Daniel used to live in Sydney but now he lives in London: 25th September 2016

This is the Ikea at Tottenham. We walked here from Finsbury Park. It seemed like a good idea at the time. I took this photo as we made our approach, mostly out of relief.

Daniel used to live in Sydney but now he lives in London: 20th September 2016

Some very good friends of mine are posting a photo a day on Tumblr in order to document their journeys living overseas. Always being one to jump on a bandwagon, I thought I would also give this a shot.

Historically, declaring to do something for a sustained period of time has mixed results for me. What makes me think this might work this time is a genuine desire to take better pictures. Another has generously helped in this cause by providing me some sweet prime lenses to play around with.

The image above was taken with one of said lenses, immediately reminding me that there's a reason people use these primarily for portraiture. This is the view out of window where my partner and I are currently residing. I'm still getting my head around living somewhere with less trees and much more brickwork, but there is a quite sizeable park nearby - so that equation can be balanced after I recalibrate from being jetlagged and work out what day it is.

Not So Topical

Some 18 months ago I said I would record a bunch of tracks within a month and release them immediately after that - I even published one of these tracks as a proof of concept, like this would somehow inspire me to actually do the thing I said I would do.

Somehow, perhaps predictably, this didn't happen as expected. However, after finishing the recordings I'd started last February, the resulting pieces of music were put on to Bandcamp under the banner of Topical. At this point, the music longer reflected any sort of commentary about anything happening at the time the project started, rather than a self-deprecating jab at the speed with which I finish things.

But it's done now, and you can listen to it above because the internet is good like that. And now that I've written a post that honours the completion something I've previous said I'd do, maybe I can properly move on to something else.

A Month Off

 
Last year I took part in Weeklybeats, a year-long challenge to produce a new piece of music every week for all of 2014. While the results varied wildly, I was proud that I was able to get a new track online each week (with one exception, which I conveniently don't count, due to technical difficulties).

Since the end of 2014 I've found myself distracted with a whole new set of crazy schemes, but I found I've missed the routine of trying to quickly produce a track to Weeklybeats' local Monday morning deadline. I've thought about continuing the tradition off my own steam, but I just haven't been able to make it stick. And to be honest, the drive just hasn't been there. Something to do with the combination of said deadline, and an inbuilt competitive streak.

Whilst listening to All Songs Considered a few weeks back I heard about the RPM Challenge, which seeks to have people write and record an album's worth of material (10 tracks or 35 minutes) during the month of February. Being one to overcommit myself, I thought to give it a shot, but I've decided to make the process slightly easier on myself. I'm simply going to write a bunch of tunes, commit them to my hard drive, and then release them come March. 

Current adventures in pop music: Rehash and carefully edit your adolescence in fifteen minutes.

Some people I know filled in an online questionnaire asking them to name fifteen albums they like in fifteen minutes. The rules work as follows:

Don't take too long to think about it. Only one album per artist. Fifteen albums you've heard that will always stick with you. List the first 15 you can recall in no more than 15 minutes!

As a means of distracting myself I attempted this task, but after relying on my memory for the first ten I could think of, I started to cheat, flicking through various mp3 playlists to try and jog my memory of various things I should include. Quickly, the whole integrity of the process was thrown out the door as I realised I was being selective about what to include, lest I be accused of not having the correct contextually relevant nostalia-based picks. So I tried to do it again, believing I'd be truer to the process with a clean slate. I still cheated, but felt slightly better about the whole thing. For the sake of showcasing how I spent way too much time thinking about this, I'll share the list with you now (in alphabetical order, not of preference, of course):

Bloc Party – Silent Alarm
Blur - 13
LCD Soundsystem – Sound of Silver
Michael Jackson – Dangerous
Muse – Origin of Symmetry
Nine Inch Nails – The Fragile
Pulp – This Is Hardcore
Radiohead – OK Computer
Regurgitator – Unit
Roxette – Tourism: Songs from Studios, Stages, Hotelrooms & Other Strange Places
Super Furry Animals – Guerilla
Supergrass – Supergrass
U2 – Achtung Baby
Various Artists – Teen Idols*
Weezer – Weezer (The Blue Album)

*Note: This probably doesn't count, as its not by one artist, but if it's something that theoretically "will always stick with [me]", then this definitely counts, if only because of the amount of times I listened to it as a child. This was a cassette my grandfather owned, and played in his car on almost constant repeat. As a result, I can easily recall the lyrics to "Workin' For The Man" by Roy Oribison. 

As these things go, there are always things you want to include, or wish you did due to time constraints, or a sudden change in taste. In this particular instance, these were:

The B52s – Time Capsule: Songs For A Future Generation
Faith No More – Album of The Year
Garbage – Version 2.0
Negativland - Dispepsi
(The) Smashing Pumpkins – Adore

...

Feel free to judge.  This won't change much, but you can nonetheless.

Thoughts on James.

I was very sad about the passing of JG Ballard last month. Being someone who likes to observe contemporary entertainment culture a little too closely for their own good, Ballard's work was always on my radar; if for no other reason than the spread of its influence is so omnious throughout literary and popular culture. This said, of all his work I've only ever read Crash, and even then I only read it whilst researching my installation Medium Level Animated Violence from 2006. The work presented recorded footage from the videogame Burnout 3: Takedown, which has the objective of driving cars really fast and then crashing into things as best as possible. I took footage from the game, and edited all the driving bits out. As such, it seemed that reading a novel about a chap who enjoyed such things with real cars would be a good point of reference. So to the point is Ballard's writing that the key quote that I would center the catalogue essay [and by proxy the work] appeared within the first fifty pages:

"Sitting in the darkness on the floor cushions we watched the silent impacts flicker on the wall above our heads. The repeated sequences of crashing cars first calmed and then aroused me. Crusing alone on the motorway under the yellow glare of the sodium lights, I thought of myself at the controls of these imapcting vehicles."
- JG Ballard, Crash.

Despite the fact that he was talking about a couple of guys sitting on the floor watching Super 8 films, the allegory between this simuacral experience and playing videogames is not difficult to make. Sure, one can make an argument about the user holding a controller that allows them take make active decisions about the paths they take within a virtual landscape, but the fact remains that throughout this experience you are stationary, and your choices are illusionary - entirely dependent on the size of the playing field bequested to you by programmers.

"The future would be boring," says Jim Rossingol, quoting Ballard, in his column on Offworld, "Our modern age sits at the point at which the march of rationalism and reason has peaked, divorcing us from our early extremism and our innate primitivism, and giving us a bland culture of calm consumer choices and deadened emotions."

So we strap on Wii Remotes and play tennis, because we're never actually going to take up the real thing. We stand in arcades and stare at small monitors that emulate sniper rifles, dreaming of pink pixels like the guy Jake Gyllenhall plays in the film based on the book by the guy who never actually got to shoot anyone either (at least in the film anyway). And it's all harmless fun, because its entertainment.

It's quite the paradoxical situation. Whilst its perceivable that this sort of similacral living would only be conducive to more boredom, Rossingol via Ballard posits that if we're going to engage in this sort of thing it should be more realistic, more visceral:

That is not to say that videogames need to be more sensationalist, more vulgar, or more crass, but that they need not fear being more transgressive, or more expressive... They need not to shy away from their darker depictions of our fantasies, or become embarrassed when people point out how they dwell on violence and excitement. This, the safe excursion to the gladiatorial arena, is what games do best.
- Jim Rossingol, Ragdoll Metaphysics: JG Ballard, Boredom, And The Violent Promise Of Videogames.

The conclusion reached is an obvious one for armchair psychiatrists; that we should follow our obsessions, the things that fascinate and bewilder us. In his writing, Ballard made no short work of putting his obsessions to paper, taking a good long stare at the world and what his quirks said about it. If you draw a line from this, it can almost be used as an excuse to commit any act of creativity. Which, in a currently phase of feeling trapped within linear strands of thinking, is a very timely thing to be reminded of.

With the passing of James Graham Ballard, we lose another cultural antagonist. For a few seconds, the world is a little more boring because of it.

Quality control.

No, I can't believe I wrote a post about a puzzle either.

Let's never speak of it again.

Getting off the gear.

Chain Factor is my current excuse for taking too long to get anything done. I've dallied in things like this before, but I'm pretty sure this one is special. I'm told you can get it on your iPhone for free if you so desire.

You don't have anything better to do, right?

This year, do it for the economy.

"I'm in Australia. I think it's important to help out, you know, the economy out here, everywhere in the world... And what's wrong with a doing a little shopping?... It's New Year's. I need a New Year's dress."

Thanks Paris.
No really, that's just swell of you.

Michel Gondry (possibly) posts image, excitement ensues.

Wild animals.

It's comforting to know that you can be sitting in an airport departure lounge with hundreds of annoyed strangers, your flight having been delayed for an hour, and somehow - somewhere - there will be a live feed of a handler stroking a domesticated formerly wild feline broadcast across the nation on morning television.

Maybe Neil Postman has a point after all, if for no other reason than for being able to quote Henry David Thoreau: ' "We are eager to tunnel under the Atlanatic and bring the old world some weeks nearer to the new; but perchance the first news that will leak through into the broad flapping American ear will be that Princess Adelaide has the whooping cough." '*

[*Corrections on punctuation will be accepted.]

Research - 26th of March, 2008.

http://en.wikipedia.org/wiki/Frets_on_Fire
http://fretsonfire.sourceforge.net/

It's all very simple.

In one of those "it's my birthday but you get the presents" kind of moments, I would like to engage in you, the members of my blog republic, in an experiment. I would like you to send your postal address to the following email account:

an.unexpected.gift@gmail.com

In return, I will send you something in the mail. That's it. Call it a gift really.

And yes, it is my birthday so I can make all the bad puns I like.

Useful advice from Alexander Stainthorpe of South Australia.

"Am I surprised? Yeah, I'm surprised that... I get to go to the next level, because there is a real bias against fictional people. Especially with reality tv, because they want it to be really real, but I can connect, you know. There's some real moments here, even if I'm fictional, you gotta get over that."

Current adventures in pop music: "he scratches his beard"... then wonders what the hell is going on?

It's difficult to say whether or not the world needed a cover of The Sugarcubes' song Birthday by The Mars Volta, but we have one nonetheless. Stranger still [that says a lot considering pretty much everything to do with this song is somehow odd], it's somehow popped up as an "exclusive" on amazon.co.uk [admittedly I first stumbled across it via Pitchfork's forckast section but we won't split hairs]. Some digging around has discovered that the track is a bonus on the Japanese edition of their new album The Bedlam in Goliath. Score!

As far as it goes, despite The Mars Volta's leaning toward apocalyptic melodrama with guitars, their version of Birthday is painfully faithful. Cedric Bixler-Zavala isn't Bjork, but he knows this, choosing a series of electronic mumbles for the chorus as opposed to the original's proverbial primal scream. The overall result is strangely alluring, but I'm not really sure if it's any good. A friend of mine described it as "like an underwater elevator nightmare". Even with it's slightly negative slant, that's still the best description of the song I can offer.

The morbidly curious amongst you should proceed here. One thing's for sure; no matter how horrible you think it might be, it beats 30 Seconds To Mars' version of Bjork's Hunter by a long shot.

I know that reads like a cliffhanger, and you're going to want to know more, but trust me, just leave it alone.

Research - 7th of January, 2008.

" 'We go to highschool. We dig rock 'n' roll. We date and go to parties and yes, we sometimes neck but no, we never pet. We also fall in love and that really burns us up. Then we pass notes in class and don't eat and even cry at night. We also think coke and hamburgers are really neat. We wear sneakers, short shorts, highschool sweaters. The girls have ponytails and the boys are crew cut. Our parents can be kinda draggy at times but, gee whiz, they were young themselves once and they're only trying to do their best for us. Finally, we dig America. We think it's really peachy-keen.' "

- Nik Cohn, Awopbopaloobop Alopbamboom: Pop From The Beginning.

Incoming politically themed art show!

My previously mentioned vile act of boredom Four More Years will be showing from this Thursday as a part of The Howard Years, a group show in response to eleven years of John Howard's Australia, being held at At The Vanishing Point in Newtown. These kind of shows usually bring out the worst in a geographic locales artist movement all presenting works that essentially preach to the converted in new and possibly not so interesting ways. I can safely say that my work will probably continue this trend. But if you happen to come along, wander to the back of the gallery and find that for some reason or another you aren't able to shake John Farnham's You're The Voice from your sub-conscious, I'll consider that a minor victory.

Of course it's not about bad art, it's not even about bad art and drinking [although both events are easily achievable if you so desire], it's about showing solidarity at a time when a Australia could do with a few subtle changes. Thanks my excuse any way. Annoying video art is just a bonus.

***

The Howard Years

The ATVP Spring '07 Show of the Season
Artists In Response to John Howard's Term As Prime Minister

Artists include:
Lachlan Anthony, Mick Bales, Gav Barbey, Gustavo Boke, Stan the Bottletop Man, Jenny Brown, CACA - featuring Schappylle Scragg, Pierre Cavalan, The Collective, Michael Davis, Maz Dixon, Seiko Furuse, Alyx Guidi & Bob Cooney, Daniel Green, Thomas Hungerford, Amanda Hunt, Rolf Knudsen, Amanda Le May, Wendy Lowe, The Motel Sisters & John Howard, Peter Moore, Audrey Newton, Jade Oldfield, Jaqueline Olivetti, Brendan Penzer, Georgina Pollard, Tony Priddle, Elizabeth Rankin, Tanya Richards, Che Ritz, Chris Samuel, Holly Schulte, Beau Scott, Wendy Shortland, Kirsten Smith, Megan Sprague, Jasmine Steven.

25 October - 18 November 2007

Opening Launch Thursday 25th October - 6:00pm - 9:00pm

At The Vanishing Point
565 King Street, Newtown.
http://www.atthevanishingpoint.com.au/

The only gay headmaster in the village.

J.K. Rowling says that Dumbledore's gay. Fair enough. It's nice to see that Hogwarts is such a progressive institution. Can't help but feel this isn't really going to do much to the right-leaning amongst us who think that the Harry Potter books are a recipe for one's soul burning for all eternity. These people probably also think that a thorough reading of said books will result in depraved children who can open locks with sticks, fly brooms and make their stairs move.

At least you get to hang out with Alan Rickman though, he's pretty badass.

Minor backtracking #1: Is beauseless is a word?

I don't know about other bloggers, but I find it difficult enough to keep up with the vast amounts of wonder and stupidity the world throws at me on a daily basis, let alone to then post it online in order to share said discoveries with all those out there in the internets. I try to keep track of various tidbits and webpages in the hope of going back to them at a later date, but this process has now blown out to four word documents and a large section of the to-do list in my diary from two weeks ago. I've decided that now is the time to combat this; that I will retread through my collection of abandoned data, if for no other reason than to finally realise that I really do spend too much time being fascinating by things that aren't really that interesting.

To begin proceedings, I offer you two gems from Wired.com. First of these is a guide to compiling a mix tape, courtesy of DJ Whoo Kid, which will surely come in handy at some point in your life. Secondly, from Wired's How-To-Wiki, is a guide to making a cake shaped like Nintendo's Wii console, which is beautiful. But you can't eat it, which is useless. This is quite annoying, but it's probably just as well; those motion-sensitive controllers would not be pleasant to digest.

Newcastle migratory season 2007.

The October long weekend means a number of things in New South Wales; like the AFL grand final on Saturday [alright, that might be more of a Victorian thing, but just go with it OK?], the NRL grand final on Sunday, and a day off on Monday to recover from the hang over. For a large group of artists, musicians, writers and other miscreants however, it means trying to find somewhere to sleep in Newcastle [and trying to work why you didn't learn from your mistakes last year and book accomodation earlier this year]. Now in its seventh year, the This Is Not Art Festival provides refuge to a number of oddballs and curiousities over four days and four smaller festivals - Electrofringe, The National Young Writers Festival, Sound Summit and Critical Animals.

I'll be running around town committing a number of acts of mischief in the name of Electrofringe. My video Ducks Should Be Free From Persecution will be showing as part of the Electroprojections screening series. On Thursday night I'll be stalking Newcastle's walls armed with a video projector and a power generator. Next Monday I'll be taking over TIN Radio with Ben Byrne to present two solid hours of something between 20:30 and 22:30 and this Friday I'll be presenting ElectroPopQuiz!, which may well just be my finest hour.

Taking place at the TINA Festival Club between 17:30 and 18:30, ElectroPopQuiz! will be your opporunity to flex your intellectual muscle over a range of topics that potentially you and most likely far less actually care about. Think of it as Wednesday night pub trivia hosted by your high school electronics club. It'll be sensational, I guarantee. And there's prizes too. All the trimmings.

If you're planning on entering, I suggest you bring a nerd along for back up. You have been warned.