All done. We filmed the last bits of urban rural produce connections at Angelika's studio in Stoke Newington and Lawson Park miniature house by somewhere in the springy surroundings of Arnold Circus.
Massive Thank You to Annemarie - our cinematographer - for her very precise filming work!


This Sunday (10th Feb) the band that is slowly growing and making "A Song for a Circus" will be actually out on Arnold Circus (starting in the band stand at 3.00pm) practising some of the experiments we've been trying out. This is partly to see what we sound like outside & work out if some sort of 'live performance' will work in the Agrifashionista week, but mainly to try and let people know what we're up to and maybe attract new resident members.
My main motivation is we need a drummer ... so if you live on the Boundary Estate and play the drums come on down, we could sure do with you ...

That said I am really keen on the Sitar and Melodeon combo we have to date.

The next tune we might tackle is Pop goes the weasel we love the Anthony Newley version and with all the local connections ( "Up and down the city road, In and out the Eagle" ) it might be an interesting track to do a 'cover version' of ... My feeling is that Seamus (our nominated singer) could certainly carry off a Newley-like "off the cuff comment over the lyric" vocal!

We're gaining in popularity (if not visual style) on Myspace and one of our new virtual friends are another band that apparently anyone can join ... they're called the citizens and they want to be our friends, I quite like their '24hr CCTV' if you fancy a listen.

If you're on Myspace come on be our friend ...

Find us on MySpace
See a budgie sing that tune
Read more about the history of the area on the FOAC site

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really like this site, much more so than the myspace one. put some more links to it, and email it to some people... takes deep diggin in the web to find it.

I am currently catching up on all the readings I should have read when I was 22, and here is a quote that struck me, re: my Agrifash pieces (and perhaps Agrifashionistas in general), it is Adorno in a letter he wrote to Benjamin in response to reading a draft of "Art in the Age of Mechanical Reproduction":

[On "great art" versus populist cinema] - "Both bear the stigmata of capitalism, both contain elements of change....Both are torn halves of an integral freedom, to which however they do not add up.  It would be romantic to sacrifice one to the other, either as the bourgeois romanticism of the conservation of personality and all that stuff, or as the anarchistic romanticism of blind confidence in the spontaneous power of the proletariat [insert other contemporary noun here] in the historical process - a proletariat which is itself a product of bourgeois society....The laughter of the audience at a cinema...is anything but good and revolutionary; instead it is full of the worst bourgeois sadism."

Oh, dark, isn't it?  Is it possible to laugh without sadism?  And though this is not what he means, it makes me think of the source of some laughter today (in the art world) as exactly the failed attempt to reunite the torn halves of high and low.  And then, when laughter is inspired by failure, who is the victim of the sadism?  Our poor little bourgeois selves?

And speaking of me.......a summary of my pieces!

1.  The Brethren of the Stone: Iron Man - video

This is the sequel to Comfortably Numb, a video I finished in late 2006.  It is the 2nd in a trilogy.  In this installment, we see my main monk-heretic move to the big city.  Alienation, on various fronts, ensues: between the other monks that have been "citified"; between him and the first woman he ever meets, the Iron Princess; and between him and Brutalist architecture.  As much as Comfortably Numb was a gentle coming-of-age tale set in the forest, this one is another type of coming-of-age approximating the tenor and pace of the contemporary city: cartoonish and noir at once, cut with rapid clip architectural montage. 

As with the last, it is also mainly a music video, centered on covers of Black Sabbath's "Iron Man" as the motif of urban society. 

In the first, a brass band plays it in a feeble battle with the nature demons, then the tune is picked up by the Iron Knight in a guitar solo laid over marching band, set in the Barbican roof conservatory.  Nature has been safely contained in the concrete spaceship.  In the second, Iron Man has been translated into Italian and rewritten as a late-era (think Verdi) aria for female voice.  This is pitted against Pink Floyd's "Brain Damage" translated into Latin and written as a medieval plainchant for male voice.  Male-female, country-city, medieval-industrialization, latin-italian, flesh-iron, acid-heavy metal.  Who wins?

In the editing process at the moment.

2.  Iron Man's Fear Parade - Saturday, March 15

Fear embodied in various (anti-)warrior camps (thanks Lula!): different genres of dance groups parading down from Arnold Circus to Hoxton Square.  It was a simple call to dancers: to enact a state of fear.  Let's see what they come up with.  There are still a couple TBD's: will there be a live brass band to accompany the groups?  Will there be banners declaring the "state of fear", or some type of title delineating the groups from each other?  Will the figureheads, Iron Knight and Iron Princess, show up?  Will I actually find cheerleaders in London?

My initial thought: a birdseye view of the urban street, during the day.  Streams of people, each embodying fear consciously or unconsciously, towards real or imagined aggressors to their victimhood in perpetuity.  It is quite a serious problem, here.  The idea is to exaggerate it, and thus illuminate this dark situation.  And of course for sh** and giggles........oh!  The bourgeois sadism!

In development.

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live on the death

This being an asstastically hungover day, I think it is a perfect time to recap events, mull over accomplishments of the past, euphemize and eulogize.....


It was amazing in so many ways, among them its feeling of being an extended militaristic exercise in stamina and sustained self-worth.  Working every day like a dog for gems of footage, knowing that Club Row just might look like deep dark outer space, if you.  just.  light.  it.  right.

All the while an unbelievable Michael, producer and assistant director, the hardest working man in the universe, materializing schedules, food, and manpower in force.   And Peter, the best cinematographer a girl could ever hope for.  And Helen, A Foundation assistant whose on-top-of-it-ness set my enfeebled brain to awe.  And then the actors, especially Jan, my leading man!  And!  And!

So many wonderful people were drawn into this project, it was incredible......but uncanny.  Will I have to pay back this cosmic generosity with a future catastrophe, to maintain the balance of good and evil in the universe?

A day-by-day blow:

Day 1, Tues, Jan 15:
Watched Spiderman 3 on the plane, a load of crock.  Iron Man will beat the s**** out of Spidey.  On arrival, start arranging things, check out Club Row and props, and then costume fitting with Chris Teckkam, a beautiful man from down the block who plays the Iron Knight.  I almost wanted him to say "I am Iron Man" when he put on his metal helmet, but I think it would have made my heart shrivel with embarrassment for the corniness of (my) life. 

Day 2, Wed, Jan 16:
Jan the leading man gets in town, and has nothing to do.  But he is German, and therefore well self prepared with a guidebook.  I go to check out the Barbican and Shoreditch House with Peter, Sam, and Michael.  Sam apparently has an eye for power outlets. 

The Barbican is a dis/topian 1970's urban dwelling compound, known for being a huge maze with no discernible exits and an (amazing, intact) Brutalist aesthetic throughout.  Shoreditch House is a members-only club in a former warehouse, the artier sister of Soho House.  Both seem to be simultaneously of this time and out of another, a 60's-70's design aesthetic that speaks to old ideals that have since been twisted out of shape, if they were ever present in an earnest or distortion-free form in the first place. 

At night I do the costume trial for Iron Princess, who's nude except for a full body paint in silver, and metal wires (and little bottoms).  Oh Andria Stirling, my Iron Princess!  Such a trooper!  Such a martyr, by the end of the shoot!  I owe you big time, lady.  And next time I'll bring an industrial power space heater.

Day 3, Thurs, Jan 17:
I leave Peter and Sam to their hungover outdoors shooting of montage material, to rehearse with Jan and Andria in the conference room at Rochelle School.  The first few times I see him strangle her to death, I get the shivers.  It's incredible to watch 2 attractive kids kill each other in a conference room.  And of course, we go over their lines, with these music videos it truly sucks to have everything perfect, and then see........lips that don't match the words! 

In the evening Michael, Maria and I go to record Pavilion Brass in a very old estate house.  Pavilion Brass: I love your little horns!  Cornets, I mean.  Maria thought it was sexy watching Michael hold a mic behind Chris Hoepelman, the conductor.  I'm not sure what she's talking about, but that's cool, Maria!

Day 4, Fri, Jan 18:
The first big shoot day.  14 hours.  First we shoot Jan and Andria  doing their duet in Club Row, and the poor girl's shivering in her body paint.  Then we shoot with Jan up on a pedestal peeing fluorescent green "fruit" drink, and for the first ever time in one of my videos, a character speaks.  And finally, Michael is generous enough to be a voice acting hand model for a series of shots (a faceless game show "announcer"), and I end up almost cutting off his finger with wire.  DIscovery of the night: if Michael ever looks for a career plan B, he could easily fill Don LaFontaine's shoes: Mr. Ubiquitous Movie Trailer Voice. 

Day 5, Sat, Jan 19:
So many shots, indoors, outdoors, lit brightly, almost pitch black, at Club Row, out through the yard, and into the Arnold Circus pavilion.  5 Nature demons, 10-piece brass band, 7 audience extras, and I learned how to use a conductor's baton!  Yay!  Jan brought some cute girls in from the cold, and I ate a baked potato!  Yay!  Neg karmic points for ignoring some nice neighborly questions up at the pavilion, boo.......

Day 6, Sun, Jan 20
What I wanted was the look of Madonna/Marilyn in Material Girl/Diamonds, men robots serving as physical props for the Iron Princess to visually cue, over and over, look at me.  But of course, more abstract, more acrobatic, and funnier.  Jan is well trained in such things, so after meeting with him in the morning to draft plans, I let him run the show.  When the four party monk actors and Andria showed up for rehearsal at noon, Jan immediately makes them run around the club row building 5 times.  We almost have a rebellion on our hands.  But Jan is amazing, and soon he has them zipping through low-grade gymnastics like peanut butter comes after jelly. 

And on the party monks: what a fine bunch of young men!  That includes you, Edward of the shortpants.  Then we shoot the green screen scene with the Iron Knight, and then......Shoreditch House at 10pm.  Oh god!  There until 7am.  Everyone tuckered, go for a big fat English breakfast while Peter and Rose work on their sleeping-on-the-floor-sores.  Then leading straight into......

Day 7, Mon, Jan 21
Mutiny on the HMS Barbi!  Arrive at the Barbican at 10am, cut the shoot short due to an impending sense of physical, psychological, and emotional death.  No one's killing me yet, but I'm sure they're thinking about it.  It's for the love of art, guys!  Okay, never mind, bedtime.  Sleep for a few hours, then back at Shoreditch at 10pm, there till 7am again, and another English breakfast afterwards: this time I try the veg.  Arteries be damned, I'll never do that again.

Day 8, Tues, Jan 22
Peter and Jan leave, and my heart is mourning, so I go shoot footage at the Lloyd's building, the chrome sheathed inside-out factory.  I get momentarily stopped by a policeman, but he's nice and we talk about whether his hat actually keeps him warm (no).  I also shoot closeups in Club Row, pretending to be the Iron Princess.  I am tuckered, but still manage to get annoyed while in the bathtub, listening to a man on TV talk about the relationship between the Brit stifflip and being the very best businessmen in the world.

Day 9, Wed, Jan 23
Meet the Dancers.  Lula shows up with black lipstick on, I love her already, we discuss the Barbican and perpetual night, and I download an Iron Maiden song at her request (Fear of the Dark).  I'm very excited to see how this develops.  Then: Chuckie, the sweetest young man in the world and director of an all-male hip hop group, who I tell several times that he can do whatever he wants.  It's true Chuckie!  Nexus Boyz Dominionz, you rockz, I trust youzzz!  Then it's time to leave London. 

All in all, an amazing experience, I feel as if I have climbed Mount Everest.  However, I look now down the side of the mountain.......and oh!  It's not over yet!  Editing, yes editing, it reminds me of the sheer fact of life that to walk up a flight of stairs in stilettos is no problem, it's walking down that's the hard part.  Watch me as I struggle down the mountain, I might snap a heel and chip some nails, sobbing the whole way........

PS -  I'm saving concept-content on Iron Man for a day more in touch with sobriety.  Soon, soon.......

Shoreditch House


It may just be the local weather conditions in Cumbria but I'm getting keen on constructing a mud / earth structure at Rochelle to house the grotto now...
I like the association with primitive times, times when first a couple of people decided to move into a cave to speak in private. The first buildings ever must have been associated with a developing human desire for privacy as much as for shelter from the elements.
I'm liking the thought of the webcast tech embedded in it, and the fact that it can arrive on site and leave again in a wheelbarrow.
Call me a hippie, see if I care.



Hello Everyone

I wanted to update those who'd missed yesterdays meeting very exciting and productive meeting, rather go over the discussion in detail i'm just briefly going to outline the agreement we reach amongst the collective.

The framework and reference for the Urbania broadcast will be the former Prime time BBC show Tomorrow's World, the programme ran for 38 years and through a variety of reports, demonstrations and wacky items looked at developments in science and technology.

We thought it would be good to use the structure and framework this TV format provides. Our aim as a crew is to explore, research, develop, produce and eventually present the content for our very own Tomorrow's world, a 45 minute Futurist magazine show, mixing live and pre-recorded elements, actual or imagined future sounds and visions with a live studio audience, presenters, TV set or who knows

The Collective's aim or mission is to explore future trends in Living, working, behaviour, social dynamics, inter-personal relationships etc, etc. Each member of the collective will be allocated a 5 min slot on the show to develop an item of their own interest that can be manifested by a pre recorded film, an interview or live demonstration etc.

The live/work residency at Rochelle will be provide the opportunity for the group to research and develop their projects for the show on site, like TV production company. There is the opportunity to invite guests, enact items for the show, for example Maki's school idea could be brought to life.

At the end of the meeting those present felt this Framework allows us to live, work and interact as collective while developing a dynamic and interesting online broadcast that reflects both individual and collective, interests and skills while hopefully engaging various audiences.

TW clips
More TW clips


Hi Urbanians

Thanks to everyone who showed up for last nights Marathon meeting at Rochelle, while i don't think we came up with a definitive idea, i felt we did move things forward. Feeling slightly exhausted, I made some very brief notes, as ever feel free to amend, correct etc

I felt there were some overriding issues that we need to tackle and address

1) The purpose/aim/mission of the collective. What do we stand for if anything?

2) The residency and co-habitation of the collective, How is this structured? Rules, continuous presence etc

3) Collective and individual activity, what do we do as a group and individuals?

4) Broadcasting, How do we use the online, TV format of the Agri-Project.

5) Relationship with audiences/viewers, either local Rochelle and Global via web

There have been several strategies that we've looked at over time

A) Using collecting and archiving/recycling as a means of creating dialogue with other groups/individuals. "the Borrowers" or "Wombles"

B) Community service providers, with a mission, providing a platform for others. ie 'The A Team"

C) Parasites:using, responding, subverting and making interventions within and outside the structure of the Agri Project


 A collective task to build a structure, a tower or bridge, together during the broadcast week. We would seek materials via our broadcasts and with the aid of a guest builder construct the structure from donations.

2 items on last night agenda were:

* Feedback from my meeting Adam Sutherland, (Director of Grizedale Arts/Project Curators)
There's a strong sense that no one knows what we're doing, what our output might be and what materials/ facilities we need. Adam is quite keen for us the adopt strategy C) Parasites in relation to rest of the Agri project.
I got an overview of most of the other Agri projects, many of which are completed or in full production.

* Jessica's future role in the project.
Jess and me had a conversation about her difficulties in participating in the process so far and likely problems in the future. We talked about how she might be involved through a proposal to stage a specific "Soup" event as part of a possible schedule of invited/guest events in the broadcast week. At the meeting there was a strong debate and a mixed response, with several people questioning Jess's ability to commit to the project as a whole. Jess has sent an outline of the soup project for the group and a final decision will perhaps depend on the nature of the final project.

Group activity
Last night we explored the idea of creating rules for the group to follow, it was decided that two sets of rules would be created to by followed by the group over 2 saturdays

Rules for the 19th January were written by the individual members responding to previous written rules:
Don't write "I"
Pretend it's Sunday
Only eat purple coloured food
Skip at least 5 times
Learn to play 1 tune on any instrument
Dance in public space

Rules for 26th January were written in secret
Eat 5 new things combined
Eat Lunch alone. Reflect on the notion of a group.
Laugh at people driving red cars.
Pretend its Monday
Ask a stranger if you can stroke their shoulder
Compliment 25 people.

The next meeting has been set for Monday 21st at 5pm to 7pm at Rochelle.

I would like to suggest that for the next meeting we all bring to the table our own project outlines, perhaps with drawings/photos that address points 1 to 5 listed above. Time to lay out cards on the table, what do we really want!

We can then in turn present them to the group. I think it might be easier to make a definitive decision in relation to specific ideas and projects. I feel we have to come out of mondays meeting with clear sense of how the project will develop over the next 9 weeks. It would be nice to move on to the next stage of seeing things realized. This is my view, perhaps a bit dictatorial, but please, please let us know your views.

Love and Best wishes


The movie omits chapter 21 from Anthony Burgess' novel.

We deliberately avoided watching the movie before our visit to Thamesmead. On our return to the more familiar Hackney, we watched Kubrick's movie and recognized places as memories of the afternoon. The horse which saluted us when we arrived and was still there at dusk could have been a possible extra.