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  • titleOrganisational - Half Moon Photography Workshop/Camerawork
  • typearticle
  • descriptionCamerawork Annual Report 82/83 - including report on past 12 months and planning for future
• descriptionCamerawork Annual Report 82/83 - including report on past 12 months and planning for future
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    • pdf_text121 Roman Road Bethnal Green London E2 OQN The Half Moon Photography Workshop is now operating as N ow te lep h o ne n u m b e r 01-980 6256 CAMERAWORK REPORT ON THE YEAR 1981-32 PLANS FOR THE YEAR 1932-32 JUNE 1982 This report is intended to serve as a brief introduction to the activities of Camerawork (formerly Half Moon Photography Workshop), a consideration of the achievements and problems of the organisation over the past financial year 1981-82, and an appraisal of our plans for the forthcoming year 1982-83. The report is divided into the following sections: 1 - The Premises 2. Exhibitions and touring shows 3. Camerawork magazine k. Darkrooms 5. Staffing 6. Slide and Photograph Archive 7- Publicity 8. Conclusion darkrooms exh ib itio n space exh ib itio n hire magazine V A T N o. 333315391 Om 1. THE PREMISES It may be usex'ul briefly to recap our situation with the building. We initially approached the London Borough of Tower hamlets, who own 121 Homan Hoad, for funds to convert the building. The Borough agreed to fund the conversion of the premises to house gallery, darkroom, meeting room and production and administration spaces for Camerawork. One of the conditions of this involvement was to provide local employment through the Manpower Services Commission scheme. At this point Camerawork handed over its role as building client to Tower Hamlets — thus effectively losing the control over the building work that a client normally has. This was not anticipated as a problem since confidence was expressed that the work could be completed within a relatively short time. Innumerable delays occurred while the building programme was administered by Tower Hamlets. One example is that in the basement, after all the basic structural work was completed, new problems, including serious damp, emerged; much of the work done had ;to be undone and restarted. The shopfront had to be completely redesigned because of the increase in costs of the original design. Tower Hamlets would only consent to contracts going to certain 'approved' sub-contractors, who have in many cases proved to be incompetent and extremely slow. In several cases our organisation has had to pay for work originally done under the MSC-Iower Hamlets scheme to be redone privately. An example of this is the contract for the {tiling of the basement floor, which we had done privately after Tower Hamlets had laid it incompetently four times. In addition, we were made liable to our contractors for additional debts of £200 when Tower Hamlets kept them waiting for supplies. Additional problems were caused in early 1930 when the architects resigned. The delays have produced appalling working conditions for us in which to produce exhibitions and the magazine, resulting in low staff morale, and making it virtually impossible to plan our future programmes or finances. In 1981-82 we confidently expected the completion of the building work, now three years overdue. In May 1931, without warning, the London Borough of Tower Hamlets withdrew from the Manpower Services scheme, leaving well over £20,000 worth of work to be done, no part of the building functioning properly, and offering only £6,000 to complete work already contracted out to sub-contractors by them. Our architects liken this situation to that of having a contractor suddenly go bankrupt. V e were left without any / of the services sub-contractors normally expect from the contractors (Tower Hamlets) such as general management and on-site attendance. An enormous amount of our own staff "tins nas nao to oe taken up in co—orcinatinv sub-contractors, resulting in great frustration and stress. It r.as only osen the recent presence of our other contractors, Collective Building and Desi n, who have since January 19*32 been rebuilding the new back extension (for paste-up ar.d production space, meeting; room and disaoled darkroom) wno iiave voluntarily taken on some of these responsibilities which has enabled us to deal with many of these problems on the main building. In June 1961 we also employed CBD to build a toilet for disabled people. During the next two months v e anticipate the completion / of the back building, and a resulting improvement in our v/orking conditions. Our architects will meet with us in the next month to provide a summary of all outstanding building work, and we expect at this point to assess what can still be done, where we can make do, and what plans we have to abandon. 2. EXHIBITIONS AND TOURING SHOWS Despite frequent and often unexpected closures due ;to building work, we have managed to put on a full programme of eight exhibitions in the gallery in the last year. They are: The Nonconformists (Martin Farr) No Access and Images on Wheels To Build Jerusalem Mass Observation Byeopeners (Andrew Sethell) £1 Salvador Narita Airport Underdeveloping Bangladesh. With this consistent programme we are building up a regular local audience. We now have ^+2 touring exhibitions which toured to over 90 venues in the past year. With our new Manpower Services worker we will be spending more time seeking out new venues, finding ways of getting more feedback from existing venues, and marketing our exhibitions more effectively. In conjunction with Four Corner Films in Roman Road, we have held film evenings, talks and discussions alongside our exhibitions. These have been an important source of background information, although they do not always recover their costs. It has become clear that one worker cannot research aria produce shows, and invigilate the gallery, even with the help of the other members of staff. For this reason, v e / have decided to employ a second nailery worker. 3. CAMERAWORK MAGAZINE In the past year Camerawork has published four issues, and has prepared two more issues which will shortly be ready to print. Issue 21 showed work from our women's exhibition, 'Gaining Momentum', and several other features. Issue 22 showed photographs from our exhibition 'Narita Airport', and had an article about a women's photographic archive in Denmark, and other features. With issue 22 we expanded the size of the magazine from 20 to 2^ pages, without increasing the cover price or subscription rates. Issue 23 was a follow-up to our earlier issue on Ireland (1*0, entitled 'Reporting Back on Ireland*. It brought together documentary amateur and press photography from Ireland, with background information and articles. It was compiled from the work of many amateur and prefessional photographers in Ireland, and researched by a specially constituted editorial group. For the centre pages the poster Collective of London designed a pull-out poster. Issue 2 + comprised * a feature on Photography and Graphic Design, as well as photographs from our exhibition 'Underdeveloping Bangladesh' and other features. The cover price remained stable at 75p» snd 3 subscription for six issues in the UK at £6.76, including posters from the gallery exhibitions. Each issues sells 2,5^0 nationally to bookshops distributed by Publications Distribution Co-operative, 600 distributed to London newsagents by Moore Harness Ltd, and 1000 distributed by ourselves to bookshops and galleries all over the world. V e have / 950 subscribers, of whom about 150 are overseas. From issue 25 1 increased print and postage costs will force us to raise the cover price (probably to £1) and subscription rates. We are, of course, most concerned about the detrimental effect this must haite on both the accessibility and the sales figures of the magazine. Among planned issues, issue 25/26 is to be a special double issue on El Salvador, presenting a comprehensive survey of recent social documentary and press photographs from El Salvador, with work by 13 photographers. It is based on the successful Camerawork exhibition on El Salvador, which was the product of several months research by the gallery. issue 2? will include the first in a series of articles on the use of photography and photomontage in the ArbeiterIllustrierte-Zeitung, by Sylvia Gohl and David Evans, based on research supported by an Arts Council Photography Research Award; and Photography and Power, an article by Don Slater, also supported by a Research award; as well as many other features. DARKROOMS The darkrooms act as a resource centre for skilled photographers, as well as for unskilled individual and groups. The building houses five individual darkrooms, including one for colour printing, and a large communal darkroom with eight enlarger bays. The resource is designed to meet two different needs: the individual darkrooms provide a private space for one or two people to produce their own work. The communal darkroom provides a space where people can come together to learn a variety of photographic skills. The darkroom project opened in September 1931, and we now have an active membership of 35 individuals, and 15 organisations. The communal darkroom is used by two local schools. We ywork alongside the school teachers to teach basic skills on project-based work. We also work with local youth groups through Morpeth Youth Centre. As well as teaching photographic skills we provide a series of back-up facilities. Thereis a laminating machine to laminate exhibitions, and a process camera for graphic work. We provide these services at just* over cost price, since commercial rates put these facilities out of the reach of most groups. Thursdays are designated as women’s days, on which we run a beginners photography course. Other women use the individual darkrooms as well, with the aid of a GLC grant, we are now running a course on Women and Employment, for non-waged women. The group is looking into different aspects of women’s employment, and the implication of the notion of unemployment. The group is large, and is divided into subgroups to do a variety of work. At present the darkrooms are open during the day on six days per week, and in the evenings on three days per week. This is only possible thanks to the two MSC workers who joined in March 1982. -he first ten months of operation have shown that the darkrooms provide a vital resource, both to local people and to people from all over London. The cost of using the darkrooms is made up of an annual membership fee and a hire fee for each session the darkroom is used. These costs are set out below: Membership (including VAT) Waged people Unwaged people Over 60/Under 16 Hate until 1/5/82 £ 13.80 9-20 Rate now £2 0 .0 0 10.00 5.00 5 .0 0 Session hire fee (excluding VAT) Cost per session Unemployed people Morning £1.50 1.15 Afternoon £ 2 .0 0 1.15 Evening £2.50 1.15 Chemicals and photographic paper are supplied in small quantities at a little over cost price. The following organisations have used our facilities to prepare exhibitions: North Paddington Printshop London 3icycling Campaign Ecology Campaign in Bristol People’s March for Jobs Tower Hamlets Trades Council Eritrean Solidarity Campaign Community Land Use Paddington Community Darkrooms woodlands Gallery Ce.ntreprise Toynbee Hall Community Centre Solon Housing Association Morpeth Youth Centre Four Corners Films Hackney Play Association Poster Film Collective Acton Community Arts Project Montefiore Centre STAFFING The staffing complement remained stable during the year 1981-32, and at the end of the year Camerawork increased its staff by three workers employed under the Manpower Services Coamission Community Education Programme for one year. In the first full yedr of the gallery being open, and with the darkrooms opening in September 1§8l, the demands made on staff time have greatly increased, and it has been difficult to prevent breaks in the working programme. Our staff is composed of two people working on the editorial, production and distribution side of the magazine, one on finance and building, one on exhibitions production, one on touring exhibitions, and two people in the darkrooms. Of the MSC-CEP trainee workers, two are in the darkrooms and one works on distribution and pro-notion of the touring exhibitions.' ihe KSC workers are trainees, and are not expected to tah.e on ‘ the same workload and responsibility as the other workers; indeed a certain amount of the other staff's time should be devoted to giving them training and supervision. The I13C-CLP workers are each following various courses on day release for one day a week. The increased demands on staff time inthis year have had three major consequences. Firstly, the traditionally informal divisions between workers' duties have become more rigid, and people spend less time working on or discussing areas of work other than their own. This has made it more difficult to monitor and unify the collective's overall approach to questions of photographic and artistic policy. Secondly, we have been able to devote less time to the circle of local contacts, supporters and firends of the organisation who provide a valuable input of ideas, criticism, appreciation and voluntary help. We have maintained our efforts to encourage outside interest through talks, film events, conferences and open nestings, and these have been successful. We have also been careful to stay open to outside influence in our actual work — all of our exhibitions and publications are produced in close collaboration with a wide range of outside groups and individuals, both as a matter of policy and as one of necessity. However, these crucial aspects of our presence.in Tower Hamlets and in the photographic community will inevitably suffer unless the serious staffing shortage is remedied. Lastly, the increased demands on our time have afforded us less opportunity to devote energy to solving general issues and long term problems of management, in addition to our everyday tasks as workers. Further consideration is given to the staffing problem in the conclusion. 6. SLIDE AilD PHOTOGRAPH ARCHIVE Over the years Camerawork has built up a pollection of slide of work from our exhibitions and from many different photographers. These are intended for eventual use in a teaching programme, and they have not as yet been fully indexed and made accessible. We propse to apply to fund an MSC worker to take up this project. 7. PUBLICITY Publicity is an area to which we have never felt that we have paid adequate attention. While we are able to be known about in the local arts community, we have not given enough time to establishing a presence in the wider national press. Hov/ever, we have made most encouraging progress on this front. Various of our exhibitions have had prominent features about them in The Times, the Guardian, the British Journal of Photography, the East End News, City Limits, Time Out, ILEA Contact, Spare Rib, Undercurrents, Arts Alert, Art Monthly, Head and Hand, the Leveller, Tribune and the Morning Star, as well as in many other specialist and small publications. Two features in City Limits proved especially beneficial. In November 1981 a feature of four pages of photographs from our El Salvador exhibition was published, with one of our photographs on the front cover. This helped increase the enormous interest in the exhibition. In January 1982, City Limits published a feature about touring exhibitions in which we featured prominently. An enormous amount of time is need to maintain this journalistic interest, however, and we are unable to work on it consistently. 8. CONCLUSION; OUR CURRENT CONCERNS. In the last financial year we have reached several important milestones in our development. Opening the darkrooms and the gallery has meant that at long last we have been able to create a real presence in the community, and to present a consistent base for our activities. Cur original purpose in combining different activities has been fulfilled: much interest in the darkrooms is aroused in people visiting the gallery, and, on the other hand, the exhibitions provide a context and a point of departure for people producing photographs and exhibitions in the darkrooms. In the coming year we hope to build up these links in even more tangible ways. One example is the ILEA course we are currently running in the darkrooms on 'Women and Unemployment•. We are also looking forward to offering disabled people darkroom facilities when our specially designed darkroom in the back building is completed. In the last year most; of the production of our exhibitions and magazine has had to take place off the premises, as we have not had a production space or any storage space. Production work has beer, done at Space Studios, Martellc St., and in our hones. We have rented storage space at ArtPiace Trust. When the back building is finished we v/ill have adequate accommodation for the first time, and will be able to v/ork more efficiently. Our major concerns over the past year can be summed up as follows: Serious under staffing This has been in part the result of moving two members of staff to work in the darkrooms but also the result of an increased work load with the opening of the gallery. In the next year we are looking at ways of using freelance and voluntary workers but will have to raise funds for more staff. Production problems At a point v/here it seems that if v/e are to become a well used and lively photographic centre, we should be stepping up our level of production — especially of seminars, workshops, slide shows and talks — in order to bring people into the building, v e are having to cut back on production. / V e therefore have a choice of priorities: / a) to keep to present levels of production but drop the quality of our work. b) to halt ail activities other than the production of exhibitions, magazine and darkroom work. c) to involve other groups more closely, which inevitz jly means handing over some degree of editorial control. d) to ovt lap our different activities more; for instance, by making the magazine purely a catalogue for exhibitions. This is something we feel quite reluctant to do and which would not necessarily cut down our work load. Editorial control Since we have made a decision to work closely with other groups in order to bring new ideas, information, knowledge and energy into what could become a closed group, we have always to give over some degree of editorial control. This proved a problem with the Ireland issue of Camerawork and with a projected 'Women and Imperialism' issue. We intend to continue the policy of working with other groups but to look for ways of making our editorial control more effective. The balance between political and photographic issues This is closely linked with the questions raised above about editorial control. It is also, however, a problem of our working process — often not enough time has been allocated in the production schedule for visual concerns and design to be thoroughly discussed. We are negotiating with Information Design Workshop, who put an enormous amount of unpaid work into the El Salvador and Narita exhibitions, to continue design work and consultation with ua. We expect to allow more time to design and presentation concerns in our future scheduling. This will be facilitated once we can use the new production space for laying up and designing the magazine and exhibitions.
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      • essay_titleStuart Hall: Left in Sight
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p style="text-align: justify;"><meta charset="utf-8" />In ‘Left in Sight’, an interview with the cultural theorist Stuart Hall that appeared in the 29th issue of <em>Camerawork</em>, Hall bemoans the visual illiteracy of the British Left. As Hall saw it, the Left were failing to engage with the beguiling imagery of consumerism and instead continuing to hawk the tired motifs of socialist realism to an even wearier electorate. Advertising provided people with an escape and the promise of ignorance to suffering, even their own, and the Conservative’s success lay in their ability to co-opt these images and emotions, presenting themselves as the party of hope<b>.</b></p>
      • essay_content<p> </p> <p><meta charset="utf-8" /></p> <p dir="ltr">Today British politics seems to be facing a very different situation than what Hall was witnessing in 1983. Both the traditional Left and Right are collapsing under the weight of populism. The two major parties have not only suffered losses from, but also have been contaminated by these forces: anyone watching the disintegration of the Tories on the issue of Brexit can attest to the corrosive power of this new style of politics. However, these developments are very much the legacy of the world Hall was writing in and about. </p> <p dir="ltr">In his seminal essay ‘Notes on deconstructing the “popular”’ Hall argued that the dominant culture always seeks to dis-organise and reorganise popular culture, enclosing and defining its forms within its own. This is a process of energetic struggle going on ‘continuously, in the complex lines of resistance and acceptance, refusal and capitulation, which make[s] the field of culture a sort of constant battlefield.’ Popular culture, then, has no fixed content - it is this struggle - but it also therefore has no constant subject. As such, it can be co-opted to constitute various positions and people: providing justification and substance to multiple identities and ideologies.</p> <p>Today we are living with a politics of <em>emotion </em>not reality. Hall saw that the Left’s problem was its commitment to the depiction of reality, a problem that has only deepened now that reality is a shifting, shadowy thing, and the value of ‘‘fact’ is unclear. In the ‘post-truth’ era the terms of debate appear so cartoonish, and politics itself like a reality TV show, that Hall’s line on culture cannot fail to convince. However, the solution he offers in the  <em>Camerawork </em>interview - that the Left must not only bring reality back into the frame but puncture it - seems more difficult to achieve now than in the 1980s.</p> <p>It was necessary not only to depict but transform reality by questioning standard representations of it. Hall speaks of feminists’ success in engaging critically with the tradition of documentary photography in a way the Left had failed to do. Feminist photographers were able to catalyse the same kind of old-fashioned stereotypes that socialist realist photography traded in into a critique of conditions. Whilst socialist realism was a ‘regressive language’ still depicting working class culture like it was the Jarrow March, exhibitions like ‘<a href="https://www.fourcornersarchive.org/archive/index?keyword=Gaining+Momentum%3A+Eight+Women+Photograph+Women%C2%A0&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">Gaining Momentum: Eight Women Photograph Women</a>’ at HMPW in 1981, showed how feminists were able to take the tropes of motherhood and femininity and through creativity, humour and a critical self-reflexivity create new radical depictions.</p> <p>Hall saw a Left stuck in the past, needing to find a language that was rooted in history but could be mobilised towards the future. Photomontage was a possible solution, producing fractures and ruptures that allowed new visual languages to emerge. These fragmented images may be clumsy or chaotically terrifying, but Hall also saw in them excitement and creativity. These feelings were certainly shared by Peter Kennard, whose photomontage exhibitions and illustrations for <em>Camerawork </em>(nuclear warheads in Constable’s Suffolk, Margaret Thatcher leering from a toilet bowl stand out) celebrate the radical possibilities that emerge when you rip things up.</p> <p>As much as Kennard uses photomontage to reveal to hidden absurdities and outrages of 1980s Britain, there is also something utopian about this process. For Hall, Utopia can provide socialism with an approachable image of the future out of the materials of the past. This perhaps is the real message for our times: just as Hall speaks of the Left in the 1980s needing to learn the lessons of the 1945 landslide rather than just reproducing its images, we need to similarly take our understanding of our history into this transformed present. Whilst today’s political climate might look uncertain and unfamiliar, once we understand that we have the materials of history to hand, we can begin to unpick and learn once more how to react.</p>
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    • 2CORE/Controller/Component/CookieComponent.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
    • 4CORE/Model/ModelValidator.php
    • 5CORE/Model/Validator/CakeValidationSet.php
    • 6CORE/Model/Validator/CakeValidationRule.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
      • 4App/Model/TagObject.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
      • 6App/Model/Behavior/UniqueKeyBehavior.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
    • Model(array)
      • 0Asset/Model/Asset.php
      • 1Asset/Model/AssetAppModel.php
      • 2Asset/Model/AssetCategory.php
    • Behavior(array)
      • 0Asset/Model/Behavior/UploadBehavior.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/Medium.php
      • 6Project/Model/TimelineItem.php
      • 7Project/Model/ArchiveItemsTheme.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