Wednesday, 4 July 2012

Storytelling

Yesterday I was part of a fairly impassioned conversation on Twitter that was (a) asking DigitalNZ to add collaborative set making to their recently launched set-building functionality (as mentioned here) and (b) tossing about links to pictures of naked people from the collections DigitalNZ harvest (as you do).

At the end of the afternoon, I realised this
At which point, a friend suggested
And so I tried it, creating At which point I thought - well, to be honest, I thought it was time to get some dinner, quit procrastinating, and write a lecture. It's not exactly what I wanted, but it has triggered some ideas ...

Tuesday, 3 July 2012

Comings and goings


This is the final week of the 'Dark Sky' exhibition at the Adam Art Gallery. After seeing the show to talk about it on the radio (you can listen below, if you like, and hear me race through a history of attempts to record and understand the Transit of Venus, as well as a description of the show) I've been back again, and found it definitely repays a second and third visit.

I also highly recommend Geoffrey Batchen's accompanying catalogue: the essay has the warmth and personal insight that I wanted the show to communicate more clearly to visitors. In fact, it's one of the most enjoyable art texts I've read in a long time.
 


And opening this weekend at the Dowse in Lower Hutt is Ronnie Van Hout's 'I've Seen Things', a solo show with the artist's usual ranging across of personal, pop-cultural and historical allusions; this time, Blade Runner and Canterbury's The Full Gospel Mission. I can't wait.


Image 
Thomas Ruff, STE 1.19 (02h 48m / -35ยบ), 1992. Chromogenic colour photograph in wooden frame 2600 x 1800 mm. Courtesy of the artist and Gow Langsford Gallery, Auckland.

Monday, 2 July 2012

Watch it now

Seriously, I am so out of the loop. I only just accidentally found out about the Circuit website, initiated and run by Mark Williams, which is streaming video works by New Zealand artists.

I've been waiting for this website for years. Stills do nothing to convey the nature of a moving image work. And while, for example, one of Alex Monteith's elaborately choreographed multi-channel works doesn't feel anywhere near the same on my laptop screen as it did in the gallery space, being able to re-watch and pass the work on to others is wonderful.



There are about 40 artists and a couple of hundred works on the site now, with more to come. I have to say, I'd love to see the rights to the Len Lye archive negotiated in such a way that his moving image works could be mixed in here - it feels right, somehow.

In the meantime, a few picks:

Steve Carr’s ‘Dive Pool’
Steve Carr’s ‘Tyson’
Steve Carr's 'Burn-out'
Alex Monteith’s ‘Composition with RNZAF Red Checkers’
Alex Monteith’s ‘Composition with RNZAF 3 Squadron Exercise Blackbird for three-channel video installation’
Daniel von Sturmer’s ‘Materials from another medium (Sequence Two)' 

Friday, 29 June 2012

Goings on elsewhere

On Wednesday on the radio (after the usual stint of helpless giggling, which I must really learn to suppress) I talked about Digital New Zealand sets, Hannah and Aaron Beehre's 'Waters Above Waters Below, Anne Shelton's 'In a Forest' and Ben Buchanan's 'Forever'.
   

Links and a gallery of images are available on the RadioNZ website.

This week I also started a new little side project, the DigitalNZ Fan Club, a site to present a daily highlight from the publicly available DigitalNZ sets (you can also make your sets private, if you want to collect items together off the record). I found that a small group of enthusiasts were filling Twitter with links and comments, but were unable to easily share and find sets other people's sets (this functionality is coming, but I am impatient by nature.)


Balsa model of Forest Service buildings, Wellington. Winder, Duncan, 1919-1970 :Architectural photographs. Ref: DW-4289-F. Alexander Turnbull Library, Wellington, New Zealand. http://beta.natlib.govt.nz/records/22890803 

My current favourite of my own sets is 'Architectural Models'. There is something so hopeful about these maquettes. Everyone is full of optimism at this point. Everything is so clean and straightforward. On another level, I am so taken by the lighting in some of these photos, particularly the small series of Forest Service buildings in a fairytale-like setting. I have started writing a piece of another side project, Auch on Water, about these.

Speaking of which, I published a new item over on Auch on Water - 'Roses of all sorts'. It is a fancy that hit me one morning walking around the harbour, a wish for commuters, a sketch for a happening, a little musing of the kind that I don't usually write up. It was something that was nice to make and share.

Wednesday, 27 June 2012

Roses of all sorts

But those herbs which perfume the air most delightfully, not passed by all the rest, but, being trodden upon and crushed, are three; that is, burnet, wild-thyme and watermints. Therefore, you are to set whole alleys of them to have the pleasure when you walk or tread.  
Francis Bacon, Essays, Civil and Moral, 1601 
Every so often I have an idea for a piece of conceptual art. I am not a conceptual artist. But it is easy to imagine that one could be – it is simply the leap from notion to implementation (by way of funding, logistics and commitment) that is absent.

But perhaps a declaration is sufficient to lay claim to the idea. If I were to make conceptual art, this would be my first piece. I would call it …

A wish for the city that you helped make come true

It is just before dawn on a perfect autumn morning. Sleepy commuters disembark at Wellington train station. They find the platforms and the building’s floors covered in a blanket of strewing herbs.

Each person has no choice but to be part of the work. As they walk out into the world, waves of mint and rosemary and lavender and pennyroyal rise into the air. The scent rolls out into the city, up to Parliament, towards the harbour, turning the air sweet and clean and astringent.

A wish for the city that you helped make come true lasts only until the sun has fully risen. At this moment, the herbs are swept away. The scent lingers in the air to puzzle the next wave of commuters, who arrive too late to be part of the mystery.

Because it interests me …

In a 1557 instructional poem, Thomas Tusser listed 21 plants that could be used as strewing herbs:

Bassell
Bawlme
Camamel
Costemary
Cowsleps and paggles
Daisies of all sorts
Sweet fennell
Germander
Hop
Lavender
Lavender spike
Lavender cotton
Marjoram
Mawdelin
Peny ryall
Roses of all sorts
Red myntes
Sage
Tansey
Violets
Winter savery

And because this interests me too …

Now obsolete, the role of the Herb Strewer in the English court was to ensure unpleasant smells were masked in the royal apartments and stables through the strewing of herbs and flowers. The earliest recorded Herb Strewer was Bridget (or Brigit) Rumsey, who was appointed into the role by Charles II upon his restoration to the Crown in 1660. Rumsey received an annual salary of £24 for her services as ‘garnisher and trimmer of the chapel, presence and privy lodgings’, and two yards of superfine scarlet cloth. The last Herb Strewer was Mary Rayner, who served in the under George III and two of his sons from 1798 to 1836.

Tuesday, 26 June 2012

On the radio: 27 June 2012


So, I've been doing a fortnightly art spot on Nine to Noon for over two years now. And I've always been super shy, for some reason, about talking about this here on my (rather neglected, about to get healthier) blog and on Twitter (where, you know, I basically live.)

I've decided it's time to stop being shy  and start telling people what I'll be talking about each fortnight and sharing the links in advance (you can also find them, along with galleries of images, on the Nine to Noon page on the Radio New Zealand website.)

Art spot, Wednesday 27 June 2012 (around about 11.45am)


This week, solo exhibitions in Christchurch and Wellington by Ann Shelton, Ben Buchanan, and Hannah and Aaron Beehre, and a new way to discover and share our culture and heritage through the Digital New Zealand website.

Digital New Zealand sets


From my 'Come Hither set' set: Jeanette Elphick modelling blouse. K E Niven and Co :Commercial negatives. Ref: 1/2-210390-F. Alexander Turnbull Library, Wellington, New Zealand. http://beta.natlib.govt.nz/records/22856130

A new way to collect and share items from the amazingly rich collections amassed by Digital New Zealand. Some sample sets:

Woman on left, leaning on table
Elbows 
Eric Lee-Johnson’s star trails 
Photographs by Anne Noble
Photographs by Laurence Aberhart 
Plischke - man, building, design
Girls and books
We like to read it read it
Come hither 



Anne Shelton’s In a Forest at The Dowse, Lower Hutt


A documentary project uncovering the history of the so-called 'Hitler Oaks' from the 1936 Berlin Olympic Games.

About the exhibition

Anne Shelton’s website 





Ben Buchanan’s Forever at The Dowse, Lower Hutt


An arrestingly joyful wall-drawing on a massive scale.

About the exhibition

Megan Dunn on Ben Buchanan’s ‘Forever’ 



Hannah and Aaron Beehre Waters Above Waters Below at NG (212 Madras Street - temporary Christchurch Art Gallery space) Christchurch


The third in Christchurch Art Gallery's 'Rolling Maul' series, Hannah and Aaron Beehre have used a camera obscura to convey the upside-down strangeness of live in contemporary Christchurch.

About the exhibition

Lara Strongman on ‘Waters Above Waters Below’ 

Andrew Paul Wood on ‘Waters Above Waters Below’

Tuesday, 22 May 2012

Don Driver symposium

Hi. Welcome back. It's been a while. It's nice to be back here. I hope to do this more in future.

In the meantime. This weekend at City Gallery Wellington I'm taking part in the Don Driver Symposium.

The basic details
Don Driver Symposium
City Gallery Wellington
Civic Square
1pm-3pm
Free entry
www.citygallery.org.nz


The Gallery have written a very proper description of the event:

Ritual was commissioned by the National Art Gallery as part of a series of artists’ installations in 1982. Don Driver responded with a confrontational and undeniably physical work that challenged definitions of installation and sculpture, and also people’s tolerance for and expectations of contemporary art. This symposium is a partnership between City Gallery Wellington and Te Papa and will focus on the legacy of Ritual and its maker Don Driver.
Speakers include Sarah Farrar (Te Papa), Aaron Kreisler (Dunedin Public Art Gallery), artist Eddie Clemens, Hamish McKay (Hamish McKay Gallery), Courtney Johnston (art writer and commentator) and Aaron Lister (City Gallery Wellington).

Me, I'm gonna be a little less proper. I'm super excited about this event. I'm excited Driver is being talked about. I'm excited to be part of the line-up (I speak and present all the time in my work/non-art life, but this is the first time I've been asked to speak at a gallery. I hope not to disappoint).

I'm also excited because Kirsty and Aaron have gone a little out on a limb here. It's a (relatively, I know) youthful line-up. These aren't necessarily the usual suspects who are presenting. Sarah will be talking about the history of Ritual, specifically as it relates to Te Papa. (I'm curious about this. There is so much myth built up around this work, and I want to see how much is true.) Aaron K will be talking about working with Driver's art as a curator, with specific reference to an exhibition he put together at the DPAG, '71-75'. Aaron loves and understands Driver's work. Eddie will give an artist's response. I don't know Eddie, and I have no idea what this will be like - but the hints I've heard sound a little mad, and intriguing.

Then Hamish and I will be 'in conversation'. I don't know if you've ever been there, but 'in conversation' with Hamish McKay is a pretty bloody amazing place to be. I really hope to get an impersonation out of him. I'm unsure what we will actually talk about, but that's part of the excitement, right? The anticipation. The guessing. Some things are better left unplanned.

After that, we all front up on a panel. As I get older, I find myself getting steadily stranger. The barriers between what's in my head and what comes out of my mouth are forever lowering. I hope I don't say anything too silly or too inappropriate. (Part of me hopes I say silly and inappropriate things. These art events could take a little lightening up).

Anyway. The real heart of this Driver, and Ritual. Not long after Obstinate Objects opened, I sent a friend I am working with on another project to see the work, totally unprepared. I wanted to see if it could 'speak' to someone smart and thoughtful who spends little time in art galleries. Here's what he wrote. These are some of the things I'll be thinking about leading up to Saturday, as well these thoughts from nearly five years ago, and memories of the people who have helped me see - really see - Driver's work over the years. I think Driver is an extraordinary artist. I think Ritual is a deeply strange work, caught between being timeless and being a period piece (that red flashing light). I am looking forward to seeing where this afternoon takes us.

Image 
Don Driver, 'Ritual', (1982). Plastic, fabric, bone, hair, rubber, leather, steel, iron, glass, wood and straw with audio component. Museum of New Zealand Te Papa Tongarewa. Purchased 1989 with New Zealand Lottery Board Funds. Image courtesy of the Museum of New Zealand Te Papa Tongarewa. 
This event is a partnership between Te Papa and City Gallery Wellington.

Tuesday, 24 April 2012

Dear Competent

Dear Competent 

I don’t usually write fan letters. In fact, this is the first fan letter I’ve written since I was a little girl and had a huge crush on David Bowie in Labyrinth. (I didn’t hear back from David Bowie. Today, his codpiece scares me. I can’t believe they let him wear that in a movie ostensibly made for little kids. Back in the day though, I was in love with his big hair and dramatic eye makeup, and the moment when he said to Jennifer Connelly ‘Everything I’ve done, I’ve done for you. I move the stars for no one.’ I didn’t know exactly what this meant, and I didn’t exactly understand their relationship (in fact, I don’t think I understand their relationship now. Is it fatherly? Mentorly? Loverly? Avuncular, but in the sense of that slightly creepy uncle who doesn’t get invited around much? This is quite confusing.) Also, I just looked Jareth up online, and found this blogpost about a four-year-old dressed as Jareth for Halloween. I thought it was quite weird, and that you might like it too.), but I knew, like some new coupling getting linked up in my neural wiring, that this was capital-R Romance. 

 Sorry. I got sidetracked. This happens sometimes. This was meant to be about you. That’s kind of why I’m writing, actually. I feel like you are overlooked. Sidelined. That you’ve become a bit player in the great cast of the English language. This makes me sad. I figured it makes you sad, too. That you must watch all the other words getting their time up on the stage, but you’re kicking your heels in the green room. Kind of like Pauline in Ballet Shoes, that time when she went from being the precocious lead actress to being an understudy. I know that was a lesson in humility, but I hated it all the same. Why couldn’t they just let her star shine? She was so obviously going to end up in the movies, although I bet on the inside the theatre will always be her first love. Sometimes I think authors should just tell the truth about their characters rather than trying to teach us things using narrative arcs. I brought this up in a tutorial once, but the class didn’t really agree. Oh well. Their loss. 

Anyway. I thought I would write to you and see if I could put a little pep in your step. I am planning to reclaim you. You see, I think we have become careless with our superlatives. Everything is awesome. Zombies are awesome. Vampires are awesome. Unicorns and rainbows are awesome. Unicorn-vampire-zombie-rainbow mash-ups are awesome. Tweets are awesome. T-shirt slogans are awesome. Fonts are awesome (okay, some typefaces are awesome. There’s this particular one I like that was used by Vogue in the 1930s that has this quirky vertical tail on the capital Q. I admit to liking it partly because it is obscure and that makes me feel clever when I drop it into conversation: “My favourite font? Well, you probably won’t know it, but there’s this font that was licensed to Vogue in 1930 and it’s not really used any more, and it’s kinda plain but has these little distinctions, like a really low-slung em-dash, and a really long bar on the capital G, and a funny little vertical tail on the capital Q …”). Cupcakes are awesome. Cocktails are awesome. Cuddle-class seats on aeroplanes are awesome. You see what I mean?

I think that all this thoughtless overuse of superlatives means that a whole lot of really worthy words have slid down the compliment scale and gotten all bunched in the middle. I should explain the compliment scale. At the top is ‘awesome’. At the bottom is ‘sucks balls’. Grouped in the middle are all the words that used to mean good things, and now mean ‘average’ or ‘mediocre’. Words like ‘satisfactory’ and ‘adequate’ and ‘capable’. Words like you.

This makes me really sad. I really like you. In fact, if it’s not too weird to say this so early in our relationship, I think I am kinda in love with you. I like saying you. You are full of heavy, round, precise sounds. You have those three very distinct footfalls to your form. Com-pe-tent. I love that. I love that I am the only person, I think, who really cares about you as a word. (I hope that doesn’t make you feel bad. I mean it in a nice way. I bet someone else out there feels the same way, and I just haven’t found them yet.) I use you in conversation as often as possible to promote you.

Here’s what I think has happened. As we’ve gotten used to describing everything as ‘awesome’, we’ve stopped thinking that being perfectly good at something is enough. We say ‘He is so awesome, I want to make love to his brain and have his mind-babies’. We don’t say ‘I really admire her, I think she’s very competent.’ If I wrote a letter of recommendation for someone and described them as competent, it would sound like I didn’t have anything better to say about them. It would sound like I was saying you could trust this person to turn up to work on time and not make a fool of herself. She would be able to use Microsoft Word and wouldn’t walk around with toilet paper stuck to the bottom of her shoe or her skirt tucked into her tights, and she’d never say anything stupid in a meeting and she’d probably be really good at filling out complex forms, and would use the right colour pen and always write in BLOCK LETTERS where you are meant to, but she will never surprise and delight you. (Surprise and delight is another letter I plan to write. Unlike you, I think that phrase has become debased through overuse. I can’t figure out who to send the letter to though, so I am holding off for now, and I am keeping a post-it on my desk with the words ‘surprise and delight’ inked inside a little squiggly box to remind me.)

So, yeah. I am starting a campaign to win attention back to you. I am thinking of starting a tumblr and collecting all the good mentions of you I see around the web. Or maybe a Twitter account, where I can retweet people who use you well. Or a Facebook page where I can … actually, I don’t really understand Facebook, but there’s shitloads of people there, and surely some of them feel about you the same way I do. Maybe that could be a fanclub. The Competent Fanclub isn’t a very good name though. I will have to work on that a bit. Please let me know if you have any suggestions.

Anyhow. That’s what I’m thinking. I hope you take this letter as it is intended, and that I’m not coming across as all stalker-intense-crazy-lady. I just wanted you to know that … I guess I wanted you to know what someone out there cares about you, and is thinking of you. I’ll be in touch again soon.

With love (but only if you are ready for it, otherwise, just really nice thoughts)

Courtney

Wednesday, 4 April 2012

The first-dateability of undergrad majors

The notion: 

That the courses a university offers could be ranked as to their usefulness for first-date conversation material later in life. Some of the things you learn at university are wonderful flirtation material. Many are not. The whole of a university’s offering could be rated on this basis.

The list:

There will be surprises. Physics can be transcendentally moving (and yet incredibly fucking boring). Intro to English Lit will be high on the list (novels and poems and words, oh my). Economics and Management papers will languish in the murky depths. Philosophy is a double-edged flirtation sword, as like to put the wielder’s eye out as to pierce the listener’s heart. Anthropology tends towards the icky, Psychology towards the gauche. Film Studies students dwell in a bubble (interesting so long as they only talk to each other). 

Behold:

TOTALLY SEXY
Anatomy
Anthropology
Archaeology
Art History
Astronomy (the hands-down, flat-out, knickers-off winner)
Biochemistry
Botany
English
Genetics
Greek (Ancient)
History (the good bits)
Industrial Design
Linguistics
Marine Biology
Mathematics / Music double majors
Neuroscience
Philosophy (but only the dreamy metaphysics scholars, not the uptight reason and argument types)
Sanskrit
Sculpture
Theology
Zoology

SO MUCH PROMISE, SO RARELY REALISED

Creative Writing

UNSEXY
Anything Commerce touches. Especially Accounting, Management and Marketing.
Architecture
Chemistry (ironically)
Criminology
Dentistry
Earth Sciences
Engineering of all stripes
Environmental Studies
Ethics
Heritage Studies
International Relations
Law
Library and Information Management
Planning
Political Science
Psychology
Sociology
Surveying
Statistics
Teaching
Theatre
Tourism

Professor Green’s counter-proposition:

“It has always astonished me that an ancient people are only as interesting as the anthropologist who studies them.” Roger C. Green

Sunday, 25 March 2012

How to read a book

On the bus, head leaning on the vibrating window.

On the late bus, hurtling over the Auckland Harbour Bridge on your way home from university.

Home sick from school, relishing the opportunity to lie in bed and read all day.

Sitting at the end of the wharf, legs dangling over water, seagulls squawking, the smell of dead fish.

On a plane, with your elbows carefully tucked inside the armrests.

Sprawled across the backseat of a stuffy car in a department store parking lot while your parents shop for furniture.

Early evening in deep summer, lying on a camp bed in a canvas tent, listening to rain saturate everything.

On your front in bed, chin supported by cupped hands, your hardback supported by a pillow

Beside a hospital bed, feet propped on another chair.

When you have turned down an invitation to be sociable, without a single regret.

In your father’s car on family holidays, the smell of peppermints and plastic.

On autumn mornings in the overgrown backyard of a Kingsland flat, sitting on a flimsy wooden chair, drinking tea and wearing your grandfather’s dressing gown.

On a chair you’ve dragged into the last of the summer sun coming through a window, with apples and honey sandwiches.

Overtly, in unexpected and provocative places (parties, conferences, street protests).

On a television set when you’re 17, dressed as a member of the town militia.

In waiting rooms, only half able to pay attention.

On an unmade bed, while you wait for the sheets to dry outside.

At the beach, sand between the pages, sunglasses in the car so you have to squint with one eye.

Under the table at extended family gatherings.

In the bath, listening to rain on the corrugated iron roof.

On blankets, in the boot of a station-wagon, in the carpark of the cattle yards in Hamilton, during a livestock auction.

On the stairs, when you should be doing housework.

On a hillside, near a monkey puzzle tree, within earshot of beehives, thinking about leaving home for university.

Over dinner by yourself, the first time you travel for work, with a deep sense of contentment.

Curled against the warmth of a sleeping body in the early morning.

On long and short car trips. As an adult, you will mourn losing the ability to read in a moving car.

On the sidelines of a cricket game, breaking your concentration in rhythm with the rounds of applause and choruses of groans.

Sitting in front of the sliding glass doors, waiting for holiday rain to stop.

Lying in front a fireplace, rolling around in quadrants (back, right side, front, left side) as you progressively overheat.

In a nest of hay bales, while your farmer-father tinkers in the shed.

By candlelight.

Huddled against an electric heater in a drafty flat. Close enough to feel the warmth, but distant enough not to burn your legs.

Under a tree, sitting on pine needles. You’ve been looking forward to doing this all day, and you have built this romantic notion of what it’s going to be like in your head. It turns out to be really fucking uncomfortable.

On a couch, sun behind you, feeling your hair heat up until stroking it is almost like petting an animal.

In airports, sticky and smelly – stickier and smellier than the floor, which is why you feel okay about lying on it right now – with your head cradled on your bag, only you can’t really say ‘cradled’, because it appears you only packed squares and rectangles for this trip.

When you should be paying attention to a lecture, but you’ve just discovered the wonders of the upstairs sales room at the Otago University book shop.

Drunkenly, too late at night, in hopes that returning to your routine now will make the morning gentler on you.

Hungover, seeking solace.

In a half-finished room in a house undergoing seemingly endless renovations, with the snuffly smell of old sawdust in your nostrils.

Sunday, 18 March 2012

Teenage dreams

I spent a lot of last week thinking about the special hold teenagehood has upon our memories and imaginations.

This was triggered first by a New York Times article titled Why is that nice girl from Friday Night Lights fighting a bunch of ninjas?. The article asked why we find it so hard to let actors move on from the parts they play in programmes we are loyal to, and as the title indicates, 'Friday Night Lights' figures strongly in the piece (as do 'The Wire' and 'Freaks and Geeks'):

The main unifying trait of these shows is this feeling that they are underdogs whom you alone seem to understand. “Friday Night Lights” and “Arrested Development” are prime examples. “Lost” somehow works, because if you do truly believe you understand it, you might very well be the only person in the world who does. Even then, this attachment applies only to select beloved characters, namely Sawyer, Locke and Ben. Matthew Fox is free to take new parts, because he was always Charlie from “Party of Five” to me, anyway. 

The crown jewel, though, is “Freaks and Geeks,” which existed for just 18 perfect episodes and was, conveniently, not only an underdog show but also a show about underdogs. 

It interests me how many of these programmes (I would count 'My So-Called Life' in there too) are about or feature strong teenage characters.  This thought was further reinforced when I went to hear Kelly Link speak at the Readers and Writers festival. Link's most recent publication is a selection of her short stories specifically targeted at the YA audience (although her work is cross-over in age-appeal as well as genre). Asked to define YA fiction, Link cited Garth Nix (in a reference I didn't catch, but which may have been this) and then offered another explanation. It's not necessarily fiction aimed at teenagers. But it is fiction that draws on the teenage state: a few short, intense years when you experience many things - a growing awareness of how you do or do not fit into the world, love, betrayal, unfairness, life-altering decision - for the first time.




Thursday, 15 March 2012

Passage, by Jason Rohrer - a naive review

A screenshot from Jason Rohrer's 'Passage'
The only instruction I will give you is, at the start, walk right until you meet the girl (should take a few seconds). After that you are on your own.

On my first play-through, I did as I was told. I chest-bumped my little man into the little woman, and pulled her into my gravitational field. We headed right: I ran after her. We headed left: she ran after me. We did this for a while, like running time trials in P.E - me after her, her after me.

Then I decided I owed it to the experiment to … experiment. First, we tried to run into the green ‘sea’ - no go. Then, we started tackling the obstacles: bumping into them, and then wending our way around them. The further south we went, the harder it was for us both to pass between the obstacles. We tracked, somewhat aimlessly, up and down, back and forth.

I noticed the time (or score? I wasn’t sure) ticking over in the top right. The spaces got smaller and smaller. I began to get frustrated with the woman: she was making this harder, she wasn’t helping. Suddenly, her hair turned grey. My brain telegraphed METAPHOR! METAPHOR! And then, quite suddenly, she crumpled, and turned into a little grey tombstone. I stood next to her for a while, unsure what to do next. A dog lingering by its master’s grave. Then I, too, crumpled and died.

The next game, I dodged around the girl, and sprinted as fast as I could to the right. I encountered no obstacles, just flight: just flight and colours and sound. I was unencumbered, free. The colours were beautiful. Solo life was both richer and less complicated than coupled life. I felt a fleeting regret for leaving the girl behind, and considered, briefly, turning back to see if she was still waiting for me. But the lure of the ever-changing colours won me over. I ran my heart out until the score reached 323, when I tombstoned once again.

My third and final play, I decided to take the girl on the journey I had just been on. I picked her up, and we ran, full tilt, through the colours. When the score reached 150, we were in a palette I liked: red background, black and white chequered foreground, a purple haze to the left. I took my hands off the keys. For the next few minutes, time slowed. We stood next to each other. Passage doesn’t allow stasis though. The game eased us into the future. We closed in on the horizon. We greyed together. We neared the right-hand edge. She crumpled and died. Before I met the horizon, I died too.

***

After I played, he asked me: How did you feel when the girl dies?

I was momentarily stumped. Then he helped me out:

Was it just, "Oh okay, now the girl dies"? 
Or did you experience an emotional reaction to it?

I realised, when asked, that the first time round, I didn’t feel anything. I was distracted by the sudden revelation of the metaphor; I had been catapulted from trying to play the game into getting the game. I didn’t feel sad - I felt fulfilled.

My second round, I didn’t see her die. And I didn’t mind, that much. I had that fleeting curiosity about her fate in my absence, but I was on my own path.

The third time, I felt it. I knew it was coming, and there was something beautiful in that expectation: a satisfaction in how neatly and poignantly it all wound up, her tombstone slipping slowly out of sight.

Our conversation gradually came round to the topic of melancholia.

I almost always pick up the girl and walk as far to the right as I can.
The girl always dies first. ... 
and I never know what to do. 
Sometimes I hang about her tombstone. Other times I keep walking. 
There is something in those last 20 seconds that make me really melancholy.

Melancholy for me is such a teenage feeling. Not an immature one - but one that when you experience it in adulthood, is almost a willed remembrance of the intensity of that earlier emotion. A wistfulness for wistfulness, if you like. It’s that pleasant pain, that intentional pressing of an emotional bruise. A yearning for how intensely you used to be able to feel about things.

This notion of melancholy and yearning sparked the memory of an artist friend of mine. He paints little, wistful paintings in thin, thin layers of acrylic that fade back into the paper.

Early in his career, he painted beautiful women and the men who wanted to love them. Then in the 1990s he went to teach at an art school, where he was told that these paintings of longed-after women (or, perhaps, painting these longed-after women) was somehow not appropriate. So he stopped painting beautiful, distant, unattainable women and started paintings cats instead, with the same shapely silhouettes and the same emotional intensity.

He’s gone back to women. But I still like that idea of him, painting women disguised in cats’ bodies, hiding his longing inside their skins.