Gentle reminder to myself that the path is beset by all forms of traveller. Some of them sleep walk.
Sleep is fear
Work has hit new levels of intensity. I’m delivering Lightships to the British Council tomorrow for upcoming screenings.
There are many other things happening, that I can’t talk about at the moment.
Ploughing The Ghost Soil….
Finished cut six of Lightships today, I’m hoping this is close to picture lock.
This week and pretty much every week seems to bleed into one another in terms of work load. Lucy and I were in London yesterday for a meeting and I have a major project launching soon.
“Like Hermetic Arts, one of my personal benchmark voices and one of the most important benchmark voices in the folk horror and urban weird creative communities is that of John Harrigan. His film ‘Armageddon Gospels’ has garnered near absolute praise from critics and has had a profound impact on many working in the field, including myself. Ask folk horror fans why they consider it part of the genre, and aside from the response ‘It’s got a bloody bone horse in it, how much more folk horror can you get’, people talk of it a work where they feel the land being told, feel the power of ritual and lore, encounter a sense of a past and its lost gods walking in the now. I am obviously biased, but I hope you can see how I can map those responses onto my own definition of the genre as an unearthing, as an active infection of past and place, the refusal to use folklore as mere trapping.”David Southwell – Hookland
I want to get back to work on the book, soon. Autumn is almost here…
I somehow rescued the Strange Factories master yesterday, after it was locked away on two raid drives that died in the same week.
It’s an immeasurable feeling locating something that important, that took such a huge amount of work to complete.
Then today I find that Strange Factories is cited in Dr. Steven Gerrards book ‘The Modern British Horror’.
flagship film programs hosted by “important” film critics would never discuss movies such as Demons Never Die (Arjun Rose, 2011) and Strange Factories (John Harrigan, 2013). This is because true British Horror cinema, that which tugs at the very sensibilities of British cultural life, not only is arguably difficult to track down but more importantly questions the very fabric of Britain as a postmillennial country that is now on the verge of possible economic and social collapse in a post-Brexit world.The Modern British Horror – Dr Steven Gerrard
Sometimes you win.
I’m working in Cranleigh on the second episode of the Field Guide podcast. Enjoying a little break after the terrible intensity of last week. Back to edit 5 later this week. Need to decide on the direction I want to explore in sound.
Edit 5 commences. Night filled with light. Endings in darkness. Eternal faith. Meditation.
I delivered cut 4 of Lightships on the full moon. Also had a blast facilitating the full moon workshops and witnessing the lunar eclipse on the anniversary of the moon landings. This was a good week.
Lanny – Max Porter
This week has been spent editing the fourth cut of Lightships. Focusing on sound. Also more work on the book and some reading. Quite the week, but they all are, aren’t they?
Masks – Bowie and Artists of Artifice.
My essay ‘The Many Masks of Manifestation’ is featured in this interdisciplinary anthology which explores the complex relationships in an artist’s life between fact and fiction.
This interdisciplinary anthology explores the complex relationships in an artist’s life between fact and fiction, presentation and existence, and critique and creation, and examines the work that ultimately results from these tensions.
Using a combination of critical and personal essays and interviews, MASKS presents Bowie as the key exemplifier of the concept of the ‘mask’, then further applies the same framework to other liminal artists and thinkers who challenged the established boundaries of the art/pop academic worlds, such as Friedrich Nietzsche, Oscar Wilde, Søren Kierkegaard, Yukio Mishima and Hunter S. Thompson. Featuring contributions from John Gray and Slavoj Žižek and interviews with Gary Lachman and Davide De Angelis, this book will appeal to scholars and students of cultural criticism, aesthetics, and the philosophy of art; practising artists; and fans of Bowie and other artists whose work enacts experiments in identity.
I’m proud to have my work featured alongside contributors such John Gray and Slavoj Žižek.