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So the other week the three kingpins of celebrity economics in Ireland, David McWilliams, Eddie Hobbs and George Lee were all on Saturday night TV.
However there were no handbags at dawn or any direct challenges at all to each others economic predictions/ political positions (pre June 24 this was before the official announcement of The Recession). Instead, the three men regressed into an economic nostalgia glued together with anecdotes of Curly Wurlys and half crowns found on the street and cashed in at the sweet shop.
A comment from The Property Pin:
I was hoping we would ‘get real’ but no. This is just a fluff piece with a little bit of light sabre rattling, but no killer thrusts. The three boys almost being publicly embarrassed for being so right, and having to defend themselves - ‘no miriam, i’m not a doom monger’.
I believe we’re going to need a televised blood and guts, bone crunching, broken teeth D-Day type watershed to burst this bubble.
“Why is my 100% mortgaged shoebox worth 40% less than what I paid for it, if I could even find someone to buy it? I don’t remember anyone pointing out that was a possibility when I was being brow beaten into buying it.”
With the Dans and the Austins and the Toms and the Kens in the dock to explain how this all came about.
People in Ireland aren’t long about whinging to Joe Duffy if they think they were charged too much for a meal in a restaurant, but we have an entire generation who have been ripped off for their life savings and possibly their career earnings and there isn’t a fucking murmur of discontent to be found anywhere. It’s disturbing.
It seems that the penny sweet remains the primary unit that acts both as a touchstone for avarice and a way to extrapolate larger economic structures.
There was an excellent article in the Sunday Tribune (business section) last weekend, written by Maxim Kelly, that drew attention to the recent trend of using nostalgia for advertising purposes.
There are other examples too, loads of them, some of which I’ve written about here
- The new TV ad for Sprite is a pastiche of Shaft, with Sprite bottles substituted for guns.
- The new McDonald’s TV ads cut to a flashback of ‘the eighties’ (I’ve so far seen two versions; one is of an aerobics class, bizarrely referencing fitness)
- Henri Hippo has been relaunched as the icon of Ulster Bank, albeit with a more digitised style of animation than before. I recently saw copy on a Henri billboard that read ‘Remember when happiness was staying up to watch Dallas?’
So there a few notable things here.
Mc Donalds and Sprite are both global corporations, and the signifiers they light on are similarly ‘global’ (ie referring to hegemonic American popular culture). Visually, these two ads also share a very distinct gritty, ‘analogue’ quality when they’re visually quoting The Past.
Henri Hippo is a much more localised phenomenon, with a much smaller audience, and the focus on Dallas as a childhood experience narrows the demographic further – to people around my age (twenties to early thirties) who lived in Ireland at the time. It’s an unusual experience to feel so targeted by advertising, and if nothing else it really makes me interrogate my memory and experience of this time. Do I really remember it like that? Is the story I have belonging to my childhood, or someone else’s?
Ulster Bank has today brought back the iconic 1980s children’s character Henri Hippo who introduced the idea of saving to a generation of Irish children nearly 30 years ago… At the re-launch of Henri Hippo, Richard Donnan, Managing Director of Ulster Bank Retail Markets said: “Henri Hippo will be fondly remembered by a generation of Irish adults who were introduced to the concept and habit of saving through a great sense of fun. Many of them will now have their own children to whom they will want to pass on a habit that will have served them well down through the years. We want to help parents encourage and motivate their children to save.”
From here
There is something larger here about nostalgia marketing and the time cycles that seem to be involved. I don’t know how ‘new’ the use of nostalgia is in marketing, but it seems to be running on a 20 – 30 year cycle at the moment.
In 1998, Nicolas Bourriaud actually wrote about this in relation to contemporary art, pointing out how art in the 80s drew from the ‘visual effectiveness’ of 60s Pop, and art in the nineties seemed to ‘identify’ with trends from the 70s, including a sense of crisis, saying
Fashion can thus create aesthetic microclimates which affect the way we read recent history.
This is a version of an article recently published in the Visual Artist’s Newsheet. It’s a response to a roundtable discussion titled ‘Creativity versus Commodity’, organised for Colin Darke’s exhibition at Temple Bar Galleries, Dublin, written about here. [February 8th 2008]
The Capital Paintings evolved from Darke’s earlier work, Capital, where the artist transcribed the entire text of Marx’s three volumes of ‘Das Capital’ onto 480 2D objects, all mounted in A4 laminates. With The Capital Paintings, Darke has returned to the previous work, reconsidering and re-presenting every piece in the earlier work as a to-scale oil painting on canvas, though removing the layer of text previously written over each object. Thus, ‘Darke flips the previous process, the ready made becomes the ‘unique’ art object, the banal commodity further commodified and rarified via its display in the gallery context’. (1) The format of Darke’s work replicates the Christmas ‘selling show’ it immediately followed, and promotes this obvious slippage.
Where Capital was perhaps a distant cousin of Marx’s text, the Capital Paintings are a familial relation at another remove from the initial work, and a further remove still from Marx. Nevertheless, he hovers as the invisible referent.
Sarah Pierce chaired the discussion, which, titled ‘Creativity versus Commodity’, set up from the very beginning a problematic polarity of these two terms. Pierce opened with remarks that questioned the usefulness of this supposed opposition, proposing the notion of a ‘circular economy’ that we are all implicated in, but it proved a difficult opposition to shift.
This image held here
Hype cycle graphs can be sourced for consumer e-learning and a host of techie phenomena. What’s curious is what other social trends they might be applied to…
Image held here
So there are two distinct things that are interesting here - the visual and what it represents.
(The trajectory runs from attention data > interest cloud > XXL attention profile).
This represents APML: attention profiling mark up language. (APML is a proposed standard that allows users to share their own personal attention profile and compress all forms of attention data into one portable file format that can be traded between ‘attention seekers and givers’).
The internet is coming up with some intriguing new forms of visual culture to respresent what’s been described and imagined as ‘the crowd’ or ‘the masses’. This runs from the conventional idea of the crowd as a stupid-to-dangerous social ‘blob’ and the dangers of ‘groupthink’, to optimistic ideas of collective intelligence such as James Suroweicki’s The Wisdom of Crowds. It comes back to the old debate of populism. That is, elitism.
This is a short and admittedly slightly random post based on a collection of observations about table tennis/ ping pong: I saw an exhibition in IMMA yesterday by Mark Clare and it seems that table tennis is the mode du jour to address geopolitical issues. Very zeitgesity.
There is a pleasing symnetry to it when you start to see it in an epic,East versus West, Communism versus Capitalism kind of way. After the jump, a short anthology of culturally important moments in table tennis. Contributions welcome…
1. An impoverished ping pong table collapses in the midst of a game among youngsters at Santa Anita assembly center for evacuees of Japanese ancestry, California, 1942. Image held here
The idea of eternal return is a mysterious one, and Nietzche has often perplexed other philosophers with it: to think that everything recurs as we once experienced it, and that the recurrence itself recurs ad infinitum!
… putting it negatively, the myth of eternal return states that a life which disappears once and for all, which does not return, is like a shadow, without weight, dead in advance, and whether it was horrible, beautiful, or sublime, its horror, sublimity and beauty mean nothing…
In the world of eternal return the weight of unbearable responsibility lies heavy on every move we make. This is why Nietzche called the idea of eternal return the heaviest of burdens (das schwerste Gewicht)…
But is heaviness truly deplorable and lightness splendid?
Milan Kundera, The Unbearable Lightness of Being
The Capital Paintings are a re-iteration, re-enactment or re-telling of a previous body of work by the artist, Capital, where he transcribed by hand the entire three volumes of Karl Marx’s Das Capital onto 480 two dimensional objects. Read the rest of this entry »
I just came across this work by Joseph Beuys while researching a Fluxus lecture… if I ever get around to it I resolve to compile a sizable selection of ’defaced money’ artworks. This piece is from 1979.
The irony of this particular work is the large, iconic artist’s signature that takes pride of place on the face of the note. This authorial statement, the form of a defacement, enacts a particular economic alchemy (such a suitable word in relation to Beuys’ oeuvre): it elevates it even closer to gold and exponentially further away from any intrinsic ‘use value’.
Perhaps, to give him credit, this was Beuys’ intention. Often though, his critical gestures were weighted heavily in favour of his own self-mythologisation.
[I think this might actually be the thumb of Engels, not Marx.]
Berlin, December 2007
Last night I saw the film This is England.
I’d heard good things and generally was not disappointed - was a very well directed, superbly-acted skinhead flick, to be reductive about it. Given my interest in nostalgia and collective memory, particularly in constructed memories and the collision of the pop with the political, I was interested in how the texture of Thatcher’s England would be portrayed. It was actually fairly intoxicating - Rubik’s Cubes, Buckaroo, clock radios and 80s fashion-fashion-fashion was interspersed with the Falklands war and miner’s protests. It was kind of gorgeous.
The kind of nostalgia used in the film portrays the issues (nationalism/ racism and its associated nasties) as entities discrete in time, that can be reflected on from the same comfortable distance as Doc Martens, Culture Club eyeliner and clunky analogue technology. Skinny jeans have made a comeback in recent years, so maybe this is an unfair assessment. Does ideology get recycled with fashion or is it an empty recuperation?
The throwing of the flag into the sea was an implausible closing gesture… it did strike me though that most of the significant action in the film took place within the timespan of one little boy’s haircut, which seemed accidentally, significantly poignant.
This blog is not usually used in the interests of self-promotion, but the content seemed to fit here, this time, so here goes.
Above are two recent works exhibited at a show called City of Ideas at a self-storage warehouse in Galway, Ireland. The show was curated by Human Resources (Ben Roosevelt and Emma Houlihan).
Foreground:
Model for Experiencing Economic Panic/ Excitement
Background:
Landscape of Desires and Manias [Tulipmania, 1640s; South Sea Bubble, 1720; UK Railway Crash, 1830s]
These are experiments very much informed by the research themes in this blog, and the sense of emptiness and excess that pervaded the storage space. I’ve also recently been investigating the ‘Economic Worry Matrix’ and ideas of irrationality and so-called ‘market sentiment’.
A previous post dealt with the Sligo Silver Rush - now the propsecting focus has shifted to Co. Mayo.
A company’s plan for a “small scale” gold mine in Co Mayo is running into determined opposition from groups who fear the project would damage the landscape and environment. The controversy echoes the row which embroiled mining companies Glencar and Andaman Resources when they tried to exploit gold resources at Creggaunbaun, near Louisburgh, and Croagh Patrick in the early 1990s.
“Mayo’s Gold Limited”, a subsidiary of Aurum Explorations, is seeking the go-ahead for what the company describes as a “tourist gold mine” at Creggaunbaun which would primarily be involved in the manufacture of jewellery. Mining would be carried out in an environmentally sensitive process similar to “keyhole surgery” the company promises, and Croagh Patrick would be out of bounds for the venture.
However, concern was expressed at the weekend that Minister for Communications, Energy and Natural Resources Eamon Ryan had declared his intention to grant prospecting licences to the company in respect of 135 designated townlands. Mayo County Councillor Margaret Adams says there are a lot of unanswered questions about the company’s plans. Representatives should be invited to a meeting to explain their exact proposals, she said. Westport Tourism has also discussed the company’s proposals and says all its members are strongly opposed to them.
Paddy Hopkins, chairman of the Mayo Environmental Group, says the proposal will meet the same level of determined opposition as the plans by Glencar and Andaman to mine gold at Cregganbaun and Croagh Patrick did on the last occasion. “We are trying to get as many groups and individuals as possible to write to Minister Ryan opposing the granting of the prospecting licences.”
In a document sent to local landowners in the Creggaunbaun area, Mayo’s Gold Limited says it is offering “a completely new approach” to any potential extraction of local gold resources.
Company spokesman Tom O’Gorman said it is thought sufficient gold resources can be established to provide a sustainable development which would provide long-term employment and a unique tourism attraction in the area for 20 or more years.
From Tom Shiel at The Irish Times & Friends of the Irish Environment
Richard Florida was the keynote speaker at a Creative City Regions conference in October, hosted by the Dublin Region Authority and the Dublin Employment Pact. (Info on the conference here)
Florida’s presentation didn’t say anything he hasn’t said before, but the North American, evangelical-influenced delivery was extremely impressive. He is at points very persuasive in his thesis of what the ‘Creative Economy’ is and what it needs. He paraphrased the conference chair in his diagnosis of the ‘Knowledge Economy’ (old hat terminology now) as being “the last gasp of the industrial age”.
However, while the conference was eager to attach Florida’s prestige to the proceedings, the presentations that followed him (in his absence, having jetted off to another conference) showed a notable difference in their opinions/ agendas. The talk was all about the Knowledge Economy, not the Creative Economy: even the DRA website fudged the issue by describing the conference as addressing ‘the creative knowledge economy’.
Florida himself is part of a broader trend in culture where economics is becoming ‘pop’: described as a public intellectual (and he has earned a PhD so I don’t wish to imply he is in any way underqualified), his manner of delivery draws on that of the motivational speaker, informed by the legacy of North American television and evangelicism.
In Ireland, Eddie Hobbs and David McWilliams have become similarly vocal pundits in the national media, particularly McWilliams, whose economic background has seeped into a large scale social trendforescasting. He is particularly fond of coining neologisms (Breakfast Roll Man, Decklanders, the Pope’s Children, etc – see his books and TV programmes, The Pope’s Children and The Generation Game). From this perspective, the field of economics is undeniably more enmeshed in mainstream popular culture than it has previously been.
Richard Florida visited Ireland in October 2007.
See www.creativeclass.com and www.creativeclass.typepad.com
A full report on the conference will be published in the Visual Artist’s Newsheet, January 2008
Image held here
Key to Artwork Diagram:
- Concept (raw commercial intervention)
- Initial Transaction (unanticipated relations)
- Economic Filter (seven models of transaction)
- First Advancement of Transaction (Cork alternative auction)
- Bipolar Field of Constraint (Liberal Capitalist – Socialist)
- Second Advancement of Transaction (Belfast alternative auction)
- Transformation of Capital (exchanges of goods – further relations)
- Investment of Transformed Capital (constrained models of social transformation)
- Analysis / Assessment
The National Sculpture Factory commissioned Art / not art to create a project in tandem with the NSF seminar Do You Speak Art? (or where are you coming from?) exploring the relationship between art and globalisation. In response, Art / not art purchased and auctioned (three times) an exceptional sculpture by Thai artist Pornpraeseart Yamakazi, entitled ‘Want to Be Rich?’ (see below). As part of the seminar on 3 Nov, Art / not art presented the sculpture for auction. A bid of €500 was accepted for consideration in the ongoing art-transaction.
| Now Art / not art have purchased ANOTHER exceptional piece of contemporary art, a painting by Thai artist Mit Ja-In. You are invited to join in deciding its fate.
Using contemporary means of communication, cosmopolitan connections, transnational standards of artistic accreditation, modern money transfer systems and freight networks we have purchased and imported from the other side of the world a sculpture by an artist previously unknown to us, all in a matter of weeks. The nature of this intervention, however, has yet to be decided. It all depends on what Art/ not art do next. |
The friendly attitude of continental diplomats and businessmen to the emerging Irish Free State, in the form of investment and expert labour, arguably led to the successful founding of the sugar industry in the 1920s. Reubenshafen or Port de Bettavres was the name for the ‘beet port’ behind the sugar factory in Carlow, its name depending on the origin of the speaker (Germany or Belgium).
Reubenshafen Quarter is the only name in the proposed Greencore development on the sugar factory site that refers to sugar, even obliquely, or the site’s previous use. The potential Reubenshafen Quarter is linked to an obscure and little-known history, appropriated by Greencore in order to claim a new corporate identity.
(images courtesy Greencore & First Impressions Ltd). See also issue 3 of The Fold - ‘The Disappeared’, a Workroom Elsewhere project curated by Alison Pilkington and Cora Cummins. Below image: Rabbi Zaiman Alony, a senior member of the Jewish community in Ireland, supervising the packaging of sugar in 1976 in the Carlow factory. For more about internationalism and the Irish sugar industry, see the ‘extras’ section here.
I’ve been reading up quite a lot lately on pop economics, and am particularly interested in the emotional and irrational side of it, as well as the visual culture it generates. Somewhere along the line I came across this charming-sounding idea, the ‘personal hedgehog concept’ - see graphic. (full blog post is here, apparently is a thought authored by one Jim Collins in a book titled Good to Great)
I’m intrigued with the culture of talking at the moment.
This draws partly from the fact that I am paid much better as a professional talker about art (seminars, symposia, conferences etc.) than a maker of it. I just had this thought while listening to Tony Cascarino speaking on the radio about football; now there’s an interesting career choice, making money by talking and playing poker.
I’ve done a few of these professional talks lately, and it’s given me cause for reflection. Sometimes it’s quite invigorating (something to do with an ego trip I suppose) and other times it’s completely exhausting. I’ve decided to take a hiatus from public talking after the last one. I feel I don’t have that much left to talk about (I felt like a limp dishcloth) and it worries me slightly that by doing these talks I’m presenting myself as a person with answers. Or maybe that I’m a has-been before my time.
I wonder how we arrived at this point, if we will ever get tired of talking, and what it might be a substute for. I wonder has Umberto Eco written a brilliant essay about it?
- Chapman brothers offer to draw on any form of currency with the Queen’s head on it for free.
- Collectors, critics and show-offs hand over crisp ne’er before used £20 note.
- Artists hand over a £10 one.
- and students £5
- Chapman’s draw 100 (-ish) of these a day over 4 days.
- £4,800 (at a £12 average) is removed from circulation and effectively spent on an artwork which no one has paid for.
Source: newsgrist.typepad.com
Hewitt & Jordan and Dave Beech: The function of public art for regeneration is to sex up the control of the under-classes www.hewittandjordan.com
There is a lot of discussion currently happening in Ireland about new public art policies. There is a rash of symposia, seminars and conferences, which I believe to be very valuable but can be a source of fatigue as well as creative sustenance. Sometimes too I am suspicious of these talk shows and what they really hope to achieve. I have however participated in a number of them as I believe it’s important to try to make a contribution to a public discourse, and I can’t deny that for a day’s work I definitely get paid better to talk about art than to make it.
I think it’s generally accepted at this point in Ireland that many mistakes have been made with the public art commissioned in the past. The image that frequently comes to mind with this is the image of a semi-abstract or semi-figurative piece of sculpture that is generally uncomfortably sited, sometimes disowned or vandalised. Moving from the rubric of site-specificity, in the eighties in the States this occurrence was known as the ‘turd on the plaza’ or ‘plop art’. The question of why these artworks failed however has arguable not really been tackled. Is it the fault of the artist, the artwork, the site? Even the commissioner?
It worries me that in the moves towards making public art more temporary and ‘community’-oriented that nothing or little in the approach towards the commissioning of the work will really change, that the problems of the past will remain unexamined and fundamentally unsolved. There is no quick fix. It also worries me that the language of this discourse has grown up very quickly and terms get used interchangeably by different communities of interest. Some problems I have:
- This seminar asks the question Is this type of activity sufficient as an arts occurrence in itself, or as an opportunity to interact with the public? I really believe that this is a very difficult and unhelpful idea of how this kind of practice operates. We have to move towards an understanding that works towards ‘both’ rather than ‘either/or’. The relationship of the ‘public’, ‘audience’ or ‘community’ is fundamental to this work. Somewhere between the artist and the audience lies the work, the practice, and this is what we need to be talking about. The public commission should neither be weighted in favour of ‘the artist’ nor ‘the public’ – it should privilege the work itself.
- The ongoing problem of ‘plop art’. If no discussion happens about the quality of practice – whether this is to with the quality of engagement between artist and physical or social site in the reception or creation of the work – there is a risk that the ‘community’ becomes the new site for plop art rather than the public square. Just because the artwork is temporary doesn’t mean that the criteria for engagement, or the sense of responsibility, should be more lax. The openness of commissioners and local authorities to different forms of temporary works should be welcomed and applauded, but cautiously.
- Something unusual is happening currently in art practice where there is some possibility of shared space between mainstream art practice (gallery based, socially engaged practice) and community art practice. Recent texts and projects by writers and curators such as Grant Kester and Mary Jane Jacob seem to offer the possibility of convergence in the discourse between these two divergent spheres. This possibility is intriguing, beguiling, and deeply challenging. Are the points of reference, the values in the work, moving from the same space?
- Another relatively new trend is the development of ‘public art’ as a kind of specialisation. It remains to be deeply examined what is meant by ‘public art’ – is it solely a question of public money? Is Arts Council–funded work that is sited in a publicly-funded gallery somehow inherently less ‘public’? And what are the implications of working as a state-funded ‘public artist’?
Tetris (Тетрис) was originally designed and programmed by Alexey Pajitnov in June 1985, while working for the Dorodnicyn Computing Centre of the Academy of Science of the USSR in Moscow. The Soviet bureaucracy licensed and managed Tetris, and advertised it with the slogan “From Russia with Love” (on NES: “From Russia With Fun!”). Because he was employed by the Soviet government, Pajitnov did not receive royalties. Pajitnov, together with Vladimir Pokhilko, moved to the United States in 1991 and founded the Tetris Company with Henk Rogers.
Thanks to J who recently told me about the Soviet origins of tetris. I find this completely fascinating. She also made a reference to how it specifically addressed a thought-to-be feminine/ domestic psychology, but I haven’t been able to find out anything on this. This was what really got me hooked as we were talking about repetitive labour/ leisure activities - she had Tetris and I had needlepoint embroidery - which is also based on a grid system. Very curious.
It’s not the first time I’ve heard about the flourishing of leisure activities in Soviet Russia. Since time had no monetary value, there was space for people to develop rich interior lives. As my granny used to say, some people know the price of everything and the value of nothing.
(mental note - check out William Moskoff)
Cadbury’s Wispa is being reintroduced, following a period of extensive consumer campaigning (online petitions, stage storming at Glastonbury…)
On Facebook, there are 93 ‘Bring Back Wispa’ groups with almost 14,000 members. Feelings for the retro chocolate bar run as strongly on MySpace and Bebo. During the 1980s Cadbury used a string of actors and actresses to publicise the Wispa bar: Ruth Madoc of Hi-de-Hi!, Nigel Hawthorne and Paul Eddington of Yes Minister and Windsor Davies from It Ain’t Half Hot Mum were among the celebrities who appeared in the Wispa campaigns. The Wispa will sell for a recommended price of 42p per bar. Its 1983 launch price was just 16p [UK prices]
The Wispa was introduced in the year I was born, 1981, and phased out sometime in the early 2000s. Wikipedia has since told me that ‘Subtypes of this bar included Wispa Gold (caramel filling), Wispa Bite (caramel and biscuit filling), Wispaccino (coffee filling) and Wispa Mint (mint layer).’ None of which I recall but it’s only the basic one they will bring back anyway. (It’s being called ‘Classic‘)
I never really liked Wispas but I’m sure I’ll partake of one, all the better to remember memories and imaginings that aren’t really mine.
Image: 80s icons - Sky
A company involved mainly in gold prospecting wants to search for silver among other things in Sligo.
Hidefield Gold Plc, which is based in London, is about to be granted prospecting licences for a number of areas in County Sligo to explore for silver, barytes and base metals. The Department of Communications, Energy and Natural Resources has given notice that it intends to grant the company prospecting licences for areas around Strandhill, Rosses Point and north Sligo, mainly around Ben Bulben.
Barytes had been mined from Ben Bulben (on the Gleniff side) at various times from 1858 until 1979. Hidefield Gold is a publicly listed company trading on the Alternative Investment Market of the London Stock Exchange. It is involved in prospecting mainly for gold in North and South America. In the past year it has undertaken significant exploration and drilling projects in Argentina and Alaska. It also has other prospecting interests in Canada and the United States and in Brazil.
The townlands for which licences are being granted are: Ballybeg, Barnasrahy, Carrowbunnaun, Carrowdough, Carrowmore, Cartron (Honaria Duff), Culleenamore, Culleenduff, Drinaghan (ED Knocknarae), Glen, Graigue, Grange East, Grange West, Grange North, Killaspugbrone, Knocknarea North, Knocknarea South, Knocknahur, Lecarrow, Lisheenacoonravan, Lissawully, Luffertan, Larass or Strandhill, Primrosegrange, Rathcarrick, Rathonoragh, rinn, Scarden Beg, Scardon More, Seafield, Sieveroe or Siberia, Templenabree, Tobernaveen, Tully (Ed Knocknarea), Woodpark.
Ballinvoher, Ballyweelin, Carncash, Carney (Jones), Carney (O’Beirne), Cloonderry, Clooneen, Coolbeg, Cregg, Creggyconnell, Cullagh Beg, Cullagh More, Doonierin, Drum East, Drum West, Drumcliff North, Drumcliff South, Drumcliff West, Finned, Kiltycooly, Kintogher, Lisnalurg, Magheragillerneeve or Springfield, Rahaberna, Rosses Lower, Rosses Upper, Shannon Oughter, Teesan, Tully.
Ardnaglass Upper, Ballynagalliagh, Barnarobin, Carrownamaddoo, Cartronmore, Cartronwilliamoge, Clogh, Cloonmull, Cloyragh, Derrylehan, Glencarberry, Gleniff, Gortaderry, Gortadrung, Gortnaleck, Keeloges, Keelty, Lyle, Moneylahan, Moondoge, Oughtagorey, Slievemore or Kingsmountain.
A prospecting licence only entitles the holder to explore for minerals, it dose not authorise them to mine any mineral deposits identified. Maps showing the areas concerned are available for inspection at Sligo Garda Station or through the department’s website www.emd.ie
Any objections must be in by Wednesday, October 3.
SOURCE: John Bromley, Sligo Weekender 18.09.07
Image: Alaska State Library photograph PCA 44-3-15 Sourdough in stream panning for gold (Skinner)
A running list. Let me know if you know any more. (Tiger is too cliché to make the list). This will probably become an artwork at some point.
Archipelago Economy;
Bridget Jones Economy;
Bubble Economy;
Creative Economy;
Karaoke Economy;
Knowledge Economy;
Moral Economy;
Rhizome Economy;
Tapeworm Economy;
A short word association exercise
Mortgage:
mortal, mortality, morality,blind faith, dark cave, Plato, the sublime, Heathcliffe, big collars, crushed velvet, Gothic graveyard
(The etymology of the word ‘mortgage’ is dead pledge, from 13th century old French).
G started laughing as he looked across the table at me. ‘Why are bubbles so good for the economy?’
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