Fellingmania Archives - Page 4 of 5 - Museum of Photocopies

PINS – Rule Ten: A Local Decision

Local decisions are important in the game of PINS. That’s where most decisions are made, locally. You can learn more here. For now, here are some photocopies to help you make your very own local decision.

A photograph of a collage using photocopies pencils, and pen and ink, showing Louis Napoleon of France, in his role as President of the Second Republic. This image is housed in a stamp album full of empty leaves, once used and since abandoned by the curator’s father, to house his collection of old French stamps. We all know Louis was a C.O. – a disastrous one ultimately. He ended up in Southport, South Lancs at one point. And his son was killed in the Zulu War of 1879. All bad decisions. Can you make a good local decision?

A photograph of a photocopy of a photograph of the works in Accrington centre, near where Intack was. In the snow, in the early 2010s. A place where many decisions were made, making things. Now no decisions are made here. Maybe you can make one last one.

A photograph of a photocopy of a pencil drawing the curator made when he was 17. It’s from a book about either Accringon or Gateshead. He can’t remember which. The lads are showing the dedication you need when a local decision has been made and you get stripped and ready for action.

PINS – Rule Nine: Move 2 – That Which Cannot Be Altered

Things cannot be fully explained because it’s Move 2, which as the rules shown in Rule Eight state, “cannot be altered, except by Pin and Local Decision.”

In order not to alter anything we advise you to read Rule Nine. And peruse the following photocopies in case you need further inspiration.

A photograph of a collage using photocopies pencils, and pen and ink, showing a vaguely threatening situation the curator thought up. It reminds him of a regular Saturday night in Accrington in the late 1980s. The heads are those of Edward VIII. One is the bust that appeared on the standard issue postage stamps, whilst the other (the three-quarter portrait) is from a broken coronation mug, inexpertly glued together, and still in the curator’s possession. This was saved from the royalist (East Lancastrian) side of the family. Other images are the Spanish police, made suitably anonymous and given more rustic aspect; the first depiction of Britannia (modelled, suposedly, on Charles I’s mistress, Nel Gwynne); and an old acquaintance of the curator’s from his Bollenstreek Party years. This image is housed in a stamp album full of empty leaves, once used and since abandoned by the curator’s father, to house his collection of old French stamps of the various republics and empires the French have had since the first release (depicting Ceres, goddess of corn) in 1849. This is an image specially prepared for Move 2, which cannot be altered.

A photograph of a photocopy of a photograph of a page from a book on flowers and garden shrubs, in which we see a listing of some Hardy Plants. The book is called The Flower Garden, and written by T.W. Sanders, F.L.S., F.R.H.S.. This is the third edition and is printed by W.H. & L. Collingridge, (“Amateur Gardening” Office, 148 & 149 Aldersgate Street, E.C. 1). The curator suspects this is a wartime or Austerity edition, given the relatively thin paper and inexpensive bind. But it does have a number of coloured plates, including the frontispiece, which shows “A Colony of Stately Eremurl”. This is an image specially prepared for Move 2, which cannot be altered.

A photograph of a photocopy of a photograph of a page from a book on flowers and garden shrubs, called The Johnny Garden Book (Arthur Prensky, Garden Publications Ltd., 55 Russell Sq., London, W.C.1. 1950). The illustration shows raised patios and walkways, and accompanies an instructive text on how to build them. Eagle eyed viewers will note the instruction to see the previous page. This is an image specially prepared for Move 2, which cannot be altered.

PINS – Rule Eight: Moving – But Where?

Order needs an architect! Last time we were worried about orders . But a newly discovered photocopy in the archive tells us that we have moved. So: we do know we have moved. But what have we moved? And how, or where?

Here are some photocopies to help you know where you have moved. Good luck. And remember: Cliff Richard never got as far as Wakefield.

A photograph of a collage using photocopies and mixed media (urgh, hateful term), showing some places in the curator’s imagination. The images are housed in a stamp album full of empty leaves, once used and since abandoned by the curator’s father, to house his collection of old French stamps of the various republics and empires the French have had since the first release (depicting Ceres, goddess of corn) in 1849. The images – regardless of provenance (Paul Nash woodcut calendar from 2017, photos of animals in Berlin Zoo, 1930, photos and drawings by the curator) – are linked, somehow, to East Lancashire. Did you move here?

PINS – Rule Seven: Write Out More Orders

In rule seven we are told that we have three more orders to write out, that are placed on a table and then turned over. They then become moves. Even though rule six says we have two full moves, with no objectives. It’s all very complicated. Never mind. Here are some photocopies to help us on our way in writing out these orders.

A photograph edited using filters, of a specialist book from the 1950s showing the movements of a surveyor in the field, enacting various marking gestures. Can you WRITE THREE ORDERS using these prompts?

A photograph edited using filters, of a photocopy from a specialist book from the 1950s suggesting where you should place your shed. Can you WRITE THREE ORDERS using these prompts?

A photograph edited using filters, of a photocopy of a cover of a school exercise book from the 1920s, laying out a number of working recipes, handwritten in ink and amended in pencil and, later, biro. Can you WRITE THREE ORDERS using the recipes within?

Maybe we need something more outré.

A photograph edited using filters, of a photocopy of a cover of an unopened pack of A4 tissue paper, probably from the 1960s. Can you WRITE THREE ORDERS on modern tissue paper?

A photograph of a photocopy of two photographs of two residences in Felling, Tyne and Wear. The photocopier remembers both with fondness in the 1970s and 1980s. Can you WRITE THREE ORDERS by imagining the residences’ interiors?

A photograph of a photocopy of a photograph of a health centre in Accrington, Lancashire. The centre’s honours those who carried out some very bad orders indeed. Can you WRITE THREE ORDERS that are MUCH BETTER than those given at 07:20 hours, on July 1, 1916?

PINS – Rule Five: What is a Unit?

A unit can be many things, as we say in our explanation to what a unit actually is. And to be honest, we don’t really know either. Here are some images you can photocopy and use to make up units of your own, or maybe inspire you to find similar things.

A photograph of a photocopy of a photograph of the photocopier’s partner at an exhibition in a Rotterdam dock yard. The exhibition was a retrospective that also claimed it was a vision of the future. The photocopier finds these things very tiring. Can you MAKE A UNIT using this image?

A photograph of a photocopy of a photograph of an Estonian television commercial from the early 1980s. Commercials weren’t allowed to be shown in Soviet Estonia but they had to be made, by law. Apparently. Maybe this is meant as a critique of the capitalist system.The bizarre nature of this image could help you define the boundaries of what your UNIT could comprise of.

A photograph of a photocopy of a photograph of a military modelling magazine from 1972. The image shows father and son (both of a British Hussar regiment, one serving, one retired, looking at a diecast mess scene with the soldiers wearing patrols). The photocopier thinks this image is part of a huge body of socio-cultural evidence of the homegrown emotional and psychological therapies service personnel used back in the 1960s and 1970s. Without them realising. Can you MAKE A UNIT using this image?

A photograph edited using filters, of a photocopy of a book showing the cassette tape collection (classical) owned by the photocopier’s father. Such a devotion to log-keeping. All these books (there were over 50, all told) were kept under the photocopier’s father’s bed and never really used, as the cassette player broke. Can you MAKE A UNIT using these titles?

PINS – RULE FOUR: WRITE OUT ORDERS

According to the photocopy that shows the rules, we have to write out orders for each move for each unit – “without a clue to the objective.”

In writing orders and ignoring objectives, we must remember the second Golden Rule of the Buddha, or consult Old Moore’s Almanac, or at least, Shurmer’s Official Guide of Hyndburn. None of these can be found in the Yellow Pages.

MoPC-PINS-24 — A photograph edited using filters, of a photocopy of a sketch of a photograph of a book called GOD’S FOX about a snapper and boiler attendant in an institution, who would photograph elderly inmates. The photocopier remembers instututions like this in the 1970s. Can this image help you WRITE OUT ORDERS?

MoPC-PINS-25 — A photograph edited using filters, of a photocopy of a sketch of a photograph of the photocoper’s father playing football in the back yard with the photocopier, then aged 2. The photocopier remembers times like this in the 1970s. The air and light was different. Can this image help you WRITE OUT ORDERS?

MoPC-PINS-21 — A photograph edited using filters, of a photocopy of a sketch out of the photocopier’s mind. The photocopier remembers daydreams like this in the 1990s. Can this image help you WRITE OUT ORDERS?

PINS – RULE TWO: FINDING SOMEONE

Do you remember the Beginning? No? Never mind. The second rule-post says we need to find someone, to tell the C.O.s to do something. Remember what or who the C.O.s are? No? Never mind. We should find someone.

I know this is difficult. There are so many people to choose from.

MopC-PINS-19 — A photograph of a photocopy of a photograph of a cut up of a now dismantled and partly salvaged piece from the front doors of a WAR DROBE – an amalgam of old drawings, photocopies and texts that I thought I would continually add to over time. But DIDN’T. Remember – order needs an architect. Maybe these images will help you FIND SOMEONE.

MopC-PINS-18 — A photograph of a photocopy of a photograph of a cut up of a now dismantled and partly salvaged piece from the front doors of a WAR DROBE – an amalgam of old drawings, photocopies and texts that I thought I would continually add to over time. But DIDN’T. Remember – I never tell anybody anything. Maybe these images will help you FIND SOMEONE.

MopC-PINS-17 — A photograph of a photocopy of a photograph of a cut up of a now dismantled and partly salvaged piece from the front doors of a WAR DROBE – an amalgam of old drawings, photocopies and texts that I thought I would continually add to over time. But DIDN’T. Remember – Me, aged 21. Maybe these images will help you FIND SOMEONE.

Maybe find someone who knows about

Aquilégia

Alb

Agrimony

Adónis

Actǣa

Anis

Átriplex

Acontíum

Aira

Coaming

A Twitch on the Thread

What does time teach us? Placing remembrances of time over the detritus of other times doesn’t bring much it seems, except more confusion. Who knows? Beware those with answers.

A Twitch on the Thread #2 — A photograph of a photocopy of a photograph of a private party of bulb workers relaxing. Superimposed on a photocopy of a family war record. What do we do with old artefacts and information?

A Twitch on the Thread #3 — A photograph of a photocopy of a photograph of a pensive Photocopier waiting for a train. Superimposed on a photocopy of a family war record. What do we do with old artefacts and information?

Futbol Moderne #2

Football has always kindled a creative spark for me. I remember very little about my first games from the 1970s but can vividly remember the atmosphere of pent up rage, hard-bitten humour and machismo. And the “Fauvist”, iridescent green of the pitch.

When young my love of football also found expression through my obsession with kits from the 1920s and 1930s. Why, I wondered, couldn’t the 1970s footballer wear the (to me) much more elegant styles of the inter-war years? During the same time (1977-1983), I was engaged in painting the “Lace War” armies of the C18th Austro-Hungarian Empire. This venture got out of hand very quickly. Somewhere in my parents’ loft marches every regiment that fought at Waterloo (Airfix HO/OO scale figures) and a fair number of figures depicting the terrible opening battles of the First War.

During 2011-12, I returned to examine this thematic link, discovering that there may be more in it than my pre-adolescent whims let on. These are sketches from a day long “draw-in” in Leiden’s then un-renovated Scheltema. The day also saw me down a crate of ale, with the aid of a cheese sandwich. The uniforms are those from all combatant armies of The Great War.

A slightly blurred photograph of a photocopy with drawing and inscription. Here, two North Western crews confront each other: the curator seems to remember that shows Bolton Wanderers fans versus some other bored youths. The text (in byro) is doggerel hot from the frontal lobes of the Photocopier, the soldier (in felt tip liner and a few pencil strokes) is an Italian Bersaglieri rifleman from the 6th regiment, 1915; taken from the excellent Blandford Colour Series title, “Army Uniforms of World War 1”. The Photocopier likes the fact this photo is slightly blurred; it seems to complement the hurried movement suggested in the hooligan photograph.

A photograph of a photocopy with drawing and inscription. Two police dogs are restrained by their handlers, whilst casual types look on.. The text (in byro) is doggerel but the Photocopier is quietly pleased that his conscience shone through the increasing fug of beer in writing it. The officer (in oil pencil and pencil) is a German pilot officer, Manfred von Richthofen no less, the famous “Red Baron”. The curator has no doubt that the Baron, known for his courtly manners, would have agreed with the sentiment about plastic in the world’s oceans.

A slightly blurred photograph of a photocopy with a quick sketch and inscription. Here, we see a crocodile of casuals walking through some North Western town. The text (in felt tip) is taken from Anthony Burgess’s A Clockwork Orange (1962) a book that somehow presaged the football violence of the late 1960s -late 1980s. The head is that of a wearing the famous “Czapka” (in pencil outlined in felt tip) is a Polish Lancer in the service of the Austro-Hungarian army, 1916. Taken from the excellent Blandford Colour Series title, “Army Uniforms of World War 1”. Again the hasty, off centre nature of the Photocopier’s photograph somehow adds to the essence of the image.

Futbol Moderne #1

The 1970s and 1980s were the era where I began to watch football matches in Lancashire and the North East. Initially accompanied by an adult (a pal’s dad, my dad or my granda) during the mid-to-late 1970s, I attended my first games on my own around 1984, with my first serious away trip being spring 1987 to watch Newcastle United play Manchester City at Maine Road (0-0 if you must know). Football has always kindled a creative spark for me. I remember very little about the actual games from the 1970s but can vividly remember the atmosphere of pent up rage, hard-bitten humour and machismo. And the “Fauvist”, almost giddily bright splash of green of the pitch. This somehow opened up a feeling I could only express through drawing.

During the same time (1977-1983), I was engaged in painting the armies of the C18th Austro-Hungarian Empire in full; specifically that which had fought during the later Wars of the Spanish Succession (covering 1740s-1760s). Somehow that dovetailed with obsessively drawing footballers from the 1920s and 1930s. Football history was a subject that, back then, was often ridiculed by my increasingly “casually-clothed” peers.

During 2011-12, I returned to examine this thematic link, discovering that there may be more in it than my pre-adolescent whims let on. These are sketches from a day long “draw-in”(accompanied by a crate of ale, which was polished off day-tripper charabanc style, with the aid of a cheese sandwich). The uniforms are those from all combatant armies of The Great War.