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NGV Triennial: Richard Mosse — Incoming

One of my favourite works in the NGV Triennial — and in the gallery altogether. Calm, meditative destruction in infra-red black and white in a cavernous, beanbag-filled auditorium. Post-FOLA decompression and collapse, bumping into Paea — again, so many times — and barely assembling a conversation in my shuffling exhaustion. I had a thought watching Richard Mosse’s Incoming that art works for me only when it’s political, and all art is inherently political, existing as it does apart or outside of language (be it written or spoken). When I look at European mediæval art, I see vast political, theological, philosophical arguments being waged in materiality; the same for religious works in other regions I am familiar with enough to make basic statements on. This is what, for me anyway, makes art that purports to not be political so weak, like Iris Van Herpen’s fashion design, pushing material technology in beautiful ways, yet strangely inert in political’s absence. You’re only playing if you’re not political.

SecreT(uring)ly

Georg, with whom I worked on co-writing The Station, asked me if I’d like to do another piece of co-writing with him, this time an opera libretto. I said yes (duh!). Last Friday, we had a three-way chat with Henry Vega, the composer, about Alan Turing, neural networks, science fiction, queer stuff, and all, for a sharp hour (Georg’s good like that with his one-hour meetings).

Today I spent a couple of hours (after some dipping of toes last night) in installing TensorFlow-Char-RNN, a “a character level language model using multilayer Recurrent Neural Network,” as made wildly lovable by Janelle Shane of Letting neural networks be weird. That involved installing TensorFlow. I went for the direct MacOS approach (after toying with either a Vagrant VM or Docker container) of the Virtualenv flavour. Plus Python 3. And pip. Dependencies. We have them.

A bit of faffing around, and out is spat a ‘Shakespeare’:

t ‘vkdwsa avf
neu irot rS
, mvuaeea giCsouo aed renat rs
;iiweszteseooiiWhe thrr l st !htt :hsre

I mean, I was expecting a single, long ‘aaaaaaaaaaaaaaaaaaaaaa’, so this was progress.

More faffing, fans to 6000rpm, CPU to 500%, and some short while later, ‘Shakespeare’!

Before we proceed any further,
Or each doth now foul branch with thy preser’d up
Young to devise me him;
But in my jewities rebeeve me to this,
Your soul than daggers and breeding
some abrother Arms
What will be pronound with a husband; he’s beauty much or a slaughter,
But I’ll wring my false find than how ill.

Nailed it.

Reading: C. Riley Snorton — Black on Both Sides: A Racial History of Trans Identity

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Tranzcare Travel ⭐️⭐️⭐️⭐️⭐️

Seen in London somewhere on the way to Peckham, from the back seat of an Uber with Onyx on the way to Take This, For It Is My Body. We voted it our Preferred Travel Partner.

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919

This piece of sci-fi has given me so much pleasure the last four years. Mark Webber and team driving it to the WEC championship in 2015 and 2016; Timo Bernhard this year; ripping Le Mans three years in a row; 1000 horsepower from a 2 litre V4 turbo hybrid. Listen to that spool up and down as it butchers the Mulsanne Straight, every time it kicks in under braking is the dirtiest physical pleasure. And it does this for 24 hours without a break, only pausing briefly to pit. It’s Live Art. Talk about durational and endurance art, this is it. Hypnotic, visceral technology and engineering. And this is the end.

This is the last race of the 2017 WEC season, and for the WEC in its current format, the last race for the Porsche 919 LMP1, and with Porsche leaving LMP1 for Formula E, that’s it for the category for now. LMP2 is banging it, GTE also (my love of Ford GT and its flying buttresses is well-known), but LMP1, the mad, mad experiments in technology (Audi hybrid turbo-diesel, anyone? Downforce like you can’t believe?), all this, is over. Killed by insane budgets, Dieselgate, and the global shift to electric.

Here’s the 919 de-pitting, with new driver, tires, and a nose change in about 1 minute, after getting taken out by another Porsche, and losing the #1 position. OMG MOR! as I like to say.

Gallery

Take This, For It Is My Body: Set-Up

Some photos from Friday set-up of S.J. Norman’s Take This, For It Is My Body, at Science Gallery London’s Blood exhibition this last weekend. S.J., Carly Sheppard, and Naretha William manifesting Australia in Peckham, South London.

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Dishes Washed

Sparky the Dish Pig mixes bodgy wiring with water.