Alan Moore – Page 7 – { feuilleton }

The Blake Video

More from the website update. One of the pages buried in the site is an appendix to my design for Angel Passage, a William Blake-themed CD by Alan Moore and Tim Perkins that was released on Steven Severin’s Re: label in 2001. In addition to designing the CD I also created a video accompaniment for the sole performance of the piece at the Purcell Room in London in February of that year. The old web page showed screen shots of the video, and very small ones at that, so as well as updating the page itself I’ve replaced the thumbnails with the original shots.

The video was created in a rush five days before the performance, and only finished the night before I departed for London, so was rather lazily done in places. I’d just taken delivery of a new G4 Power Mac without which I wouldn’t have been able to do any video editing at all. Raw material was artwork scanned from books plus a stack of VHS tapes, including a TV documentary about Blake that provided a few relevant shots of contemporary London. Another essential component was a borrowed video player that could play both VHS and MiniDV cassettes, as well as connect to the computer. The assembled footage was recorded to a MiniDV master cassette which I still have somewhere although I’ve no idea whether it’s still viewable, and have no way to watch it in any case. Those MiniDV players had a tendency to mysteriously render their tapes unplayable which I think may have happened to my tape when I came to try and archive it after the performance. This is fitting in a way, Alan was always adamant that the music-based readings he was doing at this time were one-off events, and the video was only intended to augment the reading, not be watched away from the performance. Copies of the CD still circulate so the work hasn’t vanished altogether. Alan and Tim collaborated on three readings in this series, together with two earlier outings, The Birth Caul and (with David J) The Moon And Serpent Grand Egyptian Theatre Of Marvels. We’re overdue a reissue of the entire Moon and Serpent discography.

Previously on { feuilleton }
• William Blake in Manchester

Weekend links 480

Tadanori Yokoo (1974) by Tadanori Yokoo and Will van Sambeek. A poster from the Colourful Japan exhibition at the Stedelijk Museum, Amsterdam.

• The first decade of space-rock pioneers Hawkwind is explored by Joe Banks in Hawkwind: Days of the Underground — Radical Escapism in the Age Of Paranoia, coming soon from Strange Attractor Press. I created the wraparound cover for this one, and will be talking about it here in a later post. Those interested in the book should note that the special edition hardback will include an extra book, plus a print and postcards. Limited to 500 copies so don’t wait around.

• “What we look for in our formative years can be very different from the demands we make later as analytical adults, and it was certainly more important to me that representations of gayness were complex or colourful than that they were positive, whatever that meant.” Ryan Gilbey on 50 years of Midnight Cowboy.

• Mixes of the week: Through A Landscape Of Mirrors Vol. II – France I by David Colohan, and As Imperceptibly As Grief The Summer Lapsed Away by Haunted Air.

If we imagine the material world about us having a concealed component of the fictional and the fantastic, visions buried in its stones and mortar waiting for their revelation, then we may suppose that 18th-century Lambeth was a teeming hub of such imaginal biodiversity. Bedlam alone could account for this ethereal population boom, but then nearby was the Hercules Buildings residence of William Blake, which can have only added to the sublime infestation.

Alan Moore on the visionary art of William Blake

• At the Internet Archive: Ten issues of Ed Pinsent’s The Sound Projector Music Magazine (1996–2002), with bonus Krautrock Kompendium.

• “Like many dictators Franco considered himself an artist.” Jonathan Meades on how fascism disfigured the face of Spain.

• Occulting Disk is a new album from the master of unnerving doomscapes, Deathprod, which will be released in October.

• Making MAD: Chris Mautner on the beginning and end of MAD magazine.

• John Margolies’ photographs of roadside America.

• Fair Sapphire by Meadowsilver.

• Jarboe‘s favourite music.

• Theme from Midnight Cowboy (1969) by John Barry | Astral Cowboy (1969) by Curt Boettcher | Dayvan Cowboy (2005) by Boards Of Canada

Weekend links 464

13 Circles by Julien Picaud.

• The 50th anniversary of the Apollo Moon landing is only two months away so it’s no surprise that Brian Eno’s Apollo: Atmospheres And Soundtracks is being reissued. The latest release will include an additional disc of new music by Eno with his collaborators from the original sessions, Daniel Lanois and Roger Eno. Related: the Apollo 11 Command Module as an explorable (and printable) 3D model.

• From the real Moon to the presence of the satellite in myth and history, the next book from Strange Attractor will be Selene: The Moon Goddess & The Cave Oracle, a volume which is also the final work by the late Steve Moore. With a foreword by Bob Rickard, and an afterword by Alan Moore.

• Guitar-noise maestro Caspar Brötzmann released a handful of thrilling albums in the 1990s then disappeared from view. Spyros Stasis talked to Brötzmann about his hiatus and his recent resurfacing on the Southern Lord label.

• A year late, but I didn’t know Paul Schrader had written an updated introduction to his 1972 study of Ozu, Bresson and Dreyer, Transcendental Style in Film. I love the idea of “The Tarkovsky Ring” as a directorial event horizon.

• “Nothing written is utterly without value, as I proved to myself by reading two random works.” Theodore Dalrymple on the lasting worth of “worthless” books.

• Cinemagician: Conversations with Kenneth Anger, a documentary by Carl Abrahamsson about the director/writer/magus.

• Mirror, Mirror: When Movie Characters Look Back at Themselves by Sheila O’Malley.

• From Susan Sontag to the Met Gala: Jon Savage on the evolution of camp.

• Mix of the week: Secret Thirteen Mix 289 by Mondkopf.

• Portrait of the Artist as a Consumer: Anne Billson.

• A video by IMPATV for Religion by Teleplasmiste.

• Obscure Sound ~ Cosmic: a list.

• Mira Calix‘s favourite records.

• Transcendental Overdrive (1980) by Harald Grosskopf | Transcendental Moonshine (1991) by Steroid Maximus | The Transcendent (1999) by Jah Wobble

Weekend links 434

Group X, No. 1, Altarpiece (1915) by Hilma af Klint.

“Like Kandinsky, and other pioneers of abstract art, af Klint was deeply immersed in theosophy and anthroposophy. But she seems to have taken that interest much further than her male counterparts, participating in (and later leading) séances with a group of women friends. Whatever the spirits said, af Klint did.” Nana Asfour on pioneering abstract painter, Hilma af Klint.

• Four electronic artists reflect on the influence of composer Laurie Spiegel. Spiegel’s The Expanding Universe (1980) is reissued by Unseen Worlds next month. Related: Laurie Spiegel in 1977 playing the Bell Labs Digital Synthesizer.

• At Expanding Mind: Gurdjieffean writer and DuVersity director Anthony Blake talks with Erik Davis about dialogue, synergy, mind between brains, the trouble with teachers, and the gymnasium of beliefs in higher intelligence.

• Mixes of the week: Flashing Noise Mix by Tim Gane, Secret Thirteen Mix 268 by Bérangère Maximin, and Samhain Séance Seven: A Very Dark Place – Prologue by The Ephemeral Man.

• Geeta Dayal on Broken Music (1989), a book about sound art edited by Ursula Block and Michael Glasmeier which is now available in a new edition from Primary Information.

• The Sainsbury Archive showcases the graphic design of several decades of the supermarket chain’s products.

• More of the usual suspects: Michael Moorcock and Alan Moore in 2006 discussing Moorcock’s career.

• “Karloff the Uncanny”: Joe Dante talks to Stephanie Sporn about the attraction of old film posters.

• Mexico City, another preview (and a psychedelic one) of Randall Dunn’s forthcoming solo album.

• At Haute Macabre: Timeless Phantom Interludes: The Photography of Jason Blake.

• Mark Valentine on the current state of Britain’s secondhand book shops.

• At I Love Typography: Unicorns, Frogs and the Sausage Supper Affair.

• “I never wanted to be a cult film-maker,” says John Waters.

• Artist Arik Roper chooses some favourite album covers.

• Broken Head (1978) by Eno, Moebius, Roedelius | Broken Horse (1984) by Rain Parade | Broken Aura (2000) by Coil

The Cardinal and the Corpse

Appearing at last on YouTube (although I think it may have been there once before) is the curious TV film that Iain Sinclair (writer & “freak wrangler”) and Chris Petit (director) made for Channel 4’s Without Walls series in 1992. This is a must for enthusiasts of Sinclair’s early novels since it features the real-life models for several of his characters—guitarist/bookdealer Martin Stone, artist/author Brian Catling, crazed bookdealer Driffield—plus Sinclair’s friends Michael Moorcock and Alan Moore. The latter is seen searching for a copy of Francis Barrett’s grimoire, The Magus (1801), a year before he attached the magus label to himself; I still don’t know whether this quest was Alan’s suggestion or Sinclair’s.

Elsewhere there are fleeting portraits of crime writer Robin Cook (aka Derek Raymond), and Kray gang member Tony Lambrianou. Other notable appearances include poet Aaron Williamson, artist John Latham and David Seabrook, a writer whose Jack of Jumps book I designed a cover for in 2006. The narrative, such as it is, is a series of quests and meetings, threaded together with anecdotes about the various personalities who are the real subject of the film. It’s all very hermetic, and what sense it makes to the uninitiated I can’t say, but it holds the attention for 40 minutes. These obscurities have a way of vanishing, so if you’re interested watch it now or download it for later.

Previously on { feuilleton }
• Terror and Magnificence
• Mister Jarman, Mister Moore and Doctor Dee
• Compass Road by Iain Sinclair