Request History

• Restore to current request
• archive/index/page:71?theme=51
• archive/index/page:6?organisation=3
• archive/index/page:3?medium=7&organisation=3
• archive/index/page:4?medium=33&organisation=2

Session

• Config(array)
  • userAgent144ed409884da073515230947c68441e
  • time1758167634
  • countdown10
• Antispam(array)
  • first6
  • second7
  • answerthirteen
• sentry_event_idf3bc0f91be6f4cbb97f05835e7f55fc6

Request

Cake Params

• pluginproject
• controllerarchive_items
• actionindex
• named(array)
  • page16
• pass(empty)
• isAjax(false)
• paging(array)
  • ArchiveItem(array)
    • page16
    • current20
    • count397
    • prevPage(true)
    • nextPage(true)
    • pageCount20
    • order(array)
      • ArchiveItem.titleASC
    • limit20
    • options(array)
      • page16
    • paramTypenamed
    • queryScope(null)

Post data

No post data.

Query string

• medium32

Cookie

To view Cookies, add CookieComponent to Controller

Current Route

• keys(array)
  • 0action
• options(empty)
• defaults(array)
  • pluginproject
  • controllerarchive_items
• template/archive/:action/*

Sql Logs

Logs

View Variables

• data(array)
  • 0(array)
    • ArchiveItem(array)
      • id529
      • uid(null)
      • ref0000643
      • format_id15
      • image_id3536
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel 3 text 2 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:53
      • created_by(null)
      • modified2025-08-28 00:35:49
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id529
  • 1(array)
    • ArchiveItem(array)
      • id530
      • uid(null)
      • ref0000644
      • format_id15
      • image_id3537
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel 1 text 3 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:54
      • created_by(null)
      • modified2025-09-17 19:38:21
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id530
  • 2(array)
    • ArchiveItem(array)
      • id531
      • uid(null)
      • ref0000645
      • format_id15
      • image_id3538
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel 2 text 4 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:55
      • created_by(null)
      • modified2025-08-26 13:53:57
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id531
  • 3(array)
    • ArchiveItem(array)
      • id532
      • uid(null)
      • ref0000646
      • format_id15
      • image_id3539
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel 4 text 5 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:56
      • created_by(null)
      • modified2025-09-01 00:25:12
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id532
  • 4(array)
    • ArchiveItem(array)
      • id533
      • uid(null)
      • ref0000647
      • format_id15
      • image_id3540
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel text 6 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:57
      • created_by(null)
      • modified2025-08-25 07:30:57
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id533
  • 5(array)
    • ArchiveItem(array)
      • id534
      • uid(null)
      • ref0000648
      • format_id15
      • image_id3541
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel List
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:57
      • created_by(null)
      • modified2025-08-29 20:08:07
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id534
  • 6(array)
    • ArchiveItem(array)
      • id535
      • uid(null)
      • ref0000649
      • format_id15
      • image_id3542
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel text 7 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:10:59
      • created_by(null)
      • modified2025-09-02 10:08:16
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id535
  • 7(array)
    • ArchiveItem(array)
      • id536
      • uid(null)
      • ref0000650
      • format_id15
      • image_id3543
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel 1 text 8 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:11:00
      • created_by(null)
      • modified2025-08-26 05:34:01
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id536
  • 8(array)
    • ArchiveItem(array)
      • id537
      • uid(null)
      • ref0000651
      • format_id15
      • image_id3544
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagsfamily snapshots,rejected photographs,abandoned photographs,photoshops,processing,snapshots,british life,anonymous photos,found images,humour,humor,memories,amateur photography
      • titlePhotos You Didn't Want and Photos You Couldn't Have - Camerawork
      • subtitleExhibition Panel text 9 of 9
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedExhibition Poster 0000057
      • locationBethnal Green, London, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1983
      • origination_year1983
      • origination_month0
      • created2018-06-04 15:11:01
      • created_by(null)
      • modified2025-08-27 17:19:46
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id537
  • 9(array)
    • ArchiveItem(array)
      • id3454
      • uid(null)
      • ref0001570
      • format_id15
      • image_id6534
      • file_id6386
      • collection_design_id8
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorCamerawork
      • author_editorNULL
      • author_writerNULL
      • author_photographerNULL
      • author_designerNULL
      • author_intervieweeNULL
      • author_organisationNULL
      • tagsgenre painting,domestic interiors,dutch golden age,australia
      • titleResemblance - Anne Zahalka
      • subtitlePrice list
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • creditsArts Council of Great Britain, London Borough of Tower Hamlets, Greater London Council
      • relatedPress release 0001569 Photograph 0001571 Invitation 0001572 Poster 0001573
      • locationAustralia
      • copyright_obtained0
      • signed_off0
      • uploaded0
      • origination_date1988
      • origination_year1988
      • origination_month0
      • created2019-12-11 15:31:01
      • created_by(null)
      • modified2025-09-03 04:59:39
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id61
        • archive_item_id3454
  • 10(array)
    • ArchiveItem(array)
      • id3500
      • uid(null)
      • ref0002787
      • format_id16
      • image_id6580
      • file_id6462
      • collection_design_id8
      • medium_id32
      • archiveFour Corners Bishopsgate
      • vimeo_link
      • authorJo Spence, Cambridge Darkroom
      • author_editorNULL
      • author_writerNULL
      • author_photographerNULL
      • author_designerNULL
      • author_intervieweeNULL
      • author_organisationNULL
      • tagsexhibition,identity,sex,family,gender,british culture,memories,family album,baby,fantasy,photo therapy,feminism,cancer,mental health
      • titleReview of Work 1950-85 - Jo Spence
      • subtitleA booklet about the exhibition at the Cambridge Darkroom (15 March-14 April)
      • dimension5
      • ocr1
      • copyrightJo Spence, Cambridge Darkroom
      • creditsCambridge Darkroom, Miller's Music Centre Eastern Arts, Cambridge City Council
      • related
      • locationCambridge, UK
      • copyright_obtained0
      • signed_off0
      • uploaded0
      • origination_date1985
      • origination_year1985
      • origination_month0
      • created2019-12-11 15:33:20
      • created_by(null)
      • modified2025-08-25 22:31:02
      • modified_by(null)
      • status1
      • featured0
      • pdf_textIllisii 1 1950 - 1962 The early days working as a secretary for a 'general practitioner' in photography in London from 1950 to 1962, watching, assisting, learning, and finally joining in, as she herself took up the camera and for a brief period attended Day Release classes at Ealing Polytechnic. This period undoubtedly helped to create in Jo certain ideas about photography, particularly as a commodity, as a desirable way to earn a living, and (uncritically) as a transparent encoding practice. Her own expectations, as the daughter of working class parents, meant that it took many years before she could 'dare' to allow herself to change careers, and take the plunge into becoming a freelance photographer. This photograph was taken by Stephen Taffler of Photo Coverage, London for the careers editor of a woman's magazine My Home. It shows the photography department at The Regent Street Polytechnic in 1952. Jo assisted him on this occasion as caption writer. ► JO A N N A SPEN CE ASSO CIATES In putting together this Review of my work I finally came to see and understand my own central obsession with photography: to understand, and to represent, family life (and how I came to be socially/psychically/economically formed within it). The work shown covers a range of ways of looking and speaking, from the highly idealized images of my early studio life, my later looking and longing on the edges of an ‘exotic' culture with an apparently different life style from my own (gypsies and travelling people in London), through to representing alternative forms of collective childcare, into the trauma of divorce, ways of deconstructing and reconstructing images of the family in dominant British culture, to work on photographic genres. In my theoretical work I spent three years studying the myth of Cinderella, the poor neglected child who is forced to do all the housework, and who dreams of belonging to a better family than her own (Freud's theory of the Family Romance). It was only later when I was in therapy that I found myself recounting my own forgotten childhood during the second World l i g a n d (with horror) heard myself exaggeratedly des( g how I had been forced to do all the housework, Wimst my parents neglected me (they were both working fulltime in factories during that period). I began to realize the power of reconstructing particular memories, of exaggeration, and my desire for a mythical past, swinging across between being a heroine or victim. This knowl­ edge was one of my reasons for documenting the trauma of divorce and separation of children from parents in my own family - laying down a huge range of images into our family archive, images which could be used later in their lives when my nieces are adults. Images which could be seen as touchstone for going back into their own past life, if they felt it would be productive. What is absent from all this work, and what has been unearthed in therapy, was the fact that my life was totally disrupted as a five year old child in wartime, when (with a new child in the family, and my just starting school) evacuation caused family breakups three times, and I lived in a total of seven different places in the five years of the war. This period created patterns of think­ ing, defensiveness and behaviour which (together with the way I was socialized as a female in a working class family) have unconsciously governed most of my adult life. Picking up the camera became a multi-faceted way of trying to speak. Thus a central structuring absence fx-— my visible work is only made visible, brought to ^ .iousnesS, through talking in therapy. How do I account for this? How do I begin to represent what has been missing, what I couldn't understand because I lacked any knowledge of it having been there? My work on Photo Therapy and health has been an attempt on my part to allow my various fragmented, long silenced, “inner voices” to get a chance to be expressed, here visually, but at other times verbally. Jo Spence, March 1985 SPENCE WORKING PHOTOGRAPHY There can be no doubt that Jo Spence is one of the most original and interesting practitioners and the­ orists of photography. Her essays and her teaching, at various workshops, have always made an immedi­ ate impact on the recipients and her ideas have filtered into general discussions of photography (particularly the possibility of a political pho­ tography). Yet in spite of this influence, her principal work is difficult to get hold of. Jo’s work, starting as a high street studio photographer, takes us through so many important questions about representation and politics - ques­ tions about agit-prop photography, questions about collective practice in photography, the need to chal­ lenge existing ways of representing a society (par­ ticularly women), what should be the role of the photographer. Her collected work provides an extra­ ordinary document of someone attempting to bring to the practice and theory of photography her com­ mitment as a socialist and feminist. Its rare too to find a political practitioner who tries things out rather than starts from a prior commitment to a position such as socialist realism or avant-garde practice. Jo’s current approach to photography reflects a mood. Many people are currently asking about their personal involvements in politics and trying to find ways of understanding themselves and their history. Interestingly; Jo has always taken herself as some­ one to be scrutinized, as an example of how society works on women, but also as the person who has to live a life at the intersection of these visual represen­ tations. In presenting her work here she is merely extending that approach - Jo as a symptom of how images are used, Jo as a person engaged with history, and especially Jo as the individual experience of these moments. Ros Coward, 1985 1967 - 1974 Seven years as a high street portrait photographer in Hampstead allowed Jo the privilege of being a paid voyeur, whilst she enjoyed herself and learnt as she went along. This work ranged from bread-and-butter jobs like passports, weddings and family groups, to more expres­ sive work with people from the arts and professions who needed pictures for their work. During this period Jo learnt the art of visual stereotyping, although she was not to identify it as such until many years later when she began to study photography critically. She also became disillusioned with her own ability to manipulate people and to collude with her clients to produce only certain icons of their lives. BEYOND THE FAMILY ALBUM, 1 9 7 8 -7 9 “The question of who represents who in our society, how they do it, and for what purpose, is something which has come to dominate my practical and theor­ etical work. In 1972, whilst photographing gypsy life in and around London, I finally came to the conclusion that I must stop being a photographer. Many years working in various aspects of pho­ tography had not prepared me for the shock of having to reject what I had supposed to be the ultimate method of recording and representing the ‘truth’ - the documentary mode of photography. But whose truth was I representing? Nor was I prepared for the personal crisis which followed my rejection of a lifetime’s working practice because I finally realised I was unable to visually represent anything because I lacked a coherent philosophy of what I was doing. It was this crisis with my camera as a pro­ fessional which led me onto an analysis of my own ‘self image’ and to a final understanding that photo­ graphs are not transparent reflections of reality, nor can they be said to be biased, but that they are constructed through a series of unconscious choices which involve complex technology, technique, and the use of various codes, as well as unequal trans­ actions between the photographer and the photo­ graphed, and between the photographer and the institutions which constitute and reproduce photo­ graphic practice. As a socialist and a feminist it has become untenable for me to work any longer as a professional photographer, having to sell my labour and my photographs in order to support myself. After many years I have finally rejected my ‘right’ to create and then sell the various fictions which I made about other people whilst I worked as an advertising, news and portrait photographer. Later, in so-called com­ munity and alternative projects I realized this was just another variant of the same problem, unless I could pass on photographic skills so that people could tell their own stories. But even this is fraught with problems because of the various externally and internally imposed taboos on what it is possible to discuss in public, either visually or verbally.” Jo Spence from catalogue Three Perspectives on Photography, 1979 PHOTOGRAPHY/ POLITICS: ONE WHO’S HOLDING THE BABY? by the Hackney Flashers Collective “ In 1 9 7 5 , w h e n a g r o u p o f N o r th L o n d o n p h o t o g r a p h e r s g o t to g e th e r w ith th e a im o f o rg a n is in g a jo in t p r o je c t b e c a u s e t h e y f e l t t h a t t h e i r w o r k w a s i s o la t e d f r o m any h a v e G o rd o n C l a r k e . T o d a y 's c o n f i d e n t , s t y l i s h ak sewn up . A n d sum m ed up . M a in p i c tu r e : H e r lo n g s k i r t k p in k 1, m e d i u m o r s o c ia l o r p o litic a l c o n te x t it w a s a new s te p to ta k e . C e r ta i n l y e x h i b i t i o n p r o j e c t s h a d b e e n c a r r i e d o u t b y t w o or th re e p h o to g ra p h e rs to g e th e r, but w ith o n ly th a t s p e c i f i c p u r p o s e in m i n d ; a n d o f c o u r s e t h e r e a r e t h o s e H e r lo n g s k ir t in r e d o r b la c k o r m e d iu m , tw o - p ie c e s u i t i n v y p u r e e o t» o j |H W P R P P I r e n d ' d e p a r lm e ^ £ 9 S . 0 € F a r l e f t : H e r g ii e t c o a n H H n * * , n a v y /w h i te c h e c k a n d to n in g s k i r t i n n a v y /w h i te s tr ip e . B o th in w o o l . W o r n w i t h s h i r t i n w h i t e v is c o s e . m e d iu m o r l a r p T € 9 9 . 5 0 ' w w h o e x p re s s th e ir p o litic s th r o u g h th e w o r k t h e y d o f o r th e le ft a n d a lte r n a te p re s s . T h e a im o f o u r g r o u p w a s to d e v e l o p a n o n g o i n g a c t i v i t y in t h e a r e a w h e r e w e liv e d a n d w o r k e d , w h ic h p r o b a b ly c o u ld d e fin e it a s w h a t h a s b e c o m e k n o w n a s ‘c o m m u n i t y p h o t o g r a p h y ' - o r ra th e r o n e o f i ts v a r i e t i e s . B u t t h e w o r k o f t h e g r o u p c h a n g e d a c r o s s t h e y e a r s a n d s o t h a t l a b e l w o u ld b e i n a p p r o p r i ­ th e th re e p i e c l M t t M M * 9 ^ c o t to n c o r d u r o y ja c k e t, g re y a te n o w . . . w o o l tro u s e rs a n d t h n n ^ ie c e ju i| | M IM d e p a r t m e i g r t l 2 5 .0 0 O nce ^ J th e g ro u p w a s c o n s o lid a te d p r o j e c t w o u ld t a k e . T h e m a j o r i t y - Published in 1979 by Photography Workshop, as a self funded project. it w a s th e n q u e s t i o n o f w h a t is s u e s t o f o c u s o n a n d w h a t f o r m a th e n o t a ll a t t h a t s t a g e - w e r e w o m e n , a n d w a n t e d t o p h o t o g r a p h w o m e n in t h e lo c a l a re a , illu m in a tin g som e o f th e in e q u a litie s fa c e d o u t s i d e a n d in t h e h o m e . B u t w h e t h e r i t w a s t o b e 'a r t ', i n f o r m a t i o n , o r a g i t - p r o p , a n e x h i b i t i o n , p o s te r s , o r p u b ­ lis h e d in b o o k f o r m , w e r e s t i l l q u e s t i o n s - e v e n tu a l a u d ie n c e . W o rk . T h e s e c o n d O u r fir s t P r o je c t w a s p h a s e (fro m s o w a s th e W om en and w h i c h w o r k is i n c l u d e d h e re ) w a s fin a lly d e c id e d u p o n a s a lo n g te r m A Using the camera to explore taboos? with the use of dolls p r o je c t o n c h i l d c a r e , a n d i t w a s t h e n t h a t t h e d i f f i c u l t y o f m a k in g it a s in g l e is s u e becam e c le a r. The u rg e n c y of c h i l d c a r e w a s u n d e n i a b l e b u t i t w a s r e c o g n is e d t h / h a d t o g o b e y o n d ju s t s u p p o r tin g th e c a m p a ig n f o r N n u rs e ry p la c e s . a rg u e d - fo r We had e n d le s s k e e p in g t h i n g s m e e tin g s w h e re FAMILY, FANTASY, PHOTOGRAPHY j I we s i m p l e , f o r n o t a l ie n a t in g This is part of an exhibition that was produced by four women phography students at the Polytechnic of Central London for their final year degree show in 1981. They called themselves T h e P o ly s n a p p e r s and consisted of Mary Anne Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence. a n y o n e , f o r s h o w in g w h a t w a s d e s p e r a te ly n e e d e d , a n d what c o u ld be m o th e r h o o d a g re e m e n t done, and on and fo r an o v e ra ll c h ild c a re . O f c o u rs e w h a t th e p r o b le m s we w e re, a n a ly s is of had g e n e ra l but d iff e r e n t e m p h a s e s .. C la s s t o o is a n is s u e m id d le th e o f c o u r s e i t g e n e r a ll y is f o r c la s s p h o to g r a p h e r s w ith ‘p o o r’ a n d th e but we m oved p o s e s o f th e a ‘s o c i a l c o n s c i e n c e ’ ; ‘d is a d v a n ta g e d ’ h a v e f o d d e r a lm o s t th r o u g h o u t th e a w a y fro m it is possible to open up new areas of theory from within psychoanalysis. How do we begin to talk about pho­ tography in relation to our interior landscapes of the mind m o re been c a m e ra In h is to r y o f p h o to g r a p h y - ju s t d o in g d o c u m e n ta r y ‘r e a l c o n d itio n s ' ( w h ic h w e s te rn s o c ie ty p a r tic u la r w ays of d is c u s s in g th e fa m ily h a v e c o m e to b e s e e n a s d o m in a n t a n d c o r r e c t, e x­ and is n o t t o s a y t h a t it is seen as p a r t ic u la r ly th e t h e y a r e n ’t u s e f u l in c a m p a i g n s f o r b e t t e r h o u s in g , s o c i a l th e m ost ‘n a t u r a l ’ w a y to liv e N u c le a r f a m i l y . I t is b e l ie v e d t o - c o n s ti­ t u t e t h e r e a lm o f 't h e p r i v a t e ' w h e r e a s in f a c t i t is h ig h l y s e r v i c e s e t c ) . W h a t w e ’v e b e e n m o r e e x p l i c i t a b o u t is t h e 1974 - 1984 D u rin g 1974 Jo m et up w ith T e rry D e n n e tt, a n o th e r p h o t o g r a p h e r , a n d t h e i r i n t e r e s t s m e r g e d a r o u n d id e a s o f p o l i t i c a l p r a c t i c e s in p h o t o g r a p h y , a n d p a r t i c u l a r l y in m e th o d s of w o rk e d te a c h in g to g e th e r p h o to g ra p h y to a on b a s is v o lu n ta r y c h i ld r e n . fo r They s e v e ra l s u m m e r s t e a c h i n g p h o to g r a p h y o n a d v e n t u r e p l a y g r o u n d s . B o th d is il lu s io n e d w it h th e lim its to g ra p h y to g e th e r th e y se t up ( w h ic h o f p r o f e s s io n a l r e g is te r e d la te r b e c a m e T h is p ro v e d to be a pho­ P h o to g ra p h y W o r k s h o p a u s e fu l in te r v e n tio n G a l le r y a n d h e lp e d to Camerawork, c a ll e d p ro d u c e o f w h ic h Jo in B r itis h pho­ a new was m a g a z in e c o - o r d in a to r f o r s e v e r a l is s u e s . P h o t o g r a p h y W o r k s h o p a l s o h e l p e d t o s e t up th e H ackn ey F la s h e r s to g ra p h e r s , c a r to o n is ts C o ll e c ti v e , and a g ro u p of pho­ d e s ig n e r s w h o w o r k e d to ­ g e t h e r o n a v o l u n t a r y b a s is f o r f o u r y e a r s , p r o d u c i n g t w o m a j o r e x h i b i t i o n s o n W o m e n a n d W o r k , a n d l a t e r , W h o 's H o ld in g th e Baby? w h ic h was in c lu d e d Perspectives on Photography H a y w a r d G a l le r y in to u rin g th e in e x h ib itio n Three th e h e ld at th e 1 9 7 9 . A s w e ll a s p r o d u c in g s e v e ra l e x h ib itio n s o n le ft L a b o u r H is to r y in th ir t ie s a n d th e B r it a i n , c u ltu r a l s tr u g g le s of W o rk s h o p h a s a l a r g e s e c t i o n o n p h o t o g r a p h i c h is to r y , P h o to g r a p h y a n d la b o u r a n ti-fa s c is t s tru g g le s . Jo and T e rry a ls o c o - e d ite d c o lle c t io n o f c r itic a l a n d g r a p h y in 1 9 7 9 . C a lle d and p u b l is h e d th e o r e tic a l th e essays on fir s t p h o to ­ Photography/Politics: One. T h is w a s h ig h l y a c c l a i m e d b y p h o t o g r a p h i c c r i t i c s in E u r o p e a n d N o r t h A m e r i c a a n d is w i d e l y u s e d o n p h o t o g r a p h i c c o u rs e s in h ig h e r e d u c a tio n , as w e ll as b e c o m in g a s t a n d a r d w o r k o n p o l i t i c a l p h o to g r a p h y . T h e i r j o i n t w o r k a ls o i n c lu d e s Remodelling Photo History c l u d e d in t h i s R e v ie w o f w o r k . ‘Once upon a time there was a successful portrait photographer. One day, when she was setting up the lights for the umpteenth family-group o f the week she heard a tapping sound inside her camera. Gingerly she lifted it from the tripod and opened up the back . . . Out leaped an angry little fairy! - “Why on earth are you doing all this?” asked the fairy, waving her wand furiously, “and what is it all supposed to mean?” . These are the two questions with which Jo has been struggling ever since. Bloody fairies!’ A ly n c h p i n in o u r c la s s s o c i e t y , i t is s e e n a s a u n i v e r s a l Liz Heron, from “Who's still holding the camera?", Photography/Politics: One, 1979 w h ic h is in ­ I must at once remark upon Jo Spence’s extraordinary energy and enthusiasm; witness the range and sheer number of projects in oppositional photography with which she has been actively involved - ten years of Photography Workshop, the Hackney Flashers, Camerawork, and the Polysnappers to name but a few. In a sense Jo was ideally positioned as a commercial portraitist to understand and act on the most crucial distinction of our times in relation to photography - between those who basically regard it as an ideological tool, constructing its own realities, its own truths. Jo has continued with those umpteen family-groups. She has turned them into agitprop demonstrations of the injuries of class in our society. She has used them to dramatise the workings of capitalism and patriarchy. She has used them to act out and reveal the inner psychic processes which lead us to collude with our own oppression. She has choreographed them to show up the poverty of industrially defined dreams of glamour, and the crippling consequences of neglecting our bodies as anything other than obedient consumers. More than this she has made countless people aware that they do not have to accept other people’s defining images of their own experience and desires. Above all else I would mention her intellectual courage, which is also a fierce courage of the heart. Simon Watney, 1985 th ro u g h fo rm s of l e g is la t i o n and ta x a tio n , and s ta t e , o u t s i d e o f h is t o r y , o u t s i d e o f p o w e r r e l a t i o n s h i p s 'a n id e o lo g ic a l h a v e n in t h e h e a r tle s s w o r ld o f c a p it a lis m '. V is u a l r e p r e s e n t a t i o n of p e o p le , p r i v il e g e s t h i s d o m i n a n t g r o u p i n g n a t u r a l iz in g , r o m a n tic iz in g and id e a l iz in g f a m i l y r e l a t i o n s h i p s a b o v e a ll o t h e r s . In t h i s e x h i b i t i o n w e h a v e t r ie d t o in d ic a te t h a t w e c o u ld p e rh a p s lo o k a t th e f a m i l y a s a n i d e o l o g i c a l s ig n s y s te m . In t h e g r o u p w e a ll s e e th e p h o t o g r a p h i c s ig n a s t h e s it e o f s tr u g g l e - o n ly a s o n e f o r m e d u c a tio n a l c h a rity ) . to g r a p h y a s th e y im m e d ia te ly jo in e d fo r c e s w ith th e H a lf M oon J0 s p e n c e & t e r r y d e n n e t t t h r o u g h in s t i tu t io n s o f e d u c a t io n , w e lf a r e a n d s u r v e il la n c e . o p p r e s s io n , a n d s h o w in g t h e t w o a s m u t u a l ly r e i n f o r c i n g . ” From my family album p u b lic n e c e s s i ty f o r f i g h t i n g c la s s o p p r e s s io n a s w e ll a s w o m e n ’s This image was entirely constructed. The wall was graffitied by us, then photographed; another photograph was taken of the mother and children, then a print laid underneath the hole which we cut in the print of the wall. Thus the link could be made between the WHY of struggles for childcare facilities, and the HOW. , a point of attack, Spence and Dennett took up the issue of photographic representation of the female body, especially as this bears upon women’s labour and sexuality. The impact of their imagery has to do with the setting up of a context of confrontation in the viewer’s responses, a conflict between pre­ existing, automatic assumptions about certain kinds of representation which can be recognized in the very fact of the feeling of strangeness produced by the images in Remodelling Photo History. Perhaps the most obvious example of this occurs with the central image entitled ‘Industrialisation’ which, counter to the usual romantic tradition of the nude, presents an unconventionalized female nude in an unidealized landscape. One cannot from this juxtaposition easily derive the familiar myth of woman-as-nature which so often underlies and motivates the conventional photographic image of the woman in nature . . . In ‘Regulation’, (a dual image of front and side views of the breasts), a convention of police pho­ tography expresses a similar convention in nude photography - the obligatory nature of showing, of presenting for identification or inspection . . . Their collaborative approach allows them to draw on a very broad knowledge of photographic genres and also to exchange and combine the roles of photographer and photographed subject” . o f s tr u g g l e w h i c h has to but be seen in r e l a t i o n t o o t h e r f o r m s o f s tr u g g l e t h a t p r o m o t e c h a n g e . In o r d e r t o m a k e o u r w o r k a c c e s s i b l e t o a r a n g e o f a u d ie n c e s b o th in e d u c a tio n w o m e n ’s m o v e m e n t, we ‘d i d a c t i c m o n ta g e ’ - d r a w in g r e p r e s e n ta tio n fro m th e g e n e r a ll y used and in a fo rm of fo rm s of th ro u g h o u t upon s t a g in g v a rio u s o f s c e n a r io s th e fo r th e c a m e r a , t o t h e u s e o f j o k e s a n d c o l la g e s . B e c a u s e o f its s p e c ific e d u c a tio n a l u s e w e p ro d u c e s o m e th in g p la n n e d f r o m w h ic h engaged th e w ith s ta rt to th e o r e t ic a l is s u e s w i t h o u t f u d g i n g o r a v o i d i n g t h e m , b y c e n t r i n g o n t h e f a m i l y a s a w a y o f m a k in g critically v is i b l e a ll t h a t w e h a d le a r n e d a s s t u d e n ts o n th e c o u rs e . T h r o u g h o u t th e w o r k w e u s e d e i t h e r d o ll s o r s o c i a l a c t o r s a s t h e b a s is f o r a ll o u r p h o to g r a p h s , a s w e l l a s u s i n g ‘f o u n d ’ i m a g e r y w h i c h w e r e w o r k e d in o r d e r t o d e - n a t u r a l i z e i t a n d s h o w h o w m e a n i n g s a r e p r o d u c e d . W e u s e d d o ll s in o r d e r t o a v o id th e p r o b le m s f o d d e r ’. T h is of a llo w e d r e p r e s e n ta tio n s th a n e x p lo it in g us to m ake if a c tu a l p e o p le as a g re a te r p e o p le w e re ‘c a m e ra ra n g e used. of For e x a m p le h o w e ls e c o u ld w e b e g in t o o p e n u p a d is c u s s io n on p o rn o g ra p h y in d ic a te w i t h in w a y s in w h i c h an e d u c a tio n a l c o n te x t, o r to m o th e r s a re s y s te m a tic a lly d e - e r o t i c i z e d in i m a g e s . D o l ls a l s o o p e n e d u p f o r u s a r e a l l y p l e a s u r a b le s p a c e f o r u s in w h i c h t o p la y , a n d w e fe e l t h a t w i t h i n a t h e o r e t i c a l f r a m e w o r k t h i s is i m p o r t a n t a n d c o u ld b e s e e n a s a u s e fu l m e th o d f o r in itia lly w o r k in g t h r o u g h a c o m p l e x i t y o f id e a s . W e h o p e t h i s w i ll b e t a k e n u p b y o t h e r s u s i n g p h o t o g r a p h y in a v a r i e t y o f t e a c h i n g Susan Butler in catalogue of touring show New Perspectives On The Nude, ffotogallery, Cardiff, 1983 s it u a t i o n s . The Polysnappers, 1982 Seeing is never neutral... it is always socially con­ structed according to the culture which bore you, and is constrained by our gender, class and race STYlfS ANDGBiRES 1 M A G G IE M U R R A Y ( F O R M A T ) & J O S P E N C E PHOTO THERAPY '0 S P E N C E & T E R R Y D E N N E T T “Jo’s work is concerned primarily with Silences and Absences. The things, for example, that are missing from the family album, and the topics which are forgotten or too embarassing to talk about or visualize (the Worker Photographer movement, Health, Class Struggle). Many of her projects have been a form of research into her personal or family history in relation to wider subjects. She has always tried to make her theoretical analysis of photography accessible. Dif­ ferent projects have been for different audiences, not for any ‘general public’ and she has struggled to change the audience/photographer relationship. For me personally her greatest influence has been in the way she has worked to transform relation­ ships within professional photography by working collectively and with individual photographers to change practices (eg The Polysnappers and with Terry Dennett on Remodelling Photo History). Although this continues to a certain extent she now sees her work as directed towards transforming amateur practices (eg the family album, and her latest experiments in ‘photo therapy’).” Maggie MurraylFormat from notes for The Selectors’ Show at Camerawork, 1984 1982 ONWARDS THE PICTURE OF HEALTH? T he im a ge s in c lu d e d in th e e x h ib itio n are p a rt o f m y h e a lth p ro je c t, in w h ich I a m tr y in g to m a k e visu a lly a va ila b le th a t w h ic h is u n kn ow n, u nseen and fe a re d by m o s t p e o p le : m y s tru g g le fo r h ea lth d u rin g m y m in d and b o d y c risis a ro u n d h aving b re as t c a n ce r, in c lu d in g m y re je c tio n o f o rth o d o x m e d ic a l tr e a tm e n t. In th is sense it is a co ntinu a tio n o f ea rlier w o rk w hich was a b ou t absences and s ile n ce s, m o s t p a rtic u la rly in re la tio n to p h o to s fro m fa m ily a rc h ive s - w h a t are usu a lly te rm e d fa m ily a lbu m s. T his c u rre n t p ie ce o f w o rk on h ea lth has in vo lve d m e w ith d iffe re n t p h o to g ra p h e rs so th a t w e c o u ld e xp lo re p h o to g ra p h ic s ty le and g en re in re la tio n to im a ge s of illn e s s /h e a lth , in o rd e r to p o in t up and p ro b le m a tiz e a p a rtic u la rly n e g le c te d fo rm o f s tru g g le in d e b a te s on visual re p re s e n ta tio n w h ich has c o n c e rn e d its e lf m o re “The traditional portrait in photography is enshrined in a complexity of professional practices and phil­ osophies, typified by the notion that people can be represented by showing aspects of their visible ‘character’ and so on. This relates to the idea that photographs can reveal something that is ordinarily not visible, but that the gifted photographer can make emerge through the use of their artistic or professional skills. We understand the portrait dif­ ferently. It presents a complex set of possibilities, or subject positions, which are not forever fixed in silver, electronics or paint. These can instead be examined, played with, questioned, accepted, changed or discarded. We believe that each of us have ‘in memory’ sets of personalized archetypal images, images which have been produced through various photo practices - eg the school photo used by Jo as her starting point, or the family album snapshot used by Rosy, or any number of images kept by us as mementoes. Such photos are surrounded by vast chains of signifiers and connotations and buried memories. We need to dredge them up, reconstruct them, even reinvent them, so that they work in our own interests, rather than remaining the mythologies of others. By this we mean for instance people (including pro­ fessional mediators) who told us about that ‘self which appears to be visible in our various photo­ graphs. This work relates to a theory of narcissism in as much as it is about the contemplation of our self images, but is about a divided self, sliding s^^oss between the everyday concept of a social sel d the concept of a self as experienced in our ps>^nic lives, in fantasy.” Rosy Martin and Jo Spence, from Feminist Review, Spring 1985 As w e ll as b e in g in vo lv e d in a range o f e d u c a tio n a l p ro je c ts and e x h ib itio n s , Jo has had h e r c r itic a l and th e o r e tic a l w o rk p u b lis h ed re g u la rly in a b ro ad range of jo u rn a ls. H e r p h o to g ra p h ic w o rk has bee n p ro file d on b o th th e Arena and Omnibus te le v is io n a rts p ro ­ g ra m m e s . S he has ju s t c o m p le te d a b o o k w ith P hilip C o rriga n c a lle d Family Album Work Book: snaps and their uses (RKP) and is n ow w o rk in g on a h a n d b o o k of p h o to g ra p h y fo r w o m e n w ith N ina K ellgren. J o ’s w o rk The Picture of Health? w as re c e n tly g ive n a m a jo r aw a rd b y th e G re a te r L o n do n A rts A s s o cia tio n. w ith q u e s tio n s o f s e xu a lity (alth ou gh th e y are in s ep ar­ able). M y a im is to tr y to h e lp fo rm a b rid g e b e tw e en w o rk on h ea lth strug gle s , and w o rk on th e visual im age, w h ich s e e m to m e to be to ta lly re la te d . O ne re fe rs to o u r b o d ily a nd s o cial self, th e o th e r to o u r p s yc h ic self. Just as th e b o d y is fr a g m e n te d th ro u g h re p re se n ta tio n , so it is fra g m e nted and parcelled up as a v a riety o f specialities w ith in d is c o u rse s o f h e a lth. T his p ro je c t is also a w a y o f h aving a s tre n g th e n in g and in fo rm a tiv e d ia lo gu e w ith m y s e lf a b o u t m y o w n a b ility to s u rvive su ch an o rdeal, and to ch a lle ng e th e a p p a re n tly all p o w e rfu l m ed ic al o rth o d o x y , b y . e m b ra c in g a lo w te c h n o lo g y , h o lis tic a p p ro a c h to h e a lth th ro u g h using tra d itio n a l C hinese m e d ic in e . T he w o rk sh ow n h e re is a c o lla b o ra tio n b e ­ tw e e n m ys e lf as p a tie n t and v isu a lize r, M aggie M urra y as p h o to g ra p h e r, and Yana S ta jn o as m y m e d ic a l p ra c ­ titio n e r. W hen it is fin is h e d th e w o rk w ill be a va ila b le as a la m in a te d e x h ib itio n and w ill be p a rtic u la rly fo r use in w o m e n ’s h e a lth g ro u p s o r on m e d ia s tu d ie s o r p h o to g ra ­ ph y c o u rse s. In th a t it in c lu de s a s e c tio n on a m a te u r p h o to g ra p h y and fa m ily h e a lth it w ill also be useful to th o s e w o rk in g on visual and o ra l h istory. Jo Spence T H E E X H I B I T I O N IS P R O D U C E D B Y T H E C A M B R I D G E D A R K R O O M A N D IN C L U D E S IM A G E S F R O M F A M I L Y , F A N T A S Y A N D P H O T O G R A P H Y ; B E Y O N D T H E F A M IL Y A L B U M . . .P U B L IC A N D P R I V A T E IM A G E S ; W H O 'S S T I L L H O L D I N G T H E B A B Y , T O U R E D B Y C O C K P IT G A L L E R Y , . L O N D O N Heroine or Victim? P U B L I S H E D A N D C O P Y R IG H T © 1 9 8 5 B Y C A M B R ID G E D A R K R O O M CAMBRIDGE if ili ** m v * ■ - - • 15 MARCH- 1 4 APRIL DALES BREWERY GWYDIR STREET CAMBRIDGE TEL 0223 350725 TUESDAY-SUN DAY 12-6P M ADMISSION FREE TALK BY JO SPENCE SATURDAY 13 APRIL 7.30PM ADMISSION £1 (50p) STAIRWAY EXHIBITION EDWARD WRIGHT Video installation provided by Miller's Music Centre { L . ' -- I ■ :>
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id3500
      • 1(array)
        • theme_id54
        • archive_item_id3500
      • 2(array)
        • theme_id70
        • archive_item_id3500
  • 11(array)
    • ArchiveItem(array)
      • id486
      • uid(null)
      • ref0000580
      • format_id15
      • image_id3494
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorLondon College of Printing at Elephant & Castle
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagscaithness,sutherland,oil industry,weaving,potato picking,newspaper folding,poverty,isolation,remote landscapes,people,traditions
      • titleScotland's Far North - Glyn Satterley
      • subtitleInvitation List for exhibition at London College of Printing
      • dimension1
      • ocr0
      • copyrightLondon College of Printing at Elephant & Castle
      • credits
      • relatedGlyn Satterley http://www.glynsatterley.com/profile Exhibition Poster 0000116 Scotland’s Far North - Chick Chalmers, Tom Kidd, Glyn Satterley https://www.youtube.com/watch?v=Q1Lt0Qeg_4w
      • locationScotland, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1980
      • origination_year1980
      • origination_month0
      • created2018-06-04 15:10:01
      • created_by(null)
      • modified2025-09-01 08:06:44
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id50
        • archive_item_id486
      • 1(array)
        • theme_id51
        • archive_item_id486
  • 12(array)
    • ArchiveItem(array)
      • id875
      • uid(null)
      • ref0001004
      • format_id15
      • image_id6085
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorDaniel Meadows
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleExhibition Panel List
      • dimension1
      • ocr0
      • copyrightDaniel Meadows
      • credits
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1978-1980
      • origination_year1978
      • origination_month0
      • created2018-06-04 15:19:16
      • created_by(null)
      • modified2025-09-17 21:23:18
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id51
        • archive_item_id875
      • 1(array)
        • theme_id52
        • archive_item_id875
  • 13(array)
    • ArchiveItem(array)
      • id876
      • uid(null)
      • ref0001005
      • format_id16
      • image_id3880
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorAstley Cheetham Art Gallery
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleAstley Cheetham Art Gallery Listing June-December 1980 6 page Leaflet
      • dimension6
      • ocr0
      • copyrightAstley Cheetham Art Gallery
      • creditsHalfmoon Photography Workshop
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1980
      • origination_year1980
      • origination_month0
      • created2018-06-04 15:19:17
      • created_by(null)
      • modified2025-09-17 21:41:57
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id51
        • archive_item_id876
      • 1(array)
        • theme_id52
        • archive_item_id876
  • 14(array)
    • ArchiveItem(array)
      • id883
      • uid(null)
      • ref0001012
      • format_id15
      • image_id6092
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorM & S Shipping Ltd
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleCollection receipt from MS Shipping company
      • dimension1
      • ocr0
      • copyrightM & S Shipping Ltd
      • credits
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1979
      • origination_year1979
      • origination_month0
      • created2018-06-04 15:19:25
      • created_by(null)
      • modified2025-08-29 22:14:28
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id51
        • archive_item_id883
      • 1(array)
        • theme_id52
        • archive_item_id883
  • 15(array)
    • ArchiveItem(array)
      • id889
      • uid(null)
      • ref0001018
      • format_id15
      • image_id6097
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorDaniel Meadows
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleTyped Exhibition Text
      • dimension1
      • ocr0
      • copyrightDaniel Meadows
      • creditsNicky Hughes, Half Moon Gallery
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1977
      • origination_year1977
      • origination_month0
      • created2018-06-04 15:19:32
      • created_by(null)
      • modified2025-09-17 22:50:13
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id51
        • archive_item_id889
      • 1(array)
        • theme_id52
        • archive_item_id889
  • 16(array)
    • ArchiveItem(array)
      • id890
      • uid(null)
      • ref0001019
      • format_id15
      • image_id6098
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorHalf Moon Photography Workshop
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleHire income tracking
      • dimension1
      • ocr0
      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • credits
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1978-1980
      • origination_year1978
      • origination_month0
      • created2018-06-04 15:19:33
      • created_by(null)
      • modified2025-06-19 15:38:02
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(array)
      • 0(array)
        • theme_id51
        • archive_item_id890
      • 1(array)
        • theme_id52
        • archive_item_id890
  • 17(array)
    • ArchiveItem(array)
      • id2749
      • uid(null)
      • ref0003231
      • format_id16
      • image_id5384
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorAstley Cheetham Art Gallery
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleAstley Cheetham Art Gallery Listing June-December 1980 6 page Leaflet. Page 2 of 6
      • dimension1
      • ocr0
      • copyrightAstley Cheetham Art Gallery
      • creditsHalfmoon Photography Workshop
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1980
      • origination_year1980
      • origination_month0
      • created2018-06-04 15:57:09
      • created_by(null)
      • modified2025-08-31 19:49:52
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(empty)
  • 18(array)
    • ArchiveItem(array)
      • id2750
      • uid(null)
      • ref0003232
      • format_id16
      • image_id5385
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorAstley Cheetham Art Gallery
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleAstley Cheetham Art Gallery Listing June-December 1980 6 page Leaflet. Page 3 of 6
      • dimension1
      • ocr0
      • copyrightAstley Cheetham Art Gallery
      • creditsHalfmoon Photography Workshop
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1980
      • origination_year1980
      • origination_month0
      • created2018-06-04 15:57:10
      • created_by(null)
      • modified2025-08-30 15:29:30
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(empty)
  • 19(array)
    • ArchiveItem(array)
      • id2751
      • uid(null)
      • ref0003233
      • format_id16
      • image_id5386
      • file_id(null)
      • collection_design_id9
      • medium_id32
      • archivePARC
      • vimeo_link
      • authorAstley Cheetham Art Gallery
      • author_editor
      • author_writer
      • author_photographer
      • author_designer
      • author_interviewee
      • author_organisation
      • tagslancashire,textile industry,industrial decline,cotton mills,cotton industry,mee-mauring,weaving,weavers,steam engine,stanley graham,steam engineer,sharlie sutton,fluer,peter tatham,pendle,nelson,barnoldswick,steeplejack,chimneys,laminated exhibition,tradesmen,trades,working class,1975-1980,flues,steam loom,boilers
      • titleShuttles, Steam & Soot - Daniel Meadows
      • subtitleAstley Cheetham Art Gallery Listing June-December 1980 6 page Leaflet. Page 4 of 6
      • dimension1
      • ocr0
      • copyrightAstley Cheetham Art Gallery
      • creditsHalfmoon Photography Workshop
      • relatedDaniel Meadows http://www.photobus.co.uk British Photography http://www.britishphotography.org/artists/18772/ei/2089/daniel-meadows-daniel-meadows-decline-in-the-textile-industry-north-east-lancashire-1975-1980 Shuttles, Steam & Soot Press Release 0001002 Shuttles, Steam & Soot Exhibition Text 0001018 Shuttles, Steam & Soot Exhibition Poster 0000108
      • locationPendle, Lancashire, UK
      • copyright_obtained0
      • signed_off0
      • uploaded1
      • origination_date1980
      • origination_year1980
      • origination_month0
      • created2018-06-04 15:57:11
      • created_by(null)
      • modified2025-09-17 20:35:50
      • modified_by(null)
      • status1
      • featured0
      • pdf_text
      • donor
      • content_advisory_warning
      • error
    • ArchiveItemsTheme(empty)
• media(array)
  • 39(array)
    • Medium(array)
      • id39
      • nameMagazine
      • iconicon-magazine
      • archive_item_count33
      • created2025-06-19 10:43:05
      • created_by(null)
      • modified2025-06-19 10:43:05
      • modified_by(null)
      • status1
  • 7(array)
    • Medium(array)
      • id7
      • namePhotograph
      • iconicon-photograph
      • archive_item_count1694
      • created2018-04-04 13:06:19
      • created_by(null)
      • modified2025-06-19 10:41:16
      • modified_by(null)
      • status1
  • 9(array)
    • Medium(array)
      • id9
      • nameDocument
      • iconicon-document
      • archive_item_count530
      • created2018-04-06 07:49:18
      • created_by(null)
      • modified2025-06-19 10:39:55
      • modified_by(null)
      • status1
  • 11(array)
    • Medium(array)
      • id11
      • nameAudio
      • iconicon-audio
      • archive_item_count100
      • created2018-05-07 11:15:32
      • created_by(null)
      • modified2025-06-19 10:39:41
      • modified_by(null)
      • status1
  • 32(array)
    • Medium(array)
      • id32
      • namePublication
      • iconicon-booklet
      • archive_item_count397
      • created2025-06-04 11:01:22
      • created_by(null)
      • modified2025-06-19 10:40:59
      • modified_by(null)
      • status1
  • 33(array)
    • Medium(array)
      • id33
      • nameEphemera
      • iconicon-poster
      • archive_item_count295
      • created2025-06-04 11:01:22
      • created_by(null)
      • modified2025-06-19 10:40:16
      • modified_by(null)
      • status1
  • 37(array)
    • Medium(array)
      • id37
      • namePress
      • iconicon-article
      • archive_item_count214
      • created2025-06-18 18:07:11
      • created_by(null)
      • modified2025-06-19 10:51:04
      • modified_by(null)
      • status1
  • 36(array)
    • Medium(array)
      • id36
      • nameFilm
      • iconicon-rushes
      • archive_item_count15
      • created2025-06-04 11:01:24
      • created_by(null)
      • modified2025-06-19 10:40:34
      • modified_by(null)
      • status1
• filterCrumb(array)
  • 0(array)
    • labelAll
    • url/archive/index
• activeTabarchive
• $request->data(empty)
• $this->validationErrors(array)
  • AppPreference(empty)
  • AppPreferenceExpanded(empty)
  • FrontpageRewrite(empty)
  • FrontpagePage(empty)
  • ArchiveItem(empty)
  • Tag(empty)
  • Collection(empty)
  • Organisation(empty)
  • Theme(empty)
  • ArchiveItemsTheme(empty)
  • Medium(empty)
• Loaded Helpers(array)
  • 0Cache
  • 1AppTable
  • 2Form
  • 3Asset
  • 4AdminPreview
  • 5CookieCompliance
  • 6Frontpage
  • 7FrontpageSitemap
  • 8Html
  • 9Js
  • 10Pager
  • 11Text
  • 12Time
  • 13Number
  • 14Avatar
  • 15Antispam
  • 16Menu
  • 17SimpleGraph
  • 18Paginator
  • 19DebugTimer
  • 20Toolbar
  • 21AppJqueryEngine
  • 22HtmlToolbar

App Constants

CakePHP Constants

PHP Environment

Included Files

Include Paths

• 0/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Plugin/App/Vendor/htmlpurifier
• 1/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/pear/numbers_words
• 3/opt/plesk/php/7.4/share/pear
• 4-> /var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/

Included Files

• core(array)
  • Behavior(array)
    • 0CORE/Model/Behavior/ContainableBehavior.php
  • Cache(array)
    • 0CORE/Cache/Cache.php
    • 1CORE/Cache/Engine/FileEngine.php
    • 2CORE/Cache/CacheEngine.php
  • Component(array)
    • 0CORE/Controller/Component/SessionComponent.php
    • 1CORE/Controller/Component/RequestHandlerComponent.php
    • 2CORE/Controller/Component/CookieComponent.php
    • 3CORE/Controller/Component/PaginatorComponent.php
  • Config(array)
    • 0CORE/Config/config.php
  • Configure(array)
    • 0CORE/Configure/ConfigReaderInterface.php
    • 1CORE/Configure/PhpReader.php
  • Controller(array)
    • 0CORE/Controller/Controller.php
    • 1CORE/Controller/ComponentCollection.php
    • 2CORE/Controller/Component.php
  • Datasource(array)
    • 0CORE/Model/Datasource/CakeSession.php
    • 1CORE/Model/Datasource/DboSource.php
    • 2CORE/Model/Datasource/DataSource.php
  • Error(array)
    • 0CORE/Error/exceptions.php
    • 1CORE/Error/ErrorHandler.php
  • I18n(array)
    • 0CORE/I18n/I18n.php
    • 1CORE/I18n/L10n.php
  • Log(array)
    • 0CORE/Log/CakeLog.php
    • 1CORE/Log/LogEngineCollection.php
    • 2CORE/Log/Engine/FileLog.php
    • 3CORE/Log/Engine/BaseLog.php
    • 4CORE/Log/CakeLogInterface.php
  • Model(array)
    • 0CORE/Model/Model.php
    • 1CORE/Model/BehaviorCollection.php
    • 2CORE/Model/ModelBehavior.php
    • 3CORE/Model/ConnectionManager.php
  • Network(array)
    • 0CORE/Network/CakeRequest.php
    • 1CORE/Network/CakeResponse.php
  • Other(array)
    • 0CORE/bootstrap.php
    • 1CORE/basics.php
    • 2CORE/Core/App.php
    • 3CORE/Core/Configure.php
    • 4CORE/Core/CakePlugin.php
    • 5CORE/Event/CakeEventListener.php
    • 6CORE/Event/CakeEvent.php
    • 7CORE/Event/CakeEventManager.php
    • 8CORE/Core/CakeObject.php
  • Routing(array)
    • 0CORE/Routing/Dispatcher.php
    • 1CORE/Routing/Filter/AssetDispatcher.php
    • 2CORE/Routing/DispatcherFilter.php
    • 3CORE/Routing/Filter/CacheDispatcher.php
    • 4CORE/Routing/Router.php
    • 5CORE/Routing/Route/CakeRoute.php
  • Utility(array)
    • 0CORE/Utility/Hash.php
    • 1CORE/Utility/Inflector.php
    • 2CORE/Utility/ObjectCollection.php
    • 3CORE/Utility/Debugger.php
    • 4CORE/Utility/CakeText.php
    • 5CORE/Utility/ClassRegistry.php
    • 6CORE/Utility/Set.php
  • View(array)
    • 0CORE/View/HelperCollection.php
• app(array)
  • Config(array)
    • 0APP/Config/core.php
    • 1APP/Config/bootstrap.php
    • 2APP/Config/config.php
    • 3APP/Config/routes.php
    • 4APP/Config/database.php
  • Controller(array)
    • 0APP/Controller/AppController.php
  • Datasource(array)
    • 0APP/Lib/Model/Datasource/Database/Mysql.php
  • Model(array)
    • 0APP/Model/ApplicationModel.php
  • Other(array)
    • 0APP/webroot/index.php
• plugins(array)
  • Admin(array)
    • Config(array)
      • 0Admin/Config/bootstrap.php
      • 1Admin/Config/routes.php
  • App(array)
    • Config(array)
      • 0App/Config/bootstrap.php
      • 1App/Config/routes.php
    • Configure(array)
      • 0App/Lib/Configure/YamlReader.php
    • Model(array)
      • 0App/Model/AppPreference.php
      • 1App/Model/AppModel.php
      • 2App/Model/AppPreferenceExpanded.php
      • 3App/Model/Tag.php
    • Behavior(array)
      • 0App/Model/Behavior/ExpandableBehavior.php
      • 1App/Model/Behavior/SluggableBehavior.php
      • 2App/Model/Behavior/IncrementalBehavior.php
      • 3App/Model/Behavior/AppSerializeBehavior.php
      • 4App/Model/Behavior/PurifyBehavior.php
      • 5App/Model/Behavior/TaggableBehavior.php
    • Component(array)
      • 0App/Controller/Component/AppComponent.php
    • Plugin(array)
      • 0App/Vendor/htmlpurifier/HTMLPurifier.auto.php
      • 1App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php
      • 2App/Vendor/htmlpurifier/HTMLPurifier.autoload.php
  • Asset(array)
    • Config(array)
      • 0Asset/Config/bootstrap.php
      • 1Asset/Config/routes.php
  • AssetAdmin(array)
    • Config(array)
      • 0AssetAdmin/Config/bootstrap.php
      • 1AssetAdmin/Config/routes.php
  • Blog(array)
    • Config(array)
      • 0Blog/Config/bootstrap.php
      • 1Blog/Config/routes.php
    • Plugin(array)
      • 0Blog/Lib/Routing/Route/BlogPostRouteView.php
      • 1Blog/Lib/Routing/Route/BlogPostRouteIndex.php
  • BlogAdmin(array)
    • Config(array)
      • 0BlogAdmin/Config/bootstrap.php
      • 1BlogAdmin/Config/routes.php
  • DebugKit(array)
    • Component(array)
      • 0DebugKit/Controller/Component/ToolbarComponent.php
    • Plugin(array)
      • 0DebugKit/Lib/DebugMemory.php
      • 1DebugKit/Lib/Panel/HistoryPanel.php
      • 2DebugKit/Lib/DebugPanel.php
      • 3DebugKit/Lib/Panel/SessionPanel.php
      • 4DebugKit/Lib/Panel/RequestPanel.php
      • 5DebugKit/Lib/Panel/SqlLogPanel.php
      • 6DebugKit/Lib/Panel/TimerPanel.php
      • 7DebugKit/Lib/Panel/LogPanel.php
      • 8DebugKit/Lib/Log/Engine/DebugKitLog.php
      • 9DebugKit/Lib/Panel/VariablesPanel.php
      • 10DebugKit/Lib/Panel/EnvironmentPanel.php
      • 11DebugKit/Lib/Panel/IncludePanel.php
      • 12DebugKit/Lib/DebugTimer.php
  • Frontpage(array)
    • Config(array)
      • 0Frontpage/Config/bootstrap.php
      • 1Frontpage/Config/routes.php
    • Plugin(array)
      • 0Frontpage/Lib/Routing/Route/FrontpagePageRoute.php
    • Component(array)
      • 0Frontpage/Controller/Component/FrontpageComponent.php
      • 1Frontpage/Controller/Component/AntispamComponent.php
    • Model(array)
      • 0Frontpage/Model/FrontpagePage.php
      • 1Frontpage/Model/FrontpageAppModel.php
      • 2Frontpage/Model/FrontpageRewrite.php
  • FrontpageAdmin(array)
    • Config(array)
      • 0FrontpageAdmin/Config/bootstrap.php
      • 1FrontpageAdmin/Config/routes.php
  • Opauth(array)
    • Config(array)
      • 0Opauth/Config/bootstrap.php
      • 1Opauth/Config/routes.php
  • Project(array)
    • Config(array)
      • 0Project/Config/routes.php
    • Controller(array)
      • 0Project/Controller/ArchiveItemsController.php
      • 1Project/Controller/ProjectAppController.php
    • Model(array)
      • 0Project/Model/ArchiveItem.php
      • 1Project/Model/ProjectAppModel.php
      • 2Project/Model/Collection.php
      • 3Project/Model/Organisation.php
      • 4Project/Model/Theme.php
      • 5Project/Model/ArchiveItemsTheme.php
      • 6Project/Model/Medium.php
    • Behavior(array)
      • 0Project/Model/Behavior/HabtmCounterCacheBehavior.php
  • ProjectAdmin(array)
    • Config(array)
      • 0ProjectAdmin/Config/bootstrap.php
      • 1ProjectAdmin/Config/routes.php
  • Search(array)
    • Component(array)
      • 0Search/Controller/Component/FilterComponent.php
  • Sentry(array)
    • Plugin(array)
      • 0Sentry/Lib/SentryErrorHandler.php
  • Story(array)
    • Config(array)
      • 0Story/Config/bootstrap.php
      • 1Story/Config/routes.php
    • Plugin(array)
      • 0Story/Lib/Routing/Route/StoryPostRouteView.php
      • 1Story/Lib/Routing/Route/StoryPostRouteIndex.php
  • StoryAdmin(array)
    • Config(array)
      • 0StoryAdmin/Config/bootstrap.php
      • 1StoryAdmin/Config/routes.php
  • User(array)
    • Behavior(array)
      • 0User/Model/Behavior/LoggingBehavior.php
  • UserAdmin(array)
    • Config(array)
      • 0UserAdmin/Config/bootstrap.php
      • 1UserAdmin/Config/routes.php