20:30 now after 'all change' we are moved to the last-but-one bus - the very last just overtook us - it was completely full (of middle-aged men)...
The conductor told us that this particular bus took 7 years to restore to its original state - cork flooring, original posters, low voltage light bulbs... everything is as it was 51 years ago when the Routemaster was the latest thing... and now, on its withdrawal, it arouses such joy and sadness among these men, or grown up boys, all smiling and talking so enthusiastically... i feel that this is a most wonderful moment for them amidst many moments far duller... and that there is something here of the magical.
...and now on another bus across Waterloo bridge to pass National Theatre outdoor projection of Andy Warhol's film Empire (a static 8hr movie of the Empire State Building from afternoon to night)... until bus reaches the Tate Modern and Rachel Whiteread's arctic-like piles of white plastic reverse mouldings of ordinary cardboard boxes - i ask myself what is it, this mind-emptying thought that she repeatedly realises in her 3-dimensional negatives of familiar objects, from tables to chairs to whole buildings?... it's some strange kind of undoing of normality to reveal the unlikelihood of everything if seen as pure phenomenon, unrelated to familiar actions or the perceptions of use...
individual people, as they walk by, seem detached from any context - against the enveloping whiteness... and this impression outdoes her intentions, i think... or does it supplement them?
Returning later to view Empire for about half an hour i feel that it would be more impressive if projected indoors. Out here on the rooftops to see it being projected onto the outside of a concrete wall it is just a dim light among many brighter ones - the cinema (i remember from the theories of Suzanne Langer*) is not an outdoor spectacle but a virtual dream, to be shared by others each looking individually at 'impossible sights' in the artificial cinematic darkness of 'public dreaming'...
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