Ballardian

In this, the final thrilling instalment of Brian Baker’s Apollo Roulette, the sequel to his 2009 Fleming/Ballard mashup, Baker continues to apply the method to desert imagery in Ballard’s work, uncovering the deadly secret that powers the American ‘nuclear state’: an apocalyptic game of APOLLO ROULETTE!

In this sequel to Brian Baker’s Ian Fleming/J.G. Ballard mashup from 2009, Baker applies the method to desert imagery in Ballard’s work. Finally, we are able to uncover the secret logic at play in the American ‘nuclear state’ – a deadly game of APOLLO ROULETTE!

Andrew Bishop’s fascinating interview with artist Brigid Marlin, who created for Ballard two of the more enduring symbols of his career: reproductions of lost paintings by surrealist Paul Delvaux, which adorned Ballard’s Shepperton home and formed beguiling conversation pieces for visiting interviewers.

In this excerpt from his book Animal Spirits, Matteo Pasquinelli explains how ‘the novels of J.G. Ballard can describe the nature of technology and the contemporary mediascape better than any philosopher, media theorist or cultural studies academic — a sort of political agenda born from the perspective of science fiction’.

An excerpt from ‘Outpost 13: The Atrocity Exhibition’, directed by Mark C and produced by Outpost 13: Stuart Argabright, Mark C and Kent Heine. The film is based on J.G. Ballard’s The Atrocity Exhibition, part of a performance piece featuring o13 performing the soundtrack live.

With the sad news of Elizabeth Taylor’s passing, the time seems right to review the appearance of this enigmatic actress across a significant chapter in Ballard’s work, spanning the publication of the experimental story ‘The Atrocity Exhibition’ in 1966 through to 1973 and the notorious Crash.

What is the link between the film X: The Man with the X-Ray Eyes (1963), directed by Roger Corman, the film They Live (1988), directed by John Carpenter, and the work of J.G. Ballard? Nothing less than the B-movie as a rearguard response to the gathering global and economic forces of late capitalism.

The political theorist John Gray has long been an enthusiastic admirer of J.G. Ballard, and Ballard often expressed appreciation for Gray’s work. Mike Holliday examines the essental nature of this ‘two-man mutual admiration society’.

To promote the one-day conference ‘Eduardo Paolozzi Re-readings’ at Manchester Metropolitan University on 18 February, we present excerpts from David Brittain’s essay on the relationship between Paolozzi, Ballard and Ambit’s Martin Bax.

Two years ago, Simon Sellars, Bruce Sterling and V. Vale appeared on a panel, ‘Myths of a Near Future’, to discuss the work of J.G. Ballard. Our friend Tim Chapman was in the audience and he has kindly transcribed the discussion. Here it is, two years late, but hopefully still of interest: ‘Myths of a Near Future’.

Introducing the incredible short films of Paul Williams, who, stationed in Abu Dhabi, mines a unique nexus of Ballard, Islam, rampant development, industrial isolation and subsonic hums.

Via Static TV, film of discussions at the Ballardian Architecture: Inner and Outer Space symposium, Royal Academy of Arts. The event was chaired by Jeremy Melvin and speakers included John Gray, Nic Clear, David Cunningham, Nigel Coates, Matthew Taunton, Chris Hall, Joanne Murray, Dan Holdsworth, Tim Abrahams and Claire Walsh.

Ballard’s final novel, Kingdom Come, a dystopian account of consumerism as a type of ’soft fascism’, received lukewarm reviews and suggestions that the author was, perhaps, finally losing his touch. Others were eager to point to parallels between it and events around us: aggressive car commercials, racist behaviour by sports fanatics. In this article, Mike Holliday re-examines Kingdom Come and asks: can we really equate consumerism with fascism?

For Ballard surrealist art was one of many possible routes to inner space. But inner space in its quintessentially Ballardian form needed something other than surrealist reproductions on the covers of his books. This was the challenge facing David Pelham, when Penguin’s Ballard titles came up for reprint.

Ballardian.com presents selections taken from artist Simon O’Carrigan’s mixed-media series “The Drowned World”, a title taken in reference to a speculative fiction that inspired much of the imagery in this work: J.G. Ballard’s The Drowned World.

Ballard’s writing has a strong connection to visual art. It informed his work and led to him befriending some of the leading artists of his time, while in turn his work has influenced today’s crop. As Ben Austwick reports, the exhibition Crash: Homage to J.G. Ballard represent these diverse strands in a haphazard, yet always interesting fashion.

The story of Savoy Books is one of the strangest in publishing history: a tale of lost opportunities, missed opportunities, repression, censorship, imprisonment … and, most importantly, an incredible legacy of work that continues to disturb, challenge and confront. All of those qualities are equally applicable to Savoy Records, the music arm of Savoy’s black empire, as Simon Sellars discovers when he talks to Savoy co-founder David Britton. The interview features sound clips from selected Savoy releases.

A review-essay of Jeremy Reed’s latest collection of poetry, West End Survival Kit. The review also discusses the long and enigmatic relationship Reed has with Ballard, who wrote the foreword to the collection, where he paid tribute to Reed’s ‘extraterrestrial talent’.

In November, we announced our first microfiction competition, promoting our 3-part series of interviews with luminaries from Savoy Books. As the second interview is due online soon, we thought now’s the time to announce the prizewinners… Many thanks to all who entered!

Nicholas Cobb’s architectural model of a corporate campus, photographed with a malevolent, dystopian flair, and exploring parallel themes to Ballard’s Super-Cannes.

Edward Burtynsky’s photographs of quarries, factories, mining pits and railcuts are extraordinary for their depiction of mankind’s organisation of the land for resource-extraction and profit. Paul Roth makes the case that Burtynsky is one of our most Ballardian artists. Adopting a style in overt homage to Ballard, the essay honours his legacy as the foremost imaginative interpreter of the world Burtynsky documents.

JG Ballard’s writing encompassed topics as diverse as ecological crisis, technological fetishism, urban ruination and suburban mob culture. In this extract from the September-October issue of Architectural Design, Nic Clear explores how Ballard’s understanding of architecture and architects made him one of the most important figures in the literary articulation of architectural issues and concerns.

Simon Reynolds is one of the most recognizable music critics around. His work reached a peak with the publication of Rip It Up and Start Again, a timely excavation of post-punk: Cabaret Voltaire, PiL, Magazine, and so on. What’s more, J.G. Ballard was a thread throughout the book, as Reynolds charted the influence of JGB — and especially his experimental novel, The Atrocity Exhibition — on the era. In this interview, as Simon meets Simon, these topics are discussed in the wake of JGB’s death.

“Greetings from London! Hope all is well with you. I’ve just attended the long-anticipated JG Ballard Memorial celebration at the Tate Modern and now I’m catching my breath — and a few beers — at a nearby Thames-side pub with fellow Ballardians. We’re having a wonderful time — wish you were here. But let’s start at the beginning. We have time to order some Alsatian off the barbie…” Love from Rick.

The fiction of JG Ballard was centred almost wholly on the built environment. Ballard took architectural design to its logical extreme and then contorted it further. Simon Sellars looks at how architects can learn from Ballard and, specifically, his use of urban sound as a metaphor.

The story of Savoy Books is one of the strangest in publishing history: a tale of lost opportunities, missed opportunities, repression, censorship, imprisonment … and, most importantly, an incredible legacy of work that continues to disturb, challenge and confront. Mike Holliday talks to Savoy co-founder Michael Butterworth about all this and more, including the guidance Butterworth received as a young writer from J.G. Ballard.

This is the foreword to the Greek edition of Ballard’s Miracles of Life, to be published by Oxy in November 2009.

JG Ballard and Iain Sinclair have often been cast in a simple narrative of compatible writers and thematic consistencies. David Cunningham’s wide-ranging article forces a new appreciation of this complex relationship.

What’s the connection between J.G. Ballard, Hakim Bey and Fredric Jameson? Tracking Ballard’s surreal visions of nuclear conflict to Ground Zero in the Pacific, the paper maps his peculiar, irradiated sense of “affirmative dystopias”, a template for his more enduring urban works (famously, Crash) that, finally, intersects in striking ways with the writings of Bey and Jameson.

Readers hoping to solve the mystery of J.G. Ballard’s ‘The Beach Murders’ may care to approach it in the form of a card game. Some of the principal clues have been alphabetized, some left as they were found, scrawled on to the backs of a deck of cards. Readers are invited to recombine the order of the cards to arrive at a solution. Obviously any number of solutions is possible, and the final answer to the mystery lies forever hidden.

“As Michael Jackson reached middle age, the skin of both his cheeks and neck tended to sag from failure of the supporting structures. His naso-labial folds deepened, and the soft tissues along his jaw fell forward. His jowls tended to increase. In profile the creases of his neck lengthened and the chin-neck contour lost its youthful outline and became convex.”

Mike Holliday gets to the bottom of the 1968 obscenity trial brought against Bill Butler and the Unicorn Bookshop, for stocking Ballard’s ‘Why I Want to Fuck Ronald Reagan’. As prosecuting counsel Michael Worsley asked of Ballard’s work, “Is this not the meanderings of a dirty and diseased mind?”

Simon Sellars, Mel Chilianis and Melb Psy take an audiovisual tour of Melbourne’s Crown Casino, seeking to map the coordinates of this micronational zone — consumer-driven control space with a raging need.

Rick McGrath continues to explore the aesthetic of the advertisement in J.G. Ballard’s work, from the early short stories right through to Kingdom Come.

Time-travel, according to Ballard, Marker, Tarkovsky and Godard. Some thoughts on memory retrieval and personal mythology. Ballard and Marker’s ‘fusion of science fiction, psychological fable and photomontage … in its unique way a series of potent images of the inner landscapes of time’.

A man shrugs off the clucking of his family and makes his way to International Departures. With the ticketing formalities over, he slumps at the bar and orders drinks. A flat, synthetic boarding call and he remembers his trip: ‘Last call for Silverwing 501. Please make your way to Gate 23.’

Stunning news — a new book from JGB in the works: ‘Outline for a new book, working title Conversations with My Physician. The physician in question is oncologist Professor Jonathan Waxman of Imperial College, London, who is treating Ballard for prostate cancer. While it is in part a book about cancer, and Ballard’s struggle with it, it moves on to broader themes — indeed, the subtitle is The Meaning, if Any, of Life.’

While the site takes an enforced break, please feel invited to use the forum or browse through the archives. I shall be back with new content in a few weeks’ time.

Transmission from Barcelona stop Having a wonderful time stop I believe in nothing stop Lost in surreal image machine and deep-blue-drenched corridors stretching to infinity stop Startling comma perverse visuals stop Rare books and writing stop Exhibition a raging success stop JGB would be proud stop Full letter to follow comma Love Rick end transmission

What is the connection between J.G. Ballard and H.P. Lovecraft? Artist John Coulthart is well placed to offer some insight into what he terms ‘superficial style at the service of a unique imagination’.

Mike Holliday investigates a strange interregnum in Ballard’s career, three short stories that return to earlier concerns: psychological dislocations and disturbances, somehow caused by human space-flight, in our perception of the flow of time.

Troy Paiva’s desert photography evokes the crumbling, decadent resorts and enervated cityscapes of Ballard’s Vermilion Sands and Hello America stories. Enjoy this interview with Troy, the Light-Painter of Mojave D.

In 2007 I toured Shepperton using Ballard’s Unlimited Dream Company as my guidebook. Here are the results of that neurological survey, born from the torsion of “every cell in my body waiting at the end of a miniature runway”.

Here’s a tribute to Gabrielle Drake, a co-conspirator of Ballard’s and the undisputed Queen of both outer and inner space. All hail 1971, the Year of the Drake.

Drawing inspiration from J.G. Ballard’s exhibition of crashed cars in 1970, the Crashman presents his own festival of Atrocity films: aviation disasters set to musical soundtracks.

Announcing The 1st Ballardian Festival of Home Movies, a competition for 1-minute films shot on mobile phones. This is to promote JGB’s forthcoming autobiography, Miracles of Life, and the prize is a copy of Miracles plus 5 Ballard back titles. Presented by ballardian.com and HarperCollins.

The Times is featuring an extract from Ballard’s forthcoming autobiography, Miracles of Life. There’s also an accompanying interview, in which it’s revealed that Ballard has been diagnosed with advanced prostate cancer.

According to Dan Lockton, one of the many ‘obsessions’ running through Ballard’s work is the effect of architecture on the individual. More than playful psychogeography, Ballard dissects architectural influence on his characters with technical precision.

Here’s a selection of visual art I’ve recently come across, all directly inspired by or referencing themes in Ballard’s work.

A review of Demanding the Impossible, the Third Australian Conference on Utopia, Dystopia and Science Fiction, held at Monash University, Clayton, Melbourne, Australia, Dec 5-7.