In the post-war edition, some photographs have been retaken to show damage from The Blitz (e.g. 'Criminal Court'). Others have been retaken to present a more contemporary, formal style of photography (e.g. Thames House) and some to show a more modern London (e.g. Heath Row (sic)). Surprisingly, the text accompanying these images remains unaltered.
The cuts I make respond to the images very specifically. They are necessarily geometric and function to preserve as much of the image as possible: because the images are folded to project upwards all of both images can be simultaneously present. This is very important in my thinking about the universal now - the simultaneous presence of two moments in time - plus the time for the viewer.