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Showing posts with label lawson. Show all posts
Showing posts with label lawson. Show all posts

Saturday, 17 September 2016

News round-up: Papal plots, David Shrigley & Nick Cave

Today's Guardian asks why are there so many papal plots in fiction? From Dan Brown to Graham Greene, the papacy has long proved fascinating to writers so Mark Lawson examines the mysteries around this powerful figure and the church he leads. He identifies the work of Morris West as particularly prescient:

'West’s novels have an astonishing record of prophecy. The Shoes of the Fisherman was published on the day that John XIII died, and imagined an eastern European anti-Soviet cardinal ending the long line of Italian popes, which duly happened in 1978, when Cardinal Wotyla of Kraków became John Paul II. The unlikely plot of The Clowns of God (1981), in which a pope resigns because he can no longer face the burdens of office, was validated in February 2013 by the retirement of Benedict XVI. In West’s final conclave novel, Eminence (1998), the leading candidate to become pope, a Latin American radical called Cardinal Luca Rossini, now reads as a spooky preview of the Argentinian Jorge Mario Bergoglio becoming Pope Francis.'
Lawson writes on the coincidence of the publication of Conclave this month with The Young Pope starting on Sky Atlantic in October and Doctor Faustus being at the Barbican.

'In two weeks, David Shrigley’s new sculpture will be unveiled on the Fourth Plinth in Trafalgar Square. At first sight it looks like a work that needs no artspeak to explain its meaning. It’s a giant thumbs-up, cast in bronze. And who doesn’t understand that? Just in case there’s any doubt, Shrigley has titled the piece Really Good. He’s even made the thumb extra long, to emphasise the “really”.' He was interviewed by Marcus Field for the Evening Standard:

'Faith is an occasional theme, although Shrigley treads gently here. His parents are Christians, his mother an Anglican, his father an Evangelical. Shrigley himself went to church until he was 16 “and then I did sociology A-level and I stopped”.

He still has a lot of time for the principles, though. “I’m a sympathiser,” he tells me. “I think if you remove the aspects to do with gender and homosexuality, if you take that out of all the main religions, then I would say that if people lived by their central tenets — love thy neighbour, altruism, compassion, kindness — then the world would probably be a better place. And I think it’s wrong to separate Christianity from politics. What would Jesus do? Well, he certainly wouldn’t vote Conservative. He certainly wouldn’t dismantle the NHS.”'

Alexis Petridis has written an excellent review of Nick Cave's new album Skeleton Tree which scotches the idea that the album is about the death of Cave's son. Petridis concludes, this is 'an album that is no less brilliant, but perhaps less straightforward, than initial reactions suggested: not so much an exploration of grief as an example of how grief overwhelms or seeps into everything – a subtle difference, but a difference nonetheless.'

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Nick Cave - I Need You.

Thursday, 18 June 2015

Modern art in City churches









St Giles' Cripplegate is one of the few remaining medieval churches in the City of London and, after surviving devastating bombing during the Blitz, it sits at the heart of the modern Barbican development.

The East Window was designed by Gerald Smith of the Nicholson Studios, a London-based stained glass studio, which made the window in 1960. The firm's output covered the years of restoration following both World Wars. After the medievalism of the Gothic Revival and the intense spirituality of the Arts and Crafts movement, Nicholson and Smith's inventive, light, plain windows were much appreciated. The East Window follows the pattern of the medieval window, of which traces came to light as a result of war damage. The design incorporates many figures of historical significance to the church, as well as the instruments of the crucifixion at the top.

The West Window was designed by the Faircraft Studios and installed in 1968. In the centre is the coat-of-arms of the City of London, which is flanked on its left by the coat-of-arms of the Archbishop of Canterbury, and on its right by that of the Bishop of London. In the lower frame, from left to right, are the coats-of-arms of Robert Glover, Somerset Herald of Arms in the reign of Henry VIII, who was buried in the church; of John Milton; of the Earls of Bridgewater; Oliver Cromwell, and Sir Martin Frobisher. There were ten Earls of Bridgewater and three Earls of Kent buried in the church.

There are two modern stained glass windows on the north side of the church. In the baptistery is the Cripplegate Window, which celebrates the centenary of the Cripplegate Foundation which gives grants, advice and support to local organisations. The Foundation was formally established in 1891 but its origins lie in gifts made to St Giles' for the poor and the needy dating back centuries: John Sworder made the first recorded gift in his will, dated 2 April 1500, and the head at the top of the window represents Sworder, the first of the pious donors of the parish that we know by name. The window, erected by the stained glass studio Goddard & Gibbs and designed by Sheelagh McKinlay from Bow, East London, also shows other beneficiaries of the Foundation, and the buildings in the middle ground represent St Giles' and St Luke's churches and the Barbican development.

On the north wall of the church is a memorial window to Edward Alleyn, the parish's generous benefactor. The design is the work of John Lawson of stained glass studio Goddard & Gibbs and depicts Alleyn in the centre, as well as the Fortune Theatre (which he founded), almshouses (which he built in the parish and which were destroyed in the Second World War), and St Luke's Church, Old Street.

Under the organ gallery are four busts of famous parishioners, on loan to St Giles' from the Cripplegate Foundation. They were modelled by the sculptor George Frampton, whose most famous statue is that of Peter Pan in Kensington Gardens. On the left as you enter the space under the gallery is the bust of Daniel Defoe, author of Robinson Crusoe, who was also a government agent, pamphleteer, and brick-maker amongst other roles. The next bust is of the author John Milton, perhaps the most famous resident to be buried at St Giles'. He is also commemorated with a bust and a statue in the south aisle, and his burial place is marked by a stone on the floor near the pulpit. On the other side of the glass doors are busts of Oliver Cromwell, who ruled England during the Protectorate in the 1650s, and the non-conformist John Bunyan, author of Pilgrim's Progress, who is buried in the dissenter's graveyard of Bunhill Fields, a short walk from St Giles'.

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Benjamin Britten - Curlew River.

Sunday, 24 August 2014

Sale of the Century: Privatisation sucks

Review in the Saturday Guardian had an excellent article by James Meek on privatisation entitled 'Sale of the Century'. Among the highlights of its arguments were these:

'Privatisation failed to turn Britain into a nation of small shareholders. Before Thatcher came to power, almost 40% of the shares in British companies were held by individuals. By 1981, it was less than 30%. By the time she died in 2013, it had slumped to under 12%. What is significant about this is not only that Thatcher and her chancellor Nigel Lawson's vision of a shareholding democracy failed to come to pass through privatisation, but that it undermines the justification for the way the companies were taken out of public ownership.'

'There are many forms of private ownership. The department store chain John Lewis, an unsubsidised commercial firm in a fiercely competitive market, is owned by its employees. The Nationwide Building Society, an unsubsidised commercial firm in a fiercely competitive market, is owned by its members. The Guardian Media Group, an unsubsidised commercial firm in a fiercely competitive market, is owned by a trust set up to support its journalistic values and protect it from hostile takeover. And so on. None of the many alternatives to stock market flotation were put up for discussion by either side: it was either shareholder capitalism or the nationalised status quo.'

'Privatisation failed to demonstrate the case made by the privatisers that private companies are always more competent than state-owned ones – that private bosses, chasing the carrot of bonuses and dodging the stick of bankruptcy, will always do better than their state-employed counterparts. Through euphemisms such as "wealth creation" and "enjoying the rewards of success" Thatcher and her allies have promoted the notion that greed on the part of a private executive elite is the chief and sufficient engine of prosperity for all. The result has been 35 years of denigration of the concept of duty and public service, as well as a squalid ideal of all work as something that shouldn't be cared about for its own sake, but only for the money it brings.'

'What the story of the latter years of the NHS shows is that the most powerful market force eating away at the core of the welfare state is not so much capitalism as consumer capitalism – the convergence of desires between the users of a public service and the private companies providing it when the companies use the skills of marketing to give users a sense of dissatisfaction and peer disadvantage.'
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The Clash - Lost In The Supermarket.

Thursday, 12 April 2012

A most interesting period of British stained glass


St John's Seven Kings is mentioned in a new Wikipedia entry for the artist Louis B. Davis. Davis designed the Nativity window at St John's, originally located in our baptistry and now part of our sanctuary.

The new entry has been compiled by researcher Gordon Lawson as part of his research into the work of Christopher Whall and his followers. Lawson started with Whall himself:
 
 
This led him to Whall's daughter, Veronica:
 
 
He then moved to Edward Woore, Margaret Chilton and Marjorie Kemp and Karl Parsons:
 
 
He plans similar works on Caroline Townsend  Mary Hutchinson, Arnold Robinson, Paul Woodroffe and a few others so that when he has finished he will have set out a reasonable source of research information on a most interesting period of British Stained Glass.

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Florence and the Machine - No Light, No Light.

Friday, 17 July 2009

Is society losing touch with morality?

Last night I spoke at the East London Three Faiths Forum on the theme of whether society is losing touch with morality. My dialogue partner was Rabbi Alex Chapper of the Ilford Federation Synagogue, who is also a local magistrate.

My contribution to the evening can be found below. By contrast to my input, Alex argued that a sense of personal responsibility has been lost within society and cited the example of those that he encounters in his work as a magistrate as examples of this phenomenon. Our contributions kickstarted a lively debate exploring the issue further and focusing, in particular, on:

  • whether morality is rules-based or character-based;
  • the interplay between personal and social morality, in particular whether responsibility for obesity lies with those individuals consuming it or the companies that manufacture and promote it, or both; and
  • whether distinctions can be made between universal moral principles - such as the Golden Rule - and changing ethical norms in specific societies and cultures.

Has society lost touch with morality?

Morality simply put is about codes of conduct which are put forward by a society, a group, a religion or are accepted by an individual for his/her own behaviour. All human beings and the groups we form are characterized by a worldview, however poorly articulated, and that view of the world that we hold generates patterns or codes of behaviour that we tend to follow because they are the outworking of our beliefs about the world.

Incidentally, I think that this is as true for those who are atheists or humanists as it is for those who follow a particular religion. Two implications of this are that our different worldviews generate different codes of conduct (different moralities) and that our different worldviews are each based on unprovable assumptions about the world which we believe to be true. Therefore, all worldviews are ultimately based on faith (whether religious or not) and all worldviews generate codes of conduct or morality.

As a result, I think it is a fallacy to ask whether society has lost touch with morality. Morality is always particular to a society or group or religion and therefore rather than suggesting that there is a definitive morality with which we can lose touch, we should instead ask whose morality it is that we are discussing.

For each of our religions there have been periods in our respective histories when the morality of our religion has been the dominant morality in particular countries or among particular racial groups, as well as periods where the morality of our religions has been a minority morality. It seems to me most likely that for each of our religions in contemporary Britain our experience is that of our morality being in the minority.

We may want to debate later whether that is actually the case. If we agree that it is, then we might debate whether that is a good or a bad thing (there are pros and cons to both) and how we might respond either by seeking to gain or regain dominance for ‘our’ morality or some other approach. However, if accepted, what it does not mean is that, as a result, Britain has lost touch with morality. All societies have some form of generally accepted code of conduct which forms their sense of morality, even when that is not predominantly formed by one or the other of our religions.

We should also note that morality or codes of conduct are rarely clear-cut or pure. If it is accurate to say that contemporary British morality is not predominantly being shaped now by our three religions, we should recognize that our religions do nevertheless influence contemporary codes of conduct as can be seen, for example, in the legislation which has been introduced to outlaw discrimination on the basis of religion or belief in the workplace.

It would also seem accurate to suggest that the morality of a particular religion is also influenced and affected by the codes of conduct inherent in the wider society. I want to suggest that the dominant morality in our society is a consumerist morality and that Christianity, the religion I know best, has not been unaffected by this morality.

Having been thinking along these lines in preparing this talk, it was then fascinating to find a feature article in last Saturday’s Times arguing that we live in an age of turbo-consumerism; of instant gratification; of a voracious appetite for ‘stuff’; of living to shop. The article argues that “shopping has become the premier leisure activity” and that we have “gladly boarded the work-to-spend treadmill, the insatiable pursuit of “more”, which resulted in there being, for example, 121 mobile phones for every 100 people in the UK by 2008.”

One of those quoted in the article is Neal Lawson, a political commentator and author of a book called All Consuming. He argues that turbo-consumerism fosters a “new selfishness”:

“For the shopper there are no obligations to others, no responsibilities, just rights. If the consumer is king, the concept ‘because I’m worth it’ translates into a world where we are the centre of our own universe.” He adds, “Personal freedom to shop, to own, to do what you want is the guiding principle of our age.”

One example of this new selfishness that is given in the article is of a woman returning a dress to a fashion chain. Is there something wrong with it, she is asked. “No, I just got it home and changed my mind.” Then she asks if the reporter will use a pseudonym in the article and confides: “I’ve already worn it, actually, but everyone does it.” Does what? “You wear it once then take it back for a refund.”

As the article notes,

“A consumer society can’t allow us to stop shopping and be content because then the whole system would die. “Instead it has to sell us just enough to keep us going but never enough that our wants are satisfied,” [Lawson] says.”

He calls it “the heroin of human happiness” and it doesn’t take the Times’ reporter long to find those who are addicted:

“A young woman rushes by at a semi-trot. On her shoulder is an eco tote bag bearing the slogan: “All You Need is Love.” But she evidently doesn’t subscribe to this ideology; she is laden with branded carrier bags — Mango, Urban Outfitters, New Look. What she really needs, it seems, are more shoes, skirts, scarves, belts. How often do you go clothes shopping, I ask when I catch her up. Most lunch breaks and every weekend ideally, she says. Why? She eyes me dubiously: “Because I love it.””

She speaks to Karen and Abi staggering under the weight of their carrier bags: “Will they go home now and put their feet up? “No, we’re taking these bags home in a taxi,” Abi says. “Then we’re coming back to do another hour before the shops close.””

Lawson says: “The more we consume the less space there is to be anything other than consumers. The space to be citizens and make decisions equally and collectively about the world around us is diminished.” This is a consequent effect of consumerism and generates the new selfishness that he argues we are seeing as our world comes to revolve around the search to satisfy our own desires through consumption and at the expense of those unable to consume.

In these, and other ways, consumerism generates a morality, a code of conduct, for those of us who are consumers but it is a very different morality from that which has traditionally been associated with the major world religions. However, we should not be naïve and assume that we are in someway removed from this or holier than others. I can only speak of the Church culture that I know and am part of, which certainly does uncritically reflect aspects of the consumerist culture around us.

This is the latest issue of Christianity magazine, of which I am a subscriber. It’s lead article is about the cost of living in terms of the recession’s effect on the poor but it is also filled with more than 30 adverts aimed at encouraging me to spend money on the products being promoted together with references to or reviews of another 17 new books or CDs that I could buy. The advertising revenue received by the magazine keeps its cost affordable for me and enables me to read about the effect of the recession on the poor while continuing to consume. We are by no means immune from a consumerist mentality or morality.

How should we respond? What I don’t think will be effective is for each of us to promote the morality of our religion or the strand of our own religion with which we agree most vehemently. To do that would be to accept the morality of the marketplace; competing products and consumer choice. Instead, I want to suggest that there is a different kind of morality that can emerge from the activity that we are all engaged in this evening; inter-faith dialogue.

This is a suggestion that I have drawn, in part, from the writing of Jonathan Sacks, the Chief Rabbi. In The Dignity of Difference he writes:

“We must learn the art of conversation, from which truth emerges not, as in Socratic dialogues, by the refutation of falsehood but by the quite different process of letting our world be enlarged by the presence of others who think, act, and interpret reality in ways radically different from our own.”

When we do this, when we “recognize God’s image in someone who is not in my image, whose language, faith, ideals, are different from mine” then we are allowing God to remake us in his image instead of making God in our own image. And to do so has moral outworkings, as Sacks notes when he writes:

“I believe that we are being summoned by God to see in the human other a trace of the divine Other. The test – so lamentably failed by the great powers of the twentieth century – is to see the divine presence in the face of a stranger; to heed the cry of those who are disempowered in this age of unprecedented powers; who are hungry and poor and ignorant and uneducated, whose human potential is being denied the chance to be expressed. That is the faith of Abraham and Sarah, from whom the great faiths, Judaism, Christianity and Islam, trace their spiritual or actual ancestry. That is the faith of one who, though he called himself but dust and ashes, asked of God himself, ‘Shall the judge of all the earth not do justice?’ We are not gods, but are summoned by God – to do His work of love and justice and compassion and peace.”

We are, I believe, seeing something of this possibility emerging from the development of inter-faith dialogue. For example, the Christian Muslim Forum has recently published ten ethical guidelines intended to enable Christians and Muslims to talk about their faith to each other in ways that are just, truthful and compassionate. Faiths in London’s Economy recently developed a 'Shared faiths response to the credit crunch' which calls for: non-interest bearing transactions; mutual societies; business accountability to a wider range of stakeholders than shareholders alone; transparent and ethical business practices; and recognition of the role that artists and communities play in generating real wealth. The Greater London Presence & Engagement Network is making resources on inter-faith dialogue available free of charge to Christian congregations in order to provide a biblical, theological and philosophical grounding for such dialogue in the Christian tradition.

These are just three of many initiatives – reflecting those that I know best – which are essentially seeking to develop codes of conducts or morality from the experience of inter-faith dialogue. These initiatives, if developed and affirmed, can become part of a search for a morality that we can all share and within which the particularity of our own faith and its morals will be valued and affirmed.

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The Waterboys - Old England.

Thursday, 12 February 2009

Hot topics in galleries

The latest edition of Art & Christianity (57) arrived in the post today. As well as my review of Daniel Siedell's God in the Gallery, it also features:

Religion and spirituality are once again hot topics in galleries around the world, as evidenced by Holy Inspiration, where top works from Amsterdam's Stedelijk collection reveal the diversity in artists’ religious experience, and Septiformis, an exhibition held at the Saint Michel and Gudula Cathedral in Brussels. The Editorial of Issue 57 muses on whether the phenomenon of such exhibitions represents "a continuing quest, in an increasingly fractured post-modern world, for spiritual values and meanings perceived as residing in, and even emanating from, the exhibited art works."

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Al Green - Jesus Is Waiting.