Saturday, 28 June 2014

Leaning in Liverpool - Day Three - 'Be happy even if you are in the war'

I begin at the end.  The single most expressive and emotional statement I encountered today was in response to a request from the Museum of Liverpool to write messages to deceased loved ones.  One child wrote, 'Be happy even if you are in the war'.  This simple statement has resonated with me all day.  It is an altruistic expression of love, akin to a hug from a loved one.  I hope that s/he will retain that purity as they grow to face the horrors and uncertainties of adulthood.  True strength lies in empathy and compassion.

So yes, as you may have guessed, today has been quite a reflective day.  I attended the Museum of Liverpool, the Merseyside Maritime Museum, the International Slavery Museum and the World Museum.  They all offered something different.  The Museum of Liverpool was simply wonderful.  A comprehensive overview of Liverpool as a living, breathing, industrial city, vibrating culture and humanity from every orifice.  They can be forgiven The Beatles as Alan Bleasdale and Ken Russell also came from Liverpool.

Lots of bizarre things happened today.  I refer to them as 'unifiers'.  Moments where I acknowledge the links between my interests, feelings and ideas.  I kept seeing masks in various contexts.  Tribal masks in particular, with their associated symbolic meaning and magical intent.  Also I was reminded of 'Polari'.  The so-called secret slang that was so dominant in the gay scene decades ago.  Many of the words still being used today in everyday parlance such as 'Bevvi' for drink.  I mention this in passing as I also chucked a small amount of money at a busker murdering 'There Is A Light That Never Goes Out'.  Music has a way of connecting both people and sentiments.

I love Liverpool, the laid-back yet brutally honest demeanours of many of the people I met or passed.  I found myself listening to random conversations.  Same as everywhere but the aggression wasn't there.

Returning to London was a culture shock, people hiding behind their devices, electronic and intellectual.  Emotionless drones until provoked where upon they will tear you to bits.  Not everyone of course, but the sense of paranoia in London is so much more pervasive than in Liverpool.

I didn't find myself in Liverpool, but I did learn more about the people I know and one thing is for sure, any future changes will not come about in London.  Time to keep exploring...

Barry Watt - Wednesday 25th June 2014.

Afterword

'There Is A Light That Never Goes Out' is by The Smiths.  It originally appeared on 'The Queen is Dead'.  One of the most important and influential albums of all time.  Originally released by Rough Trade in 1986.  Currently, available on CD on the WEA label.

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Photos

Museum of Liverpool.

Museum of Liverpool.

One of many of the rather wonderful Bananalamas that were created to celebrate Liverpool being chosen as the European Capital of Culture in 2008.

Locust in the World Museum.

Merseyside Maritime Museum.

Outside the Central Library Liverpool.

Seagull contemplating which way to go.

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Friday, 27 June 2014

Leaning in Liverpool - Day Two - Is it Lucky to Slip in Dogshit?

Oh how beautiful the sound of Seagulls during the day...  Not so pretty throughout the night, I can tell you.

Upon waking for the twentieth and final time, I realised I had left the hotel window open.  Every car, every bird song, every rubbish collection as audible as a baby's cry.

Today, I wandered a lot.  I went to the Tate and saw the critically acclaimed Mondrian exhibition.  The recreation of one of his studios was a definite highlight.  His work which primarily consists of squares (occasionally coloured) and stark black lines will either excite you or leave you cold.  I don't mind him but my Tate experience was enhanced thanks to the crazy thematic exhibition downstairs, where links are made between disparate artists conceptually.  Lots of school parties were sitting on the floor, in front of paintings and other compositions.  A teacher inadvertently setting off an alarm when he got too close to a bike exhibit.  What did delight me was the work he gave his students, 'go and find two works of art that you like for whatever reason'.  The fact that he allowed emotional response as a reason for being attracted to a work, saw him leap up in my estimation of him as a teacher.  Art ultimately is only as important as the people who perceive it.  Emotional value is so much more inspiring that the prices the works may generate in an auction.  I want to see a child pulling out a canvas or piece of paper and giving it a go as a result of their exposure to something that has moved them.

More wandering followed... I did manage to find the Williamson Tunnels.  Joseph Williamson was a wealthy tobacco merchant who created a series of erratic tunnels under a section of Liverpool, the excavated stone used to provide raw materials for his properties.  It appears he employed a number of poor people for years on end.  No-one knows how many or how much he paid them.  Many mysteries surround the tunnels.  For one thing, they are still coming to light.  The only thing that people know for certain is that Williamson kept digging tunnels way into his old age (well, not personally, but you get the idea).  I was given a tour by a lovely chap who looked better in the helmet than I did and pointed out the artificial moles to me, apparently included to prevent children from getting too scared.  If a child starts to exhibit signs of fear at being stuck in a tunnel, point at the moles and all is right with the world.

I then went to the Victoria Gallery and Museum, where I stumbled on a bizarre public relations and filming session for a new exhibition focusing on nuclear power and atoms etc.  I am sure that all will be revealed in the future.  I also felt very sorry for all of the specimens in jars.  Creatures once alive and vibrant, frozen in embalming fluids, soiled remains of the very human need to know everything.

This evening, I spent my last night in Liverpool at the Unity Theatre, watching a play called 'Wolf Red'.  A very powerful piece acted by one woman that explores fairy tales, female gender roles and sexuality and quite possibly, severe mental illness.  The most disturbing image was the woman masturbating herself with a feather duster, having obsessively tried to clean every inch of the set.  The audience member behind me left me feeling slightly uncomfortable.  Although, laughter is often the best remedy when something escapes our ability to rationalise it.

I am now in the hotel room, reflecting on Albert Dock this morning, the peace and quiet, the endless warning signs and the variety of homeless people I have encountered in the last couple of days.  Liverpool is suffering like other areas of the United Kingdom.  It deserves to pull through, the local council certainly seems to be addressing the empty building phenomenon, considerably more effectively than the councils in London.  There are a myriad of construction projects going on at the moment.  Hopefully, this bodes well for the future.

Barry Watt - 24th June 2014.

Afterword   

I am amazed that I didn't discuss my experiences in Liverpool Cathedral and my growing connection to religious iconography even though my religious beliefs can best be summed up as agnostic.  Also the current phenomenon of attaching padlocks to fences etc denoting love affairs, relationships and bereavements.  I always find these striking.  Oh yes, I really did slip in dog crap! (27th June 2014).

The 'Mondrian and his Studios' exhibition is on at the Tate Liverpool until 5th October 2014.

http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/mondrian-and-his-studios

'Wolf Red' was on at the Unity Theatre.  Please see below a link to the website, so that you can see a promo video for the play, in case it tours.

http://www.tmesistheatre.com/productions/new_piece.php

The Williamson Tunnels can be partially explored courtesy of the Williamson Tunnels Heritage Centre supported by the Joseph Williamson Society.

http://www.williamsontunnels.co.uk/view.php?page=about

The Victoria Gallery and Museum felt curiously outdated but still worth a visit.

http://vgm.liverpool.ac.uk/

The Unity Theatre is one of those little gems that is hidden down the back streets, that only local residents know about.

http://www.unitytheatreliverpool.co.uk/

Photos


Padlock of love.

Albert Dock.

Tate Liverpool.

Billy Fury statue in Albert Dock.

Early morning in Albert Dock.

Williamson Tunnel.

Mole in Williamson Tunnel.

Art exhibit in Williamson Tunnel.

Liverpool Cathedral.

Unity Theatre.

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Thursday, 26 June 2014

Leaning in Liverpool - Day One - 'Bring It All Down'

Leaving my usual station seated on the train, I mentally noted the legend, 'The ladder is adjacent to the toilet.'  I absorbed this knowledge as though an eager student of Zen philosophy.  In the event of a biblical flood or man made apocalypse, at least I will see the world from a different vantage point.

In many respects, Liverpool is that vantage point.  Freeing myself from London and marvelling at the sound of Gulls and a very late sunset, this is a city moving to a different pace than the frenzy of London.

In my wanderings today, I have experienced genuinely nice people, concerned that I have enjoyed my meal.  Maybe, even a little surprised that I had chosen their restaurant to eat (nearly empty restaurants in London repel casual diners as readily as a cross on the door dissuaded callers to the households of plague victims in the past).

Culturally, I have hung out in the Walker Art Gallery and felt oddly at peace amongst the sculptures and modern art.  In the evening, I went to the Everyman Theatre to see the new Kneehigh show, 'Dead Dog In A Suitcase (and other Love Songs)'.  It is effectively a performance piece based on 'The Beggar's Opera'.  A modern morality tale occupied by greedy, self-centred people and the odd 'good' person corrupted by the unfolding events.  It doesn't have a happy ending.  Although, the best intentioned villains are allowed to move on to live their lives.  The 'Bring It All Down' sign affixed to part of the set becomes a rallying cry for one member of the audience who is looking for answers.  The cast's exhortation that there will be no revolution and that the story will go on offers little relief, but hope is never lost if you look for it.

Barry Watt - 23rd June 2014.

Afterword

'The Beggar's Opera' was written by John Gay in 1728 with music arranged by Johann Christoph Pepusch.  Please see Wikipedia for more details.

http://en.wikipedia.org/wiki/The_Beggar's_Opera

'Dead Dog In A Suitcase (and other love songs)' is currently on at the Everyman Theatre in Liverpool.  Mr Punch and Judy plus their friends play a prominent role in the proceedings.  I do like Punch and Judy for the important role they have played in many cultures.

https://www.youtube.com/watch?v=YZomjRECjdo

https://www.youtube.com/watch?v=3N0YgC186PU

(Please see above links for some quite interesting promotional stuff for the show).

My endearing memory of today is the Road Fatality monument in one of the green spaces.  Haunting reminded of human frailty and endless risk taking.

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RoadPeace monument.  Very moving and sadly necessary.

Pretty good restaurant.

Everyman Theatre.  Very nice cafĂ© area too!

Poster for 'Dead Dog in A Suitcase (and other Love Songs)'.

Sunset in Liverpool.


Monday, 26 May 2014

Beware Moving Plant and other Unknown Trajectories.

My local railway station is subject to extensive yet oddly obtuse works.  The eventual object of the landscaping and other alterations seems as vague now as when the work commenced.  The only certainty is the sign on the fence adjacent to the station, 'Beware Moving Plant'.

 
Reflecting upon this statement after a day of cultural absorption, I am left with the essential revelation that don't all plants move?  Life by its nature is in a perpetual state of change.  Growth and decay in equal measures.  Understanding both of these elements of existence enables us to appreciate the beauty in everything.
 
Today, I attended Somerset House and the Photographers' Gallery with two companions who are not strangers to art.  There are days when it is rewarding to absorb any and all influences.  We talked of politics and of the nature of memory.
 
Memory is the key to growth and change.  Why do we choose to accept one thing at the expense and loss of another thing?  For me, the most powerful images of the day consist of children running through the water feature in the courtyard of Somerset House and the works of Alberto Garcia-Alix.  His muscular arm and hand gripping a used condom in one photograph and his plastered arm holding a dead or injured bird in another photograph.  Also the absurd moment when I tried to pay to get into the Photographers' Gallery, unaware that it is now free admission.
 
I see all expressions of creativity these days as moments of epiphany.  The people with their mobiles capturing and fragmenting the ephemeral images in the Photographers' Gallery.  Walter Benjamin would laugh if he saw how far his vision of diluted art had come (Actually, he spoke of how mechanical reproduction of art takes away the 'aura' of the original work but I like the idea of the equivalent of an art cordial, a watered down simulacrum of something pure, that is not necessarily poorer in quality, just different and reflective of the new creator).  Reproductions of reproductions shared from person to person.  The only true value left for the artistic artefact is truly in the eye of the beholder.  How can such archaic notions of 'originality' still ring true when surely true art should celebrate movement over stasis?  Should art be relegated to sterile galleries or venerated in the playgrounds and bedrooms of millions of eyes and perspectives?
 
I think that there is room for both, although the mediated distortion of a photograph taken through the lens of a mobile phone is recreating anew.  Essentially depicting a creative reality far removed from the subject of the artist's original intent.
 
If I take your photograph, I am not attempting to capture you as you wish to be perceived but to reveal something of how I see you.  Ultimately, all photography does is to dissect a moment.  If it blurs, distorts or reveals how beautiful you are, it has succeeded in fulfilling the photographer's intent.  How you interpret the image is of equal importance.
 
I took some photographs today but the images that remain most vivid are the ones in my mind with their emotional associations.  The subtle, almost indefinable human movements that excite and stimulate, the curves of a smile and for some reason, the motif of clocks, which I encountered repeatedly throughout the day.  Time reminding me of the goals I must still achieve and the finality I must for now continue to avoid.  Transition requires forward momentum.  If I haven't lost you then I haven't lost myself.
 
Barry Watt - Sunday 25th May 2014.
 
Afterword
 
The essay I am alluding to in this blog entry by Walter Benjamin is 'The Work of Art in the Age of Mechanical Reproduction'.  An edition of the essay is available from Penguin as part of their Penguin Great Ideas series (2008).  I read it at university and the fact that it still resonates even though I don't have a copy to hand, means it must have influenced my thinking.
 
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Tuesday, 8 April 2014

'Can you cry for no reason?'

I was sitting on the bus after a less than great day and I found myself quietly listening to the conversations around me.  I was particularly drawn to two children who were unknowingly exploring quite deep philosophical concepts.  Children are particularly good at exploring those issues and concepts that adults find annoying or purposeless.  One of the kids was rightly explaining to the other child that 'yes, you can change your name'.  The practical application of this realisation could cause a number of future headaches and an acute realisation that ultimately, our names mean nothing in themselves.  We are the concepts, feelings and momentum that they refer to.  The signifier is just that.  It's like a sign in a newsagent window offering something unknown until we bother to make the connection.

Anyhow, the exchange that engaged me most involved one of the children asking their friend or relative, 'Can you cry for no reason?'.  The other child asked, 'Shall we try?'  Then touchingly, the child who posed the original question stated that she didn't feel like crying real tears or something like that.  I thought about this short dialogue on my walk home and I have decided after plenty of thought that you cannot cry for no reason.

Crying is a natural human response to a whole variety of stimuli, both internal and external.  Sometimes, we cry as a reaction to an external object or substance such as cutting onions or dust.  On other occasions, the act of crying is as a result of our emotions.  Crying is always a positive thing despite the ingrained belief in men perpetuated by other men that 'boys shouldn't cry', due to its supposed association with weakness.  Thinking about it now, I guess the same stupid idea has also been applied to women too.  The sensible ones amongst us understand that crying provides a release.  But crucially, there is always a reason for crying even if it is not immediately obvious.  I think that explains why it is very difficult for actors to fake tears and extreme emotions.  There has to be a reason behind tears.  You can't force them.  You can stimulate them if you watch something that you know will upset you but even then, there is a reason.  You are setting out to experience this feeling of release or catharsis.

In the past when I cried, I saw it as a warning sign that I was not in a good place mentally.  Now as I have got older, I don't cry often but when I do or get close, I just see it as a positive physical act and another way to explore my feelings.

I want to salute those children for exploring one of the most complex emotions in quite a profound way and hope in the future that they remember their conversation.

Barry Watt - 8th April 2014  

Thursday, 20 March 2014

A 'Coat of Arms' or a map with intent?

You wake up one morning and you realise that you are 40.  Well, what do you do?  Actually, you continue as before.  Last year, at some point I drew a bizarre symbol that resembled a collection of joined triangles.  I was going to use it as a signifier for my life.  Something to drop inelegantly into a blog or two.  I didn't understand its meaning but I knew that I enjoyed how it looked.  I also added a little line that resembled a smile.  Anyhow, I never did anything with it then suddenly on my 40th birthday, I pulled out the little piece of paper with this symbol on it and decided to make it part of something larger.  A collage with lots of hidden meanings.  A map with intent.

 
 
Now believe it or not, when I first laid out the triangular concoction and the other objects, I was asked if I was performing a ritual.  Now being open to most ideas, I could see how any arrangement of objects within a triangle or series of triangles could be construed as magical in some contexts.  It is definitely not a pentagram.  I am not using it as the basis of any kind of spell either for protection or in any hateful context.  For me, it is simply a visual composition of important objects to me with extremely positive connotations.  In some respects, if it can be said to have any intent it is similar to that provided by a coat of arms.  It is a means of identification, a trademark if you like for this new period in my life.
 
I rarely feel the need to do this but I am going to break down the relevance of each of the elements or symbols in this composition.  This will either annoy you, gentle reader or provide an insight into the thinking processes of a forty year old man who greatly values the small things in life and their intrinsic link to the larger things.  I live in the details.
 
The background paper concerning New York was wrapping paper that enveloped a gift given to me on my birthday.  Everyone who ever gives me anything is special, it certainly doesn't have to be material items.  The choices that we make on a daily basis concerning what and how to demonstrate how we feel and/or understand other people strike me as very important.  The wrapping paper featured various advertisements for New York, clearly used within the tourism trade.  They were colourful and striking.  The colour scheme for these adverts resembled the comics I still love so much for their vitality and sheer eclecticism.  Now, the woman who gave me this paper had no way of knowing that I have been toying with a trip to New York for some years.  I will go there at some point.  I was just waiting for the right time and that time feels as though it is approaching.  As such, I had no hesitation in using this as the background for my composition.
 
Two of the objects in the composition, the fruit and the little skewer thing, which is under the die are associated with my pre-birthday drinks the other night.  The night will always have a number of positive connotations for me.  I got to spend time with people I feel close to.  Also I ended up in two venues I have always loved, the National Theatre and the BFI.  Creativity is always a powerful anchor for a restless mind (however paradoxical that statement may sound).  The fruit lived on the top of a cocktail that R bought for me (I use the letter to protect identity and also to sound as pretentious as a novel writer.  Gosh, the number of books I have read that have simply referred to characters with singular letters).  R has a good taste in drinks and it was odd to see more than my five a day forced into a long slim glass.  It also led to various rude comments from C and P concerning 'handling my fruit', which I will not mention too much here.  The fruit fell off the drink and I wondered at the time where it had gone as I didn't see it on the floor.  It had fallen into my carrier bag where I found it on my birthday.  The plastic skewer thing basically punctured the virtues of two raspberries that adorned the top of a glass of champagne or some such that R also bought for me.  Later, they became the eponymous 'hairy fruit' and it is curious to see how they look when they fall into sparkling wine.  They fizz and discolour.  They struggle against the sensation of ecstasy, the experience of transformation.  I pocketed the plastic skewer thing because I wanted a memento of the evening and as I am quite tactile, it was nice to have something that I could stroke and finger gently.
 
The blue plastic sapphire was given as a form of payment for Bombay Sapphire gin at a very exclusive Book Slam awhile back at the very peculiar Village Underground ('very peculiar' in my book is very good indeed).  We were given three sapphires each.  As I am a lightweight and I believe it was a working night, I just had one gin.  My memories of the evening involve my friend F and the sound of cocktails being mixed whilst the performers were trying to be heard in what is essentially a huge viaduct with the worst acoustics in the world.  Still, I smuggled out the other two plastic sapphires because once again, I like how they feel in my fingertips.
 
The little blue imp has associations with my Grandmother who I deeply loved who gave this to me back in the 80s after suggesting that 'I could be as naughty as this little guy'.  Something about the little blue imp (I think it's an imp but can't be sure) has always struck me as a lucky symbol.  He has a cute belly that I have occasionally rubbed, in the same way that people rub the belly of representations of Buddha.  I am not especially superstitious, so I can only put it down to...  Yes, you guessed it!  Mr Tactile strikes again.  My Grandmother died but the little figure brings to mind positive associations of times I spent with her whenever I find him in a secret corner of the house.
 
The die has obvious associations with chance and a certain novel by Luke Rhinehart, which I constantly bang on about called 'The Dice Man'.  Just imagine, making your choices in life and using the die or dice to determine which decision you make.  It's quite alluring for someone who is quite indecisive when making major decisions.  I don't recall ever really trying some of the little dice experimentations, I was going to try.  For those of you who think it is a totally chaotic way of decision making, it is actually largely ordered by your own values, moral codes and interests.  If you write down a list of six options etc, you are effectively providing a structure to your decision making.  So paradoxically, it brings up issues concerning how random or radical decisions can ever truly be, no matter how we choose to select them.  The number five on the die just looked nice and I am amazed how the colour blue is dominant in this composition.
 
So collectively, what does this all mean?  Have I unintentionally created a composition that symbolises aspects of my character and past or have I produced something that will become a map for the future?  It's not magic but the combination of objects does imbue the creator with a certain sense of positivity.  An energy for change.  You may view it quite differently and see the objects as symbolic of other things and your interpretation is equally valid.  Just remember, it comes from the heart.  Rational explanations can only ever truly appreciate the canvas, not the content.
 
Barry Watt - 20th March 2014.
 
Afterword.
 
The National Theatre in London is simply spiffing and the bar areas have a certain piquancy during performances.
 
 
The BFI which is located next door to the National Theatre is another little gem, particularly if you wish to see classic films and seasons dedicated to directors and film stars.
 
 
Bombay Sapphire is an alcoholic beverage.  It is gin.
 
 
 
The Book Slam is probably the best literary night available.  The Book Slams are mostly held in the Tabernacle in Notting Hill and also the Grand in Clapham.  Occasionally, they are held elsewhere too.  Writers and performance artists of all types read aloud from their works and/or perform with gaps between the acts to allow the audience to chat, get drinks and go for pee breaks.
 
 
Village Underground is in Shoreditch.  Quite a lot of events go on there.  On a scale of one to crazy, Shoreditch is up towards the crazy but that's a good thing!  Lots of quirky bars and venues embracing the hairy body of culture as it poses in different lights.
 
 
 
'The Dice Man' by Luke Rhinehart.  It is currently published by HarperCollins. 
 
 
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