Michelangelo and the enormous Viola video screens

I've been to several 'two works' exhibitions around various galleries, including some delightful juxtapositions at the Tate. This time it was 'Life, Death, Rebirth' featuring Michelangelo and Bill Viola, at the Royal Academy. I'll admit I was somewhat baffled.

The introduction runs that Bill Viola looked at some interesting works by Michelangelo Buonarroti, owned by the Queen and on show a couple of years ago in Windsor. It evolved into a show based upon the inspiration they provided.

I can understand the pitch to the Royal Academy, to put the results together with the original inspirations, but I don't think it really works for me. Who is this show about? One or both artists? Maybe I should have twigged it from the billing on the poster?

Many of the Michelangelo drawings are small chalk sketches, immaculately executed and often at sub A4 size requiring close scrutiny to admire their beauty and precision.

Bill Viola's works are mainly huge flat screen video installations, hung in darkened rooms. They frequently deploy slow motion capture of the human form, often linked with water. An early piece in the show is that of a male form, initially submerged and then slowly moving to the surface of water before once again sinking. It's called The Messenger. I think I understand it, and its link with the theme of life and death.

Viola is world renowned. He's been producing video artworks for 40 years, often with contemplative life learning themes, frequently with slow motion water and/or fire in the mix. In a way, the modern world has caught up, or even overtaken, some of his means of production. Drive into London along the elevated section of the A4 and there's plenty of eye catching large, flat screen television to examine. Oh yes, it's advertising, but with huge marketing budgets. Shouting out - yes you are stuck in traffic so why not look at this glittering new mobile phone/airline/ikea flat pack.

It makes this show something of a problem for me. I can't help thinking that Michelangelo's genius gets hijacked by the brashness of the American television. I want to know whether Viola is trading on fame by association. "Look, I'm here with Michelangelo."

There must be more to it than that, surely?

As an example, there's a darkened room with a three screen installation of birth, swimming through life and death. It's called the Nantes Tryptych. For Viola, it is presumably both personal and voyeuristic.

I watched the busy room and the people's faces. They almost all faced towards the birth frames. Almost no-one noticed that the same room also featured on the opposite wall behind the viewers is Michelangelo's Taddei Tondo, a marble sculpture depiction of a baby Christ avoiding the delicate goldfinch offered by John the Baptist. Perhaps that siting creates a form of performance art in itself?

Maybe I'm not giving the Viola works their due. Perhaps I should dwell longer on each piece. That's also a problem because the exhibition becomes about the 12 Viola works at the expense of the 15 Michelangelos. I can't help wondering whether this is the wrong way around, although perhaps that is what the curator wants? To show us that we need to think about big themes in a modern idiom.

Another work that gave me a challenge is called The Veiling and uses old-school Barco projectors to shoot a couple of scenes through multiple layers of a translucent cloth. The curation makes it difficult to see directly through the layers, to see where the images collide and the effects introduced. This idea (from 1996) might be a clever, but it is difficult to tell. But, ahah, is this the essence of consciousness?

Viewing this, my head went to another altogether different installation, by Fabrice Hyber, which I saw at the Baltic a few years ago. Simply called Raw Materials, as a small section of a much larger show, it used a large series of hung sheets to give early representations for new work.

That's when something occurred to me about this RA exhibition. It felt as if Michelangelo had explored and created ideas. Viola had captured a few and was replaying them in a modern and somewhat repetitive way through 20th Century technology. Michelangelo and - dare I say - Fabrice Hyber both have many more ideas per exhibit than I felt I was getting from Viola.

It was to the extent that I wondered what it would be like to simply project some of the small Michelangelo chalk sketches onto the big screens?

I wondered too about whether the Viola pieces would work better alone or in a different setting?

I'd seen one of the pieces before at the National Portrait Gallery, a few years ago. Called The Dreamers, it was seven big screen hyperreal closeups of fully clothed people under water. With closed eyes they are calm, rather than anxious with occasional (slow motion?) bubbles escaping from their faces as evidence of life. The first time I saw it, it made an impact, maybe because it was unexpected in a run of other artists' work.

I hope from this description it can be construed that I've been trying to understand the show. Take the still above, a frame of another body moving slowly through a tank of well-lit water. I'll admit that this one was quite impactful for me. Above head height, it initially looked like something you wouldn't believe.

Attack ships on fire off the shoulder of Orion, or c-beams glittering in the dark near the Tannhäuser Gate. Riding test boats off the black galaxies then seeing them burn like a match and disappear. Moments lost in time, like tears in rain.

There's a TV show about Bill Viola that I recorded a yesterday but haven't watched yet. Perhaps when I do things will become clearer.

a red queen, strangling in the solitude she prefers

It takes a really ruthless politician to ignore every warning sign, spin every story and offer bribes to attempt to get their way.

"Off with their heads," as the red Queen of Hearts from Alice might say.

The current gang know they have messed up and are using levels of Lewis Carroll reality distortion to attempt to wriggle free.

There's plenty would fancy a chance with the shiny crown, although everyone except the jester knows it too dangerous to attempt to wear at present.

And if you go chasing rabbits, and you know you're going to fall
Tell 'em a hookah-smoking caterpillar has given you the call
And call Alice, when she was just small

The first sweetener was some time ago, when the Conservatives offered £2 billion to the DUP in order to create a majority government. It set the pricing at around £100 million a vote, although the current pork barrel for the Withdrawal Agreement appears to be less.

It's not called corruption though, it's simply "National Renewal" at a time when swathes of British industry are being damaged by self-imposed threats of instability brought about with the uncontrolled lurches of the current incumbents.


When the men on the chessboard get up and tell you where to go
And you've just had some kind of mushroom, and your mind is moving low
Go ask Alice, I think she'll know

I can't call these people leaders, managers or supervisors. Despite claims of taking back control, they use increasingly desperate measures to hold their fractured party together running a 'plucky UK against the world' narrative.

When logic and proportion have fallen sloppy dead
And the white knight is talking backwards
And the red queen's off her head



These servants of the people have forgotten their place as elected representatives positioned to do the right thing for the people, whilst self-righteously claiming they are enacting the will of the people.

As for the promises, they are uncannily linked to post-Brexit. Promises as secure as the lies from that red bus two years ago. The same bus they are shoving Britain underneath.

If the monster was a drunk driver, we'd have dealt with the situation by now.

Talked to her in a quiet, private environment. Kept a light tone, calm and non-confrontational.

Remind ourselves that we are talking with someone under a toxic influence.

Explain to her that we are concerned about what she is doing and the need for preventative action.

Above all, we'd take her keys away.

But we don't seem able, such that this particular Red Queen race has degenerated to simple survival pitted against ever-evolving opposing organisms in a constantly changing environment.

One pill makes you larger, and one pill makes you small
And the ones that mother gives you, don't do anything at all
Go ask Alice, when she's ten feet tall

i taut i taw ipad-keyboard

Instead of a laptop, I took just an iPad when I was away recently. It was part of my experiment with travelling lighter, like using the iPhone as a main camera.

It should be no big deal, but I've written before about the iPad being mainly a "consume" device rather than for "origination". I've used iPads for work and play but usually end up frustrated because it isn't so good for lengthy input.

I took a seldom-used Mini 3, which has the smallest form factor, albeit with the same screen resolution as the prior generation "full size" iPad.

Whilst away, I wanted to be able to enter text and edit it. Not so unreasonable, yet surprisingly difficult when any precision was required. I gave up and instead used the iPad to watch downloaded episodes of Killing Eve.

Enter an inexpensive keyboard. It's a slightly bulky Logitech Canvas reminiscent of something ruggedised that a CIA operative would set up in the middle of a Jason Bourne movie.

However, it does provide typing and screen editing from the keyboard so maybe this will actually work.

we're going to need a bigger contract

This picture is of that well-known clock tower housing Big Ben.

Once a world-famous landmark, now an example of the most highly specified scaffolders' craft. Why, there is scarcely room to insert a further scaffold pole into the structure.

I idly think of it as a metaphor for some of what is happening at the moment. Like Battersea Power Station had to keep a complete chimney during the restoration works, Big Ben must keep a clock face visible at all times.

Some might think of the scaffolding as expensive at £3.5 million. There's certainly a lot more scaffolding than back in 1984, maybe because of new regulations?

Then there is the cost of the actual conservation work, in 2016 estimated at some £29 million. Some 18 months later, it has moved to £61 million.

I suppose Parliament may have been distracted with other matters, whilst this single PCSA project right outside of its own offices casts its own lofty spending profile.

South Bank stroll with the Lightroom CC Ecosystem

Still trying out my 'iPhone only' for pictures, this time around Borough Market and a short part of the South Bank.

My picture of the fancy Paul Smith shop shows the buildings used in the movie Lock, Stock and Two Smoking Barrels. The whole area is used frequently in TV dramas too. Here's a picture (not mine) from the movie.

Next the well-known Market Porter pub, on the outskirts of the market. It is close to one of my old offices and a useful source of refreshment. It always had an exceptionally quick service even on massively busy days, sourced from a largely Australian bar-staff.

In terms of the picture, I've left in the wide angle effect although the framing is a bit off. It kind of reflects the angles used in the movie shot above it. I'll need to get more used to taking photographs with a screen instead of a viewfinder for this to work and to know when to tip the camera/phone slightly. Yes, that's the Shard in the background.

We're still very close to the River. Here's one showing the continued development around the City. Personally I think the view from the Walkie-Talkie (in this picture) is better than that from the Shard nowadays. I had to crop this to remove excessive sky and water.

Next stop, The Old Thameside, which is close to The Golden Hind. This wasn't ever much of an office drinking pub, more one for the tourists, although I did spot a couple of suits emerging from what looked like a coffee session.

I'd better include the Golden Hind, for completeness. Sitting in dry dock, usually it is being climbed over by parties of school children, but I managed to get there just before two groups each of around 20 arrived.

A short stroll further and we are at The Anchor, which is a fun pub to sit outside in sunny weather. Famously used in the first Mission Impossible.

A few photography notes
In terms of the iPhone pictures, they are not too bad, at least if they can be used whole. I miss not having access to raw files and I can see the some of my framing is a bit off, but that's the reason for some practice.

Now I've switched the Lightroom CC copying on, the photos are automatically loading themselves into the Adobe named 'Lightroom CC Ecosystem' on my iMac, which makes cataloguing them a little more straightforward.

For this to work properly, I still need to figure out how to remove synced duplicates, sync errors and to move CC Ecosystem photos safely to their correct catalogue locations.

up and over the Thames

I've been sleeping in the docks for a couple of days with this view and decided it was a good opportunity to continue trialling my 'Use iPhone only' photography. This little sequence was taken as I crossed the Thames via the 'Airline'. For a while it was my short daily commute across the Thames by cablecar.

The system is slightly different now. It used to be a special punchable ticket valid for 10 journeys. Now the journeys can be loaded directly on to my Oyster card, which costs less than simply using the Oyster as a touch-in/touch-out.

It was as easy as ever to get a complete cablecar to myself, and the TV system in the car had a commentary about the views from the ride. As a Londoner, I knew most of it, but there were still some interesting sections, particularly when it involved direct commentary from Londoners, such as a tugboat captain or someone working in one of the revamped dock areas.

Here's a serviceable picture of Canary Wharf and of the Dome, although I had to use the zoom obliquely across the glass bubble of my cablecar to take this one, hence the strange reflections and interference.

Then a picture towards Greenwich Peninsular, which also illustrates the growth of buildings - including several new apartment blocks with what will be a very quick commute into the centre.

Then there's the Thames Clipper dock, accompanied by Anthony Gormley's Quantum Cloud sculpture. It is reputedly taller than the Angel of the North in Gateshead, although doesn't somehow look it, maybe because of its foreshortened outline nature. Look at it from the right angle and there's still a residual figure inside it, based upon Anthony Gormley's body, which is something of his signature approach to public sculptures.

Then, above, my final snap from this leg of the journey. I should have taken a couple of steps further back to get the whole building in, although there was also some tricky road signage, which made it difficult to cover the building, cable cars and first mast all at once.

icy days ahead?

Well, that went well. The third attempt to push Plan A attempted by Mrs May and immediately kicked back by the European Union.

The hypocrisy and skewed voting that left the process intact with no immediate ability to extend or stop Article 50 is foolish. The European Union negotiators can just hold their line now until the last minute. Mrs May has been painted into a corner.

The Throw Britain Under a Bus Manoeuvre is still holding as a basis for creating a faux Tory unity, although the Tory party are already showing signs of new fracture. The new target is Mrs May’s civil service lead negotiator, Olly Robbins, who has been constant through the bulk of the negotiation.

Eurosceptic MP Steve Baker has attacked the prime minister’s negotiating team saying trade negotiator Crawford Falconer should take over. A legacy name from the party, Iain Duncan-Smith, has started to argue for a politically led last stage to the negotiation.

Mrs May’s statement is along the lines that “The civil service team, which is led by Olly Robbins, remains the same.”

It’s more hypocrisy as she adds the de facto deputy prime minister, David Lidington, to the negotiating team along with the attorney-general, Geoffrey Cox.

Expect further PM-insisted legal hooks to be inserted into the already one-way valve of the Withdrawal Agreement.

Remember that the Withdrawal Agreement simply cuts the UK loose. The main terms for what happens next are in the so-called Political Declaration, the well-known 26 pages of aspirational materials to be negotiated in the months and years following the click of the Withdrawal Agreement.

I’m drawn to remember the subtext from the European Union along the lines that no Sovereign state leaving the Union should be able to attain better conditions outside the Union than of members within it.

There'll be a last minute battle for the photo opportunities. It can be spun either way with the right picture content. A bit like those NHS red bus pictures.

It's a pity that there isn’t really any usable opposition to what is happening.

Mr Corbyn has yesterday made a pronouncement that “The whole process looks like it’s running down the clock by saying, well, it’s either the problems and the difficulties of no deal or support a deal that’s already been rejected by the House of Commons.”

Too little, too late.

in the thick of it

Tuesday I stumbled into this little ongoing event outside Parliament and decided to take a few iPhone snaps. It is interesting to see what is happening although it is also almost as confusing as the situation it is trying to address.

There’s that mix of reporters looking for someone to talk to and several factions loosely separated into individual clusters. It is made more complicated because each of the main groupings has some fringe outsiders as well as a few visible infiltrators from other groups.

There is little attempt at logic or rationale in arguments, instead there’s a few slogans and some chants. The amendment votes just keep the current plan rolling along, with a new attempt to adjust the sentiment of the agreements about the island of Ireland.

There's transparent cynicism to the Tory approach. Collective Tories are throwing the UK under a bus on the pretence of re-instilling a Tory unity. The tacticians' narrative about "poor ickle Britain pitted against The Europeans" is a trite way to try to reposition the debate, using the Backstop as the apparent Only Thing to be Fixed. All pure bunkum.

And worryingly little time left for more bust-ups.

Another bit for a spy novel.

It used to be simple to take a wire that had the wrong plug and solder a different connector type onto it. DIN Plugs, Loudspeaker plugs, Phono plugs...the list goes on.

I decided to take a quick peek at the ins and outs of a Lightning connector on a phone.

It is way more complicated. Both ends of a simple wire connector need circuits to make them work properly.

There's security (ie so that only authorised devices can communicate). There's MSV(Multiple Supply Voltage) circuits to ensure that the right current gets through. If you split the signal to provide analogue sound (to headphones) then there's a digital signal processor. Plus watchdog circuits for timing and other errors such as overheating.

Add some memory for the EEPROM to make it all function, a simple microprocessor, some basic voltage stabilisation circuits and and what used to be a 'wire' become an intelligent device in its own right.

I't made me wonder about the discussions of state-sponsored hacks into systems, like that recent suggestion about hacking 5G telecoms.

I'm guessing that some of these little EEPROM circuits could be another way to create a 'leaky' circuit to transmit data too? And if the circuit is built right into the cable - and reprogrammable - who'd even know?

All bound for Mu Mu Land?

I suppose this could go in a number of ways.

I was going to do this post as a Thursday Thirteen, but it got out of hand with all the Operation Yellowhammer undertones linked to the possibility Britain will leave the EU on March 29 without a deal in place.

I can't shake off the ship of fools, even with Marina Abramovitch's arrangement below.

Just look at the stuff on the table. It still makes a useful and edgy metaphor.

We all know it is negotiation posturing, keeping a hard end-date to avoid further procrastination, but still have a 'don't confuse me with the facts (or experts)' situation.

Here's my two pennorth.

Money



1. JPMorgan Chase & Co chief executive Jamie Dimon said the bank would probably use Frankfurt as the legal domicile of its European operations after Brexit, though jobs could be put elsewhere as well.
2. HSBC chief executive Stuart Gulliver confirmed possible plans to move 1,000 jobs from Britain to Paris in case of a so-called "hard" Brexit, and said recent reforms from the French government would be positive, if enacted.
3. Goldman Sachs and Morgan Stanley are planning to spread their operations across a number of cities including Dublin and Paris.
4. Lloyds, Standard Chartered, Credit Suisse, Citigroup and Nomura are among the banks that are planning to expand or set up new offices in Frankfurt in light of Brexit.
5. Hubertus Väth, the managing director of Frankfurt Main Finance said: “All in all, we expect a transfer of €750bn to €800bn in assets from London to Frankfurt, the majority of which will be transferred in the first quarter of 2019.”
6. The City minister, John Glen, backed Bank of England estimates that Britain is likely to lose about 5,000 City jobs by the time the UK leaves the EU on 29 March 2019.
7. Nomura Holdings has set up new offices for certain operations in Paris and Frankfurt as part of its Brexit preparations, but says it headquarters remain in London.
8. Other Japanese firms, including Daiwa Securities and Sumitomo Mitsui Financial Group, plan to move their main EU bases out of London.

Stuff



9. Carolyn Fairbairn, director-general of the CBI, said the failure to sort out Britain’s departure from the European Union was damaging Britain’s brand abroad and had joined a list of systemic risks to the world economy.
10. Ford has predicted that a no-deal Brexit will result in costs of $800m (£612m) during 2019 alone, in the latest in a series of stark warnings over potential disruption to British manufacturing.
11. The Swiss pharmaceuticals company Novartis has said it is stockpiling drugs in the UK before a possible no-deal Brexit, which it warned would be “hugely impactful” for patients.
12. Jaguar Land Rover, the UK’s largest carmaker, informed employees on Thursday that it will shut down its four main factories for an extra week at the start of April on top of a previously planned maintenance pause because of “potential Brexit disruption”.
13. Airbus manufactures aircraft wings in the UK and employs 14,000 people in the country. Chief executive Enders stated: “It is a disgrace that, more than two years after the result of the 2016 referendum, businesses are still unable to plan properly for the future.”
14. The BBC is considering Brussels as the location for a new EU base after Brexit to allow it to continue to broadcast across the continent.
15. Sony will move its European headquarters from the UK to the Netherlands to avoid disruptions caused by Brexit.
16. Appliance maker Dyson recently announced it was moving its (small) headquarters to Singapore, from Malmesbury in Wiltshire, although it said it had nothing to do with Brexit.
17. Panasonic has already moved its headquarters to Amsterdam, mostly because of tax issues potentially created by Brexit.
18. BMW plans to shut its Mini plant for a month after the UK’s official departure from the European Union, to minimise the impact of a no-deal Brexit that it fears would cause a shortage of parts.
19. Toyota has warned that a no-deal Brexit would affect investment and would temporarily halt output at its plant in Burnaston.
20. Honda has already planned a six day halt in April to plan for "all possible outcomes caused by logistics and border issues”.

Slush



21. Prominent Brexiteer Jacob Rees-Mogg has defended the move by a City firm that he helped to found to establish an investment fund in Ireland ahead of the UK leaving the European Union.
22. Theresa May’s husband Philip May is a Senior Executive of a £1.4 trillion investment firm Capital Investment, which provides wealth management for UK investors, based out of Luxembourg.
23. Originator of much of the Brexit turmoil, Nigel Farage confirmed two of his children have both British and German passports, which would allow them to take advantage of free movement rights post-Brexit.
24. A quarter of the UK cabinet flew out to the Davos World Economic Forum on Wednesday at a time when the government is struggling to resolve the Brexit impasse, prompting the Labour leader, Jeremy Corbyn, to accuse them of wasting time at a “billionaires’ jamboree”.

Even the Queen has pitched in: “As we look for new answers in the modern age, I for one prefer the tried and tested recipes, like speaking well of each other and respecting different points of view; coming together to seek out the common ground, and never losing sight of the bigger picture."

All bound for Mu Mu Land
They're Justified, and they're Ancient,
And they drive an ice cream van.
(just roll it from the top)
They're Justified and they're Ancient,
With still no master plan.
(to the bridge, to the bridge, to the bridge now)
The last train left an hour ago,
They were singing "All aboard"
All bound for Mu Mu Land,
Then someone starting screaming "Turn up the Strobe"
(bring the beat back)
(Hey hey)
All bound for Mu Mu Land (justified!)
(Hey hey)
All bound for Mu Mu Land (ancients of mu mu)
Rap:
Justified and Ancient, Ancient and a-justified,
Rocking to the rhythm in their ice-cream van
with the plan and the key to
enter into Mu Mu
Vibes from the tribes of the JAMs.
I know where the beat is at,
''cause I know what time it is.
Bring home a dime,
Make mine a "99"

Topsham wanderings testing iPhone snapshots

Today's post is a result of a quick walk around the neighbourhood, trying out a few pictures from the iPhone. It is part of my test of an iPhone as a travel camera. The first picture above is SOOC (Straight out of iPhone camera) and the only tweak was that I focused it on the wall and knocked the exposure down when I took it.

Then the short walk to the waterfront. It was damp, late afternoon and the tide was out.

The resultant pictures load automatically into Apple's Photo application, but don't get recognised by Adobe Lightroom, even if I plug the iPhone into the Mac.

That's not a problem normally, when I only want to drag and drop a few pictures from Mac's Photos into Lightroom, but would be more irritating if I always had to do an extra manual copy as part of a Lightroom workflow.

I think there's a way around it with Lightroom CC on the iPhone, but I haven't tried it yet.

The second lens corrected picture shows that we're an hour after low tide, and the high tide mark can be clearly seen around the walls.

My issue was that the iPhone lens splayed the walls of the building outward in a wide angle effect. I think it detracts from the original picture, shown below.

For casual snapshots this isn't really a problem, but I suppose I'm just a tad picky on this kind of thing and it would take quite some time to go through to 'correct verticals' and so on.

Here's another 'tide out' picture, this time by the boatyard.

The format of the picture in the iPhone is something like 5x4 default and so this type of picture would have quite a lot of foreground unless I zoomed in. The iPhone digital zoom uses less of the sensor and so the end result would be somewhat jagged.

Instead I've cropped the picture to a more blog friendly aspect ratio. I'd probably prefer to have more control over the highlights too, and may need to set a slightly lower exposure, which ideally would be -2 or -3 for all pictures. I've also got some of that burned edge effect on the horizon, which seems to be more pronounced with jpeg than when processing raw.

This one of the Boathouse looks pretty good, and the menu is readable, including the take-away offers.

Direct from the iPhone it also suffered from the slanted edges, and required some 'guide drawing' to get it to look straight. I'm guessing that the iPhone is quite sensitive to being 'off plane' when facing towards a scene. I'll set the guide lines to be on for the next tests.

I know these quick tests are different from the lifestyle and selfie tests that get reviewed in the interweb, but I suppose I'm trying to see how to use the iPhone as a travel camera, knowing the limits (iPhone and me!) and adjusting accordingly.

To be continued, as they say.

all we are saying

A brief interlude in Liverpool, as part of a longer journey. Fortunately my friend would show me parts of the city, edited to finely balance any tourist experience.

For example, we headed to the free Double Fantasy exhibition in the Museum of Liverpool. It's the experience-packed John and Yoko exhibit, sharing their story and many extremely well-known artefacts.

Close by was the ferry - yes THAT one across the Mersey. I'd have travelled it (which would be a first) but we've decided to leave it for my next visit.

Onwards to the catacombs of St George's Hall, a complete jail underneath the defunct courthouse. A simple way to understand the 'send him down' as one tripped breathlessly from the cells up flights of steps to arrive in the opulent panelled courtroom above.

Then, in the catacombs, the Italo Calvino exhibit. Based upon his writings, the Six Memos, here were various artistic interpretations of his lively and thought provoking work.

• "lightness" - the need to bear the gravity of existence lightly;
• "quickness" - a deftness in combining action with contemplation;
• "exactitude" - the need for precision and clarity in language;
• "visibility" - the visual imagination as an instrument for knowing the world;
• "multiplicity" - the exhilirating infinitude of possibilities open to humankind.

Ahah, but only five? Calvino died of a stroke before he finished writing them. "constancy" was to be the sixth. There were three lovely people to explain the show. A joy to chatter with and to ask them to share their differing favourite moments of the show. They asked me for mine too. I secretly thought it was chatting to them.

Of course we walked around many landmarks. I was staying at Jurys slap bang in the dock area, which had once been around six miles length of busy ships loading and unloading. Now it has a pristine finish, ideal for a flaneur around the waterfront.

There's cafes and bars as well as interesting buildings and displays. There's the Liverpool Mountain just around the corner from the Tate in its modernised warehouse. The colours of Ugo Rondinone's sculpture are so supersaturated that they look unreal. A blast of colour, such that I'll use more than my average picture size to show it.

And we walked along Hope Street, between the two Cathedrals for the divided religions, we could think that this was once the site of stresses in older Liverpool but now an area containing fancy restaurants and hotels. Then, a lovely meal and more chatter, before I headed back to my hotel, admittedly with another look at the ever-changing Mersey.