vinegar that survived 250 years and noting the date and source of the letters, he was able to chart the progress of cholera outbreaks.

"His research threw new light on the letters I was reading. Now cheery letters telling customers and creditors that all was well, business thriving and the future rosy read a little differently if a whiff of vinegar came off the page. Then the correspondent's cheeriness might be an act to prevent a collapse of business confidence - unaware that he or she would be betrayed by a scent of vinegar."

Cézanne's Leda and the Swan

Cézanne's version of Leda and the Swan, eloquently captioned by one of the students at my first AA100 tutorial:

"Don't look at me like that. I haven't got any more bread."