Hay nonny

We managed to dip into some items at the Hay Festival. One was a discussion, ahead of broadcast, of a new examination of Utopia(s).

Years ago, I read Thomas More's original book, whose remarks create a response to Plato's Republic. I was left with an overwhelming impression of an authoritarian state, where free will had been replaced with a range of managed distractions.

I suppose I regarded the book as a kind of early science fiction, where a new world had been built, largely as a mechanism to critique the prevailing one.

The upcoming BBC Four show didn't seem to emphasise More quite so strongly, and reviewed wide ranging attempts at Utopias and model societies, both utopian and dystopian.

There were references to The Hunger Games and the recently televised Handmaid's Tale. A couple of sections dealt firstly with a Latvian(?) simulation of a hard-line authoritarian role playing drama and secondly with a fifty year extant community living with Utopian ideals in Twin Oaks, Virginia.

Suffice to say that the Latvian example was all rottweilers and fierce spirit-breaking interrogations and the Twin Oaks was all about collectivism with plenty of rules.

My aerial photo of the Twin Oaks would, for example, break their 'no use of drones' rule. Apparently the drones are not to be trusted.

There didn't seem to real answers to the thoughts about which models worked the best. All had their inevitable flip-side, although, when pressed, one of there presenters ventured a long view that right now was maybe about as good as it gets.

country by itself

I'm using a Wolfgang Tillman picture for today's post as well as yesterday's.

The original Tillman poster reference was to the Brexit vote, but it seems to apply just as well to the latest action of the US, who now seem hell-bent to reinvigorate their industry by breaking all of the pollution and environmental accords.

I can't help wonder how much the keyword 'Paris' also features in Trump's decision. The US President was trumped by French President Emmanuel Macron on their handshakes and then given the swerve in a subsequent NATO meeting. It suggests that a vindictive narcissistic bullying type of person might want to find a way to wreak a revenge against the person that was able to upstage him.

Interestingly, Macron has already issued a video statement in English urging US scientists to relocate to France, after Trump's withdrawal from the UN Paris climate accord.

There's new troubles ahead too, with our own premier distancing herself from the opprobrium and not joining in with the words of censure directed towards Trump.

Meanwhile, USA's TV channels are showing the effects in Miami and other parts of the US from the already increasing height of water created from the melting of the polar ice-caps.

Some calculations are that it would take another ten years before Mar-a-lago becomes submerged as a full Lago.

Unless a July 4th impeachment goes ahead, over that decade it may be difficult to recognise some parts of the world as we currently know them, with the UK's fracture, a different multi-tiered version of Europa and US sliding from superpower to sapped power.

Tillmans at the Tate

I popped into take a look at the Wolfgang Tillmans exhibition at the Tate Modern. Perhaps that was my mistake. To pop in.

It's because the vast exhibition covers much of the printed materials from Tillmans. Usually an exhibition is curated with handy signage on the walls to assist understand the theming or the context of particular sections. For this exhibition, such niceties had been removed, with the main exhibits being self-curated by the artist.

To be honest, I found this quite a tall order for a viewer. There's nothing to say that art has to be easy to understand, but I've been to plenty of other large exhibitions and been able to deduce the main themes, ideas or points as I walked through the rooms.

Here it sees to be all about the viewer needing to make the connections. Through quite a lot of static. Quite literally, with a whole wall dedicated to the white noise from the end of a digital broadcast (Sendeschluss/End of Broadcast V). Or an oft-reproduced picture of a fly picking over the remains of lobster. Maybe a metaphor for a gallery visitor?

Some aspects of this show reminded me of my recent garage cleansing. I'd sometimes take a pile of papers or whatnots and spread them out on a carpet in order to decide if there was anything of value to keep.

It could be that Tillmans adopted a similar approach. Find a drawer of related material and spread it out over a wall or some paste tables?

That's not to say there weren't some interesting items around the displays. I liked the idea of the Truth Study Centre section, which examined the psychology of manipulation and included some recent examples.

My picture shows it from another exhibition, which somehow looks more structured than the browser screen print version on display at the Tate.

Not exhibited, Tillman also produced a series of anti-Brexit posters, which did provide more of a focus within his work, and some good finished product, although even in that series there were some rather less finished items.

However, because the exhibit took a whole room and many of the pieces were google page snaps from learned articles, it became difficult to process. More like someone was researching for a book and had decided to spread out all of their Evernote clippings as printed pages.

Some of the photographs were interesting and extremely wide-ranging. Tillmans has clearly travelled extensively and we were treated to many aspects of his world view. However, I couldn't help thinking that some would make good paperback covers, rather than that they were exquisite fine art.

It made the show a challenge for me. Perhaps that was the intention? The materials were very diverse but, to me, somehow scrappy. Just printing it large doesn't make it brilliant, nor does fire-hosing the ideas at an audience. The picture above shows one of the more grounded juxtapositions, this one between a spacey modern car headlight's angular aggression and a peaceful blue night scape.

I decided to move along, alas, somehow less moved than I should have been.

along the border

Further west for a few days, in the land of border castles, this time between England and Wales.

Aside from the castles, there's the examples of the battle-side camps used by knights. The example in my picture shows one with a comfortable four poster bed, and a separate sitting room.

I believe the medieval scheme was one of primogeniture, where the firstborn inherited the main land, the second born would go to the clergy and the third and so on would become knights. The knights could power up their status via judicious capture of opponents.

It was in the days before the armies fighting became fully systematised, and there was much money to be made from the return of valuable pieces (knights) to their estate, for the suitable payment of a ransom.

Also there was an idea where the code of chivalry would allow the return of a captured asset with a time allowance for the repayment of the ransom, to give the knight's estate time to raise the money.

A well known example was the capture of the French King John II, by the English, during the Hundred Years War. All manner of hostage swaps and financial arrangements were mads, although France didn't really have the funds.

air con

The improvised air conditioning worked surprisingly well. A freezer tray, ice cubes and a fan. Must remember to put everything back together before moving on.

the difference of a day

After my comments about limited discernible difference in security, a day later the same scene now has a notable addition.

Look carefully to the right edge of the station entrance, spot the yellow high visibility jackets.

As well as police augmenting security staff, there's a now a couple of mounted police supporting the normal security.

offensive plays in NATO suitland

Aside from the dressing down he showboated for his domestic audience, the so-called face of the United States did that curious manoeuvre to get to the front for a Brussels photo opportunity.

Fascinating to see him manhandle the newest NATO member Montenegro’s prime minister, Dusko Markovic, using a US football run block, then adjust his battle clothes and blank the person he had just barged past.

The full sequence is definitely one for the analysts although by tonight it will probably have never happened.

docklands

Relaxing around Canary Wharf again this evening, this time with the full sunshine and Thursday evening crowd out in strength.

I'd wondered about an extended military presence here but it seems to be mainly the Canary Wharf security guards around in the busier areas.

Meanwhile, the bars and cafes are, this evening, rammed with office workers.

stroll

Along the Thameside Path, then halting for a rather late lunch. Almost Wordless Wednesday.

living the high life

Great views of London from the Sky Garden. It's in the Walkie Talkie building, although I've heard some people refer to it as the Toaster. Ages ago, when first constructed, its shape caused some sun beams to focus down to the pavement and melt parts of parked cars.

They figured out how to fix that before too many vehicles were vaporised sci-fi style and nowadays it offers one of the best (and free) views of London.

We arrived before sunset, but stayed for a meal in the Fenchurch, two further floors up. One of those tasting menus with about eight courses. Yum.

stairway to Zédel

Just time to visit Zédel in Piccadilly Circus. Well, under Piccadilly Circus, which is where the bustling French brasserie lives. The entrance is via what looks like a much smaller cafe in Sherwood Street, but the secret is to take the winding steps on the left hand side, down to the entrance about 2 flights below.

Always good and a real hidden gem in the centre of London (Hint: We'd booked, and there can be queues)

mixtape 90s

I watched another excellent Mixtape show on Friday evening. I can't really review this because of my connections, but let's say that the gang were on top form and gave Live Theatre a fun-filled evening with 26 sketches divided into an A Side and B Side.


This show was of 90's music, permitting references to Blur, Oasis, Pulp, Spice Girls, various songs with Boom in their title and much, much more. Jessica Dawson, Natasha Haws, Caroline Liversidge, James Barton, Steven Blackshaw, Dale Jewitt and Lewis Jobson all giving lively and comedic performances.

The writers comprising (mainly) Melanie Rashbrooke, plus Nina Berry, Lee Mattinson and Alison Carr vary their sketches from cryptic, through a few easy-peasy towards downright twisted, taking and rearranging song lyrics into a sketch, which usually has nothing to do with the original track.

Then, whether it's the Jesmond jetset comparing lovers, a curious period drama about farms or even a completely repurposed version of the Macarena, there will be something for everyone.

The Golden Mixtape winners managed to get close to a full score (58/65). Teams around me maybe managed around two thirds, which was downright respectable.

I had to keep quiet about answers, and for once was in the audience instead of backstage.

Here's one of my rehearsal studio shots before all the tech was added.

As usual, the show required huge amounts of cues and tech, this time adding even more lighting and smoke to the proceedings.

Next stop, The (brand new) Peacock, @PeacockSun.