Showing posts with label 2011. Show all posts
Showing posts with label 2011. Show all posts

Sep 20, 2024

Alan Moore and Harry Smith

In 2011 Moore paid homage to American countercultural giant Harry Smith.
[...] The polymath spirit of American countercultural hero Harry Smith – filmmaker, artist, folk-song collector, psychonaut and magician – is hard to pin down, let alone summon in the sedate surroundings of the Barbican’s cinema. Yet writer Alan Moore and artist, critic and musician Edwin Pouncey pay their respects admirably tonight, in an event programmed as part of the Barbican’s Watch Me Move: The Animation Show exhibition, conjuring up a soundtrack of poetic biography and collaged noise to a screening of Smith’s No. 12: Heaven and Earth Magic (1957).
 
[...] Moore’s skill as a comics writer fits him well for narrating the moving image. Seated in a conspicuously cosy leather chair (which throws a distracting shadow across the screen), he recounts a subjective version of Smith’s life story, from Portland, Oregon childhood to death at the Chelsea Hotel, in a rhythmic present-tense style. Moore’s eye for everyday, even trashy magic is keen and wry, evoking the occult power of New York City’s streets and peep shows, and journeying with abandon into Smith’s psychic and physical desires. [...]
Read the article HERE. Pics of the event HERE.
 
And... I'd love to read Moore's complete text on Harry Smith and/or watch the whole performance!

May 18, 2024

Swedish Monsters, Maniacs & Moore

Art by Christoffer Hjalmarsson
Above, a poster drawn by Swedish comic book artist and illustrator Christoffer Hjalmarsson for the screening of 1987 documentary Monsters, Maniacs & Moore.
 
For more info about the artist, visit his DeviantArt and Blog page.

May 5, 2024

On the tombstone

Art by Alpraz
Above, Moore portrait by Italian artist Alpraz. The illustration is included in Pelosi's Moore book.
 
Below, a small excerpt from an interview originally published on Honestpublishing.com in 2011.
How do you want to be remembered?
Alan Moore: I don’t really much care, because I won’t be around to glory in it. I don’t know, as somebody who was a good writer, a decent magician and who tried to follow his path with integrity to the best of his ability. And also that I was really sexy. That would do. Put that on the tombstone. 
You can read the complete interview HERE.

For more info about Alpraz: official site.

Mar 21, 2024

Power Moore by John Bishop

Art by John Bishop
Above, a powerful portrait of our beloved Man from Northampton by British illustrator and storyboard artist John Bishop.
 
For more info about the artist, visit his official site HERE.

Mar 16, 2022

Jeffrey Lewis: Comedians, Watchmen and.. all Moore

Art by Jeffrey Lewis
I have been thinking about posting something about the great Jeffrey Lewis and his known fascination with Moore for a very looong time but, being aware it's a complicated and time-consuming task writing an exhaustive piece (shame on me!)... here I am starting (above) with a comic page he created in 2011 for the lyrics to the Art Brut single Bad Comedian... well, it features familiar faces!
A step back... Jeffrey Lewis is an American singer-songwriter and comic book artist who lives and creates in New York. Read an interview with the guy at The Comics Journal, here, watch him at his own home, here!
 
He wrote and talked several times about Watchmen (see here and here) and in 2013, to celebrate the 60th birthday of the Bearded One, he created a wonderful illustrated, rhymed biography of him! Watch here and here! Amazing!
Jeffrey Lewis: The Story of Alan Moore
For more info about the artist: Official Web Site - Wikipedia entry

Mar 16, 2020

On technology, Kindle and iPad

Alan Moore in Promethea n.30.
J.H. Williams III (artist), M. Gray (inking assist), J. Villarrubia and J. Cox: colors.
Excerpt from The Honest Alan Moore Interview – Part 1 (here also Part 2 and Part 3), 2011:
Alan Moore: I’ve got very little connection to technology at all. I’m pretty Amish in most of my approach to technology. Anything after the horse and buggy, I’m a bit suspicious of. I can see that for some people having a Kindle would be a real benefit. I can also see the state of my home, which is pretty much surrendered to books. Me and Melinda, we make our living space around the books. But I kind of like that. I wouldn’t prefer in a million years to have all of them – and I’m pretty sure I couldn’t have all of them – downloaded on a Kindle. Because they’ve got an artefact value. I’ve got first editions that have got beautiful illustrations or are signed; it’s all part of the mystique of books to me. Perhaps people would argue that that’s not necessarily relevant, but I think our emotional attachment to an object is a part of all this.

Like I say, I’m not against electronic books per se. I don’t think they’re the downfall of civilisation or the end of literacy. I just tend to have quite a lot of faith in the book itself as the publishing world equivalent of a shark. Sharks have not evolved in millions and millions of years simply because they haven’t had to. They were pretty much perfect to start with. And I feel the same way about books. I doubt that published books are going to go anywhere any time soon.

I can see that the people actually producing technology, such as Kindle and iPad, these are always the people who are telling us that we have to have these things. And being the type of creatures that we are, a fair number of us will naturally fall into that, will perhaps assume that as a status symbol it’s much better to be seen reading a Kindle than a dog-eared paperback. Although I will note that the last two or three times I’ve taken train journeys, everybody around me was sitting round reading a dog-eared paperback. I tend to think that for most people the idea of the book, with its easy portability, where you can turn the corner of a page down, where you are basically working with ordinary, reflected light rather than screen radiance, I think that the book will end up as the reading method of choice.


Dec 22, 2016

Alan Moore by Luis Fernando

Art by Luis Fernando.
Above, a magical Alan Moore portrait by Mexican artist LUIS FERNANDO
The illustration has been published as variant cover for issue N. 14 of Mexican comics magazine Comikaze: here you can admire the making-of.
Art by Luis Fernando.
More info about the artist here
Luis Fernando and his Moore portrait.

Aug 15, 2015

The Extraordinary Gentlemen by Ricardo Venâncio

Art by Ricardo Venâncio.
Above, a great portrait of The League of Extraordinary Gentlemen members created by Portuguese artist Ricardo Venâncio, originally published on Fistful of Fanart blog, here.

The original art is available here.

For more info about Ricardo Venâncio visit his blog: here.
Art by Ricardo Venâncio.

Apr 29, 2015

Apr 21, 2015

Alan Moore by Bill Morrison

Art by Bill Morrison.
Above, you can admire a Simpsonized Alan Moore sketch drawn by acclaimed artist BILL MORRISON.

Oct 12, 2014

Dr. Manhattan and the Metabaron by Juan Giménez

Above, an awesome illustration by Internationally acclaimed artist Juan Giménez featuring Dr. Manhattan and Othon the Metabaron. It is a commission realized for collector Gerard Nadal.

Aug 5, 2013

Alan Moore and... 24 Great Hipsters in History!

Alan Moore nel 1986!
Dodgem Logic was an underground magazine conceived and edited by Alan Moore and published between 2009 and 2011. It lasted for eight issues and each one featured a page - titled Great Hipsters in History - with tree short biographies written by Moore and illustrated by Calluz.

In the following you can find the list of the 24 hipsters suggested by Moore with a link to the related Wikipedia page. Enjoy!

GREAT HIPSTERS IN HISTORY

Feb 9, 2013

Alex Ross: the League and 30 Rock

Art by Alex Ross.
Artist extraordinaire Alex Ross portraits the cast of American television comedy series 30 Rock as... The League of Extraordinary Gentlemen.
More details here.

Mar 9, 2012

Alan Moore and the giant hypermoment of space-time

Alan Moore by Gilbert Hernandez (from Comics Interview N. 65)
Excerpt from the New Stateman interview conducted by Helen Lewis Hasteley.
Read the complete interview here.


And you talk about "disproving the existence of death".
I thought that seemed a substantial project for my declining years. There's a lot of other stuff in the book but one of the central theses is based upon my ruminations about mortality and time.
It seemed to me that if I understood people like Stephen Hawking correctly, this meant that we are living in a universe that has at least four dimensions. I was talking to a string theorist and he reckons possibly 11.

Funnily enough, I interviewed Brian Greene recently. He says they're all curled up like a pile on a carpet.
Little crumpled-up dimensions that are hidden inside the ones that we're familiar with. I think there must be at least four and if that is correct, the fourth dimension is not some mystical plane. It is a dimension, just like the other three. It is a physical material dimension.
When Einstein talks about space-time having a curvature, then since space-time includes the three dimensions that we're familiar with, that kind of implies that it must be curved through the fourth one, so that suggests that the fourth dimension as I understand it is not time. But it is our perception [of] the passage of time -- the universe is a four-dimensional solid in which nothing is moving and nothing is changing.
The only thing that is moving through that solid along the time axis is our consciousness. The past is still there, the future has always been here and, in this gigantic solid, every moment that has ever existed or will ever exist is all existing conterminously at the same moment.
In this giant hypermoment of space-time -- and that includes all of the instants that make up our individual lives -- it seems to me that nobody is going anywhere. Think about a standard journey through the third dimension: you're in a car driving down a street, say. Now those houses behind you are vanishing; you can't see them anymore. But you don't doubt that if you could reverse the car, those houses would still be there.
The thing is, our consciousness is only moving one way through time. We can't back up. But I believe that what physics tells us is that those moments are still there and I believe that when we get to the end of our lives, the 70 or 80 years of our life is just physical dimension . . . It is how "long" we are in time and when our consciousness gets to the end of our life, there's nowhere for it to go other than back to the beginning.
That we have our lives over and over and over again an infinite number of times and, each time, we are having exactly the same thoughts, saying exactly the same things, doing exactly the same things as we were doing and saying the first time. If it's even meaningful to talk of a first time.
I thought I'd thought of this idea myself because I was a genius . . . It turns out that the Pythagoreans had some sort of version of a great recurrence. They were basing it upon the idea that when this universe ends, because time is infinite, then there are bound to be other universes and, since those universes are finite, there will eventually be another universe exactly like this one, which I don't really think holds up scientifically.
Whereas this idea of the dimensionality of our existence, it does hold up. I can't see a way around it that doesn't involve completely contradicting one of the main conceptual lynchpins of modern physics and, halfway through Jerusalem, I came across this beautiful quote from Albert Einstein that completely summed up everything that I was trying to say but very eloquently and at a lot shorter length than three quarters of a million words.
He was apparently consoling the widow of a fellow physicist -- this was only a couple of months before Einstein's own death -- and he said: "To a physicist such as myself, death isn't really a big thing," and I'm paraphrasing now. He said: "Death isn't really a big thing because I understand the persistent illusion of transience."
I thought that the "persistent illusion of transience", that says it all. The persistent illusion that things are going away. People, times, places, I don't believe they are [going away]. I think that in a certain sense, every moment is eternal. I'm not trying to make a religion out of this and you'll notice that this doesn't require a God.
So it's not really an afterlife; it's just your life. It's a nice, secular idea of continuity that I think is scientifically credible. And whether it's true or not, that wouldn't be a bad way to live.

I have to say that the idea I'm quite taken with is the infinite multiverse, where everything happens somewhere. Every action you make.
I find that a horrible idea, because doesn't that kind of [imply that], everything that you do, there's another you that's done it better.

Yeah, but there's another me that's done it worse.
That's true, so at the end of the day, it sort of reletavises all morality or action out of existence..
I remember reading a story by Larry Niven, who's an author that I don't really like, but he's talking about a private eye who's investigating a wave of suicides and he eventually connects all this up to an announcement in the press that parallel worlds are definitely real, that there is an infinite array of parallel worlds in which an infinite number of versions of you exist. And he's sort of thinking about that and thinking maybe that's what's caused the suicides.
[There is] a kind of existential despair at the thought that however well you do, there's a million other yous that are suffering in horrifying circumstances and a billion other yous who did much better. He's thinking about this and he takes out his gun from the desk and he puts it against his temple and he holds it there for a second, and then he thinks: no, no, nobody kills themselves for an obscure philosophical point.
And he puts the gun away in the drawer again. And he pulls the trigger but the gun doesn't fire. And he pulls the trigger but the bullet shoots up and ricochets against the ceiling. And he pulls the trigger and blows the top of his head off. And there's just this array of different outcomes at the end of the story, all of which are happening in one parallel world or another.
A lot of people have found the idea of living your life over and over again absolutely terrifying; there's some people that find it very comforting. There are others that are appalled by it.

I don't mind it as long as you don't know.
This is the beauty of it. Another aspect of this belief is that there is no free will. Which is something that I've noticed cropping up a lot in the New Scientist recently. The idea that we live in a deterministic universe.
I've got a scene in my book where one of these symbolic, pool-playing, working-class, angel-type figures is talking to one of the more human figures and the human is asking the -- we can't call them "angels", they're not like angels on Christmas cards, they're a bit more substantial -- but a human is talking to one of these celestial builders and says: "Look, did we ever, any of us, really have free will?" And the angel shakes his head and says: "No . . . Did you miss it?" Then they both laugh.
As far as I can see, it's not important that we have free will, just as long as we have the illusion of free will to stop us going mad. We do have the illusion of free will. It feels like we are having each moment for the first time, that we could've done anything, that we could've said anything, but that isn't the way that science seems to be heading.
My favourite scientist, largely based on the fact that he's got an incredibly cool name, is a guy called Gerard 't Hooft. He's working upon a theory that he says we cannot test yet because we do not have tunnelling microscopes to test it, but what he proposes is that there is a layer more fundamental than the quantum layer, that all of the features of the quantum uncertainty that are so strange and peculiar are all resolved as if they'd never been there, which would completely match up the classical model [of physics] and the quantum model. The only problem with this is that if there is no quantum uncertainty then there is no free will.
So, there seem to be a few vectors that are heading that way and they've been debating [over whether] if we found out that there was no free will, wouldn't that mean that we'd all just go on a rampage? The simple fact is, most people would be predetermined not to believe [that].

Dec 6, 2011

The Honest Moore: OWS, Frank Miller & Politics

An amazing Alan Moore portrait by Diego Maia
Read The Honest Alan Moore interview: Part 1 - Part 2 - Part 3

With the Occupy movement, it seems you and Frank Miller have conflicting views. Would you say that he’s against it and you’re for it?
Well, Frank Miller is someone whose work I’ve barely looked at for the past twenty years. I thought the Sin City stuff was unreconstructed misogyny, 300 appeared to be wildly ahistoric, homophobic and just completely misguided. I think that there has probably been a rather unpleasant sensibility apparent in Frank Miller’s work for quite a long time. [...] 
It’s always seemed to me that the majority of the comics field, if you had to place them politically, you’d have to say centre-right. That would be as far towards the liberal end of the spectrum as they would go. I’ve never been in any way, I don’t even know if I’m centre-left. I’ve been outspoken about that since the beginning of my career. So yes I think it would be fair to say that me and Frank Miller have diametrically opposing views upon all sorts of things, but certainly upon the Occupy movement.

As far as I can see, the Occupy movement is just ordinary people reclaiming rights which should always have been theirs. [...] I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who’s too big to fail. It’s a completely justified howl of moral outrage and it seems to be handled in a very intelligent, non-violent way, which is probably another reason why Frank Miller would be less than pleased with it. I’m sure if it had been a bunch of young, sociopathic vigilantes with Batman make-up on their faces, he’d be more in favour of it. We would definitely have to agree to differ on that one.

What do you think needs to change in our political system?
Everything. I believe that what’s needed is a radical solution, by which I mean from the roots upwards. Our entire political thinking seems to me to be based upon medieval precepts. These things, they didn’t work particularly well five or six hundred years ago. Their slightly modified forms are not adequate at all for the rapidly changing territory of the 21st Century. [...]

Jul 31, 2011

Moore talks to the Guardian

Photograph by Murdo Macleod
The complete interview can be read at the Guardian site.

Do you miss anything about not working with a DC or a Marvel?
AM: Believe me, there is nothing that I miss about it at all. I only wish that I had been able to make this jump earlier in my career. I wish I hadn't wasted so much time working for those people. I'm very distanced from the comics industry. I love the comics medium but I have no time for the industry. [...]

May 23, 2011

new Moore projects

One frame from the storyboard for Jimmy’s End, Mitch Jenkins‘ new film written by Alan Moore.
From Bleeding Cool.
It seems that there is more Moore than we can imagine.

In a recent interview by Pádraig Ó Méalóid titled Boy From The Boroughs, Moore said: "[About Jimmy's End] I don’t want to announce anything regarding who or what that might be, but it’s people that I find interesting, and we’re not talking to anybody from Hollywood. [...] Well, at the moment we’re just talking about a short ten minute film. There are possibilities beyond that, but we don’t want to get ahead of ourselves. The ten minute film Jimmy’s End is the cornerstone for everything that follows, so we want to just treat that as entirely a thing in itself. Then when people have seen that, they will be able to judge whether they would be interested in the other possible film, television series, or whatever, that we’ve got to follow that up. But I can tell you that it’s coming on very well, it’s looking very, very interesting and if, by the end of the week, we’ve got the funding sorted out, then we should be going into filming very soon, and it’ll take us about a week to film it. So, later in the year is my best guess, but I’m spending a lot of my time thinking about ideas related to Jimmy’s End at the moment, so I think that people will be interested when we’ve finally got it developed enough to be able to show people some of the stuff we’ve been coming up with."

Furthermore, Bleeding Cool revealed the Alan Moore’s Big New Multi-Media Thing: "Hey this is the 21st century people want to expand everything into multiple platforms, into games and all sorts of things, so what if I embraced that, what if I came up with a concept that could spin out into all sorts of things that I believe, in the way that I wanted to… That would be quite diabolical, couldn’t it?"

I can't wait to know... Moore!

Mar 20, 2011

Alan Moore Storyteller: preview

In the previous post I had a brief chat with Gary Spencer Millidge about his upcoming book Alan Moore: Storyteller (it will be published this summer by Ilex Press).
In the following you can see some previous pages from the book. Other pages can be seen at Millidge's blog
In the post opening image, you can admire the final book cover: photography by José Villarrubia, design by Chip Kidd.
Enjoy... and don't forget to pre-order the volume!!!