Dear all, Upon inheriting the Looking Glass from our predecessors, we identified a number of key issues. Firstly, there were simply not enough articles being published, due both to a lack of submissions from the school community and limited responsiveness from the previous Academic Team. Secondly, the Looking Glass had not been advertised or explained effectively enough to the wider school community. As a result, we plan to implement a more consistent and engaging stream of articles on the Looking Glass. As part of this initiative, we are looking to recruit a select group of keen writers from across the lower school who would be willing to produce one high-quality piece of writing, discussion, or media each month for publication on the Looking Glass. We believe this will be hugely beneficial both to the school community, which will gain access to a wider range of opinions and viewpoints, and to prospective writers, who will be able to reference their experience contributing to the Look...
Note: The following essay is by Eevan Pennant-Shah L6B (20pennant-shahe@students.watfordboys.org) In the contemporary era, art is enjoyed inside grand art galleries, often divorced from its original context and detached from its true meaning. However, in the ancient world the location was often seen as a canvas itself, a fundamental element which ancient artists incorporated, aspiring to evoke awe. The topography of the landscape was paramount as without modern tools these civilizations were forced to work with the existing geology. This had the effect of integrating the natural world into the art itself, whether it was through its location, method of production or its experience. Ultimately, the role of the natural landscape was not merely a passive setting, but an active part that dictated the material limits of art while amplifying its effects on the people who are appreciating it. Additionally, the image of natural landscapes itself could be used to try and push a political mo...