Saturday, 25 April 2015

Epiphanies and True Confessions – Part One



Outside of entries in this blog and the occasional tweet I try to avoid at all costs using that most untrustworthy of all signifiers: the prefatory word and isolated alphabetical fragment,  ‘I’. There are, however, certain circumstances when its use is unavoidable if you still wish to write something that is both coherent and easily readable: travel writing, medical experiences and moments of revelation and change all come to mind. Each is a form of confession. You can shift them into the third person, I suppose, but that would seem to indicate that you have failed to adapt sufficiently to the circumstances. Furthermore it avoids a more important question: how can the untrustworthy signifier suddenly guarantee the ‘truth’ of a confession?

I am about to have two pieces of confessional writing, using my least favourite alphabetical fragment, published on the same day. One is a piece on my experiences with cancer, to be published in the SS15 edition Noon under the title ‘Mistress C’ – which deserves a post of its own. The other is my contribution to a new anthology published by Strange Attractor Press in association with The Wire. Edited by Tony Herrington, Epiphanies: Life Changing Encounters With Music is based on the long running column that appears at the back of each issue of the magazine. A different contributor is invited to write about some moment of profound change associated with music: traditionally a small private moment that transforms the way we perceive the world around us. It was Rob Young, who was still editor at the time, who contacted me about writing something. ‘We’ve just realized that you’ve never done an Epiphanies for us, he wrote. ‘Would you like to write about something?’
I tried to think of a genuine moment of profound surprise and disruption, after which it was impossible to listen to music in the same way again.
‘Can I write about hearing “Quiet Village” by Martin Denny for this time?’ I asked.
‘Oh go on then,’ Rob replied.

You can find out what happened in the Epiphanies anthology. It is an account I have tried to make as truthful as possible – which is not as easy as it might sound. Alternatively you can come along to the Apiary Studios in the Hackney Road on the evening on Thursday April 30 to hear me read my contribution along with Nina Power, Ed Baxter and Edwin Pouncey, who will be reading theirs. The anthology is an amazingly diverse collection, featuring experiences from Kenneth Goldsmith, Lydia Lunch, David Grubbs, Adrian Shauhnessy, Genesis Breyer P-orridge, Erik Davis, Brian Dillon and Sukhdev Sandhu – and therefore worthy of your time.

In the meantime I seem to have been indirectly responsible for Martin Denny’s exotic arrangement of Les Baxter's ‘Quiet Village’ being played on BBC Radio 3 as a result of the Epiphanies volume being featured on the Thursday April 23 edition of Late Junction. Whether this if for the first time or not, I am of course very proud.The next post on this blog will be about Noon, Mistress C and me. More soon.


Epiphanies Launch
Thursday 30th April
7.30pm until 12 (live music at 9pm)
FREE entry

Apiary Studios
458 hackney road London E2 9EG
020 7033 6806
07587 335 187
into@apiarystudios.org



Tuesday, 14 April 2015

Ludwig II: Dandyism, Decadence and Decay







On the evening of Monday April 20 at London’s Viktor Wynd Museum of Curiosities, Fine Art & Natural History, I will be giving a talk on one of my favourite subjects: the life, architecture and aesthetics of King Ludwig II of Bavaria. He is one of the key figures in my next book on Trash and Trash Aesthetics and a constant source of fascination.

Ludwig II ascended to the Bavarian throne in 1864 at the age of eighteen. His first act as king was to invite his hero Richard Wagner to Munich. Those who understood or appreciated his deep passion for beauty and sensation would not have been surprised. Builder of extravagant palaces, shunning the day in favour of the night, lover of poetry, theatre and opera, Ludwig’s life was the embodiment of the ‘fairy tale as aristocratic dream’ – to quote his cousin Crown Prince Rudolf of Austrian. Ludwig was also quick to embrace modern technology – including electricity, engines, glazed spans and cement – in the realization of his fantasies, even though his dream of a flying throne, submarines and a death ray were never to become a reality in his own life.

 An inspiration to Verlaine, Huysmans and Crowley, his tragic death, denounced as a madman and stripped of his crown, remains a key myth for the 21st Century.

April 20th 6:30 - 8:00 pm
The Viktor Wynd Museum of Curiosities, Fine Art and Natural History
11 Mare Street
London E8 4RP
02079983617
info@thelasttuesdaysociety.org

Tickets are £10 - £5 concessions

To book and learn more about this event, please click here.


See Also

Ludwig, Elvis, Michael at the Venice Biennale


Pictures from Nyphenburg and Herrenchiemsee by KH and the Daily Planet's roving shutterbug Kitty Keen

Sunday, 15 March 2015

Alive and Well and Walking on Mars


I have been making return trips to hospital over the past couple of months for routine tests and examinations. These including a follow-up colonoscopy a year on from my surgery for bowel cancer and a CT scan plus tumour marker tests six months after I completed my course of chemotherapy. I am happy to inform you that Mistress C seems to have packed her bags and ended our affair for the moment. I feel now as if we barely brushed against each other, although I am also aware that from this point on she will never be that far away from me.

Shortly after receiving this news I had the opportunity to travel up to Stevenage with the artist Aleksandra Mir to spend an afternoon at Airbus Defence and Space looking at their facilities and learning about their latest projects. This was part of some research Aleksandra and I are currently engaged upon – more of which will be revealed as events unfold.

Security at ADS is pretty tight: we had to provide proof of identity, agree beforehand not to take cameras with us and to refrain from using any social media while on the premises. Having been issued with special passes, we were shown by our host around the assembly and integration areas, the workshops and clean rooms where satellites are manufactured and painstakingly put together. We saw the thermal shield for a solar orbiter designed to keep extreme levels of heat away from delicate instruments that need to be kept at room temperature while passing closer to the sun than any other probe before. Few people will ever get to see the back of this shield, but Aleksandra and I are now among that small number. We also peeked in on fuel tanks milled out of solid blocks of titanium (welded ones could not stand the stresses involved in leaving earth’s gravity well), quartz manufacturing rooms and space blanket sewing workshops, all connected by long bright regular corridors that took my breath away.

The high point of our entire visit, however, was undoubtedly the ‘Mars Yard’, a large self-contained room with its own control room where they are replicating a stretch of Martian terrain for a new lander. Dubbed ‘ExoMars’, it is designed to navigate around the surface of the Red Planet using visual recognition software and stereoscopic cameras mounted at the front of the rig. Instead of travelling centimetres at a time, like previous rovers, because it constantly requires new coordinates on where to move to next, this one will be able to follow more general instructions – such as ‘head for that rock over there – then it will be left to make its own way there. In order to develop the software required for this system to work, the whole of Mars Yard is designed to replicate as accurately as possible the visual conditions as well as the immediate surface and terrain of Mars. There is a life-size photographic panorama of the Martian landscape taken from a previous lander, plus a wide expanse of sand studded with rocks, boulders and outcrops.  The rover stood over in the far corner ‘resting’ while we were there. People cannot be in the room when it is switched on, as their presence will only confuse its sensors – the whole space is painted a neutral shade of ochre so no sudden changes of colour can distract it. The overhead lights are set to replicate lighting conditions on Mars, and the sand has been specially selected as well.

It was like a large stage set waiting for a movie to happen – and then it did. ‘Would you like to take some photos?’ our host asked. Aleksandra and I were both genuinely surprised by this as we had been specifically requested not to bring cameras. ‘Is that really all right?’ Aleksandra asked. We were assured that it was okay.  I said I had one on my phone. ‘You can also walk out onto the surface of Mars if you like,’ the guide said. I could not believe what I was hearing. ‘Ken should go first,’ Aleksandra offered. ‘He’s always wanted to walk on Mars.’ I thought this was really a gracious gesture from the First Woman on The Moon. This is a proud moment, I murmured as I stepped out onto the sandy topsoil and walked across the surface of Mars. I turned, and Aleksandra took a couple of pictures – the sand was really loose and yielded easily under your feet, worse than beach sand. Soon I stepped back down again and photographed Aleksandra conquering her first planet and pointing towards the ExoMars rover in the far corner.

I really cannot express how thrilling the moment was – our host even took a photograph of the two of us together on Mars.  From experiencing a hospital cancer ward as a space station to walking on Mars seems to have taken less than a step, and yet I also find myself millions of miles from where I was a year ago. I could not have imagined this happening back then. As Aleksandra and I returned along the length of Mars Yard we noticed a red admiral butterfly lying dead on the guardrail – it seemed entirely appropriate somehow. No summer lasts forever – but this had been a great moment.


Pictured above: KH on Mars photographed by Aleksandra Mir – note the ExoMars rover at the far right of the Mars Yard.