Mort final vinal by Paige Bennett

MORT A Look At Life Through A Darkened Lens

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ISSUE No. 1 | ÂŁ6

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MORT When our team of contributors initially set out to launch an innovative new publication those many months ago, the only thing we shared was an appreciation and fearless attitude towards the unknown that is death. We wanted to cater to a niche group of individuals, who like us openly gazed at the world through a slightly darkened lens whilst others squinted through rose-tinted glasses, who saw beauty in decay whilst others withdrew in disgust, and who have an enduring thirst for knowledge. Mort’s debut issue offers a bounty of thought provoking articles from “Do You Want To Live Forever” by Velvet Vejnovic, “Death Denying Society” by Leah Sinclair, to Vita Slucka’s “The Show Must Go On”. Our resident music journalist, Paige Bennett, investigates the portrayal of death in music in her stimulating article “The Sound of Death”. Meanwhile Kristina Lennon introduces London’s most talented and eccentric residents, in her interviews with artist Victor Wynd and graphic designer Davi Ryatt. In this issue’s “World Wide Rituals” feature, Max Evans explores the inspiring beliefs and rituals surrounding Hindu funeral processions. Our very first photo editorial explores voyeurism at its most sensitive. In her series “Fade In The Headlights” Amber Ainsworth presents her captivating set of post car crash memorial photographs. We hope you enjoy the fruits of our labour. Mind as you 7 go,

CONTENTS Bucket Lists

Coffin Craze

World wide Rituals: Hinduism

Man-up

When Your Heart Stops Beating, You Keep Tweeting

Biblical Death

The Show Must Go On

Cheating Death

The Sound Of Death

Powering Up The Sex Industry

Mercy or murder

Step Foot Into Your Bio-De-Grave

Fade In The Headlights

do You really Want To Live Forever?

Fantastic Mr. Wynd

Trial By Fire

Winning From Beyond The Grave

Gazing Where The Lilies Blow

Death-Denying Society

Causing A Ryatt

Death: A Self Portrait

Issue No. 1

Contributors Editor - Velvet Vejnovic Managing Editor - Kristina Lennon Arts Director - Paige Bennett Features Editor - Max Evans Editorial Editor - Amber Ainsworth Staff Writer - Vita Slucka Staff Writer - Leah Sinclair

The MORT Team All rights reserved. For educational purposes only. wNo part of this publication may be reproduced in whole or part without written permission from the publishers. © 2013 BA (Hons) Music & Fashion Journalism, University for the Creative Arts, Epsom. The views expressed in MORT are those of the respective contributors and not neccesarily shared by the course, its staff or the University for the Creative Arts, Epsom, these parties can not be help reponsible for them. MORT is published Bi-Anually.

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Bucket We all have our aspirations and goals in life, but what specifically do we want to achieve before we ‘kick the bucket’? A bucket list is your own personal outlet to note down what you want to do before you die. The Internet is now home to thousands of bucket lists. We are in this digital age where we constantly crave the attention of strangers, so what better place to show our life goals than somewhere public that can be easily accessed. It is a piece of our dreams that we can carry through every footstep of life to enable a fulfilling life before death. Writing them down makes them more than just goals. It makes them appear attainable, tangible and doable – activities to work towards and plan instead of just ideas that we don’t believe can be put into practice. It allows people to look forward in life and keep motivated, a reminder that although life may seem short, we can achieve anything we wish.

Type into Google ‘bucket list ideas’, and you will be faced with an immeasurable amount of ideas that people have written down in order to make theirs and other people’s lives have some form of meaning so that we do more than simply ‘exist’. The idea of a bucket list is consistent with Daniel Kahneman’s ‘Peak-end’ theory, where people remember their lives from hedonic events, their ‘peaks’. Some people may argue that life as a whole is an event, but the general public simply want to set memories in place that structure life as remembered.

Here are some of the most popular bucket list ideas: -See the Northern Lights -Skydive -Get a tattoo -Swim with dolphins -Get married -Run a marathon -Ride an elephant -Send a message in a bottle -See the pyramids -Break a world record -Quit one of your vices -Learn to play an instrument

It can be easy to approach death in a negative way, but thanks to 2007 film The Bucket List, the phrase has been awoken and we cannot escape, so why not take inspiration and live life to the fullest? You can include the smallest of things such as ‘eat healthily for a year’ to the craziest of ideas: ‘set foot on all seven continents’. The main problem is that people see it as a tick off list. You shouldn’t put things on there to gain other peoples approval, and this isn’t so you can gain your ‘cool’ badge.

And here are some of the most outrageous: -Dress up as a banana and get chased by friends dressed as gorillas -Fight a bear and win -Eat a lot of the same food until you vomit -Pierce an inappropriate body part -Travel with no money, just the clothes on your back -Go to space -Fight a CEO of a large company -Name your child after the place it was conceived -Prank call someone famous Obviously, life is worth living and death isn’t the most popular thought, so the key to any bucket list is to make it as light hearted as possible, but still achievable. You only get one chance at life (apparently), so make it worth it.

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Retired couple Gwen and Kevin Upex from Newark, Nottinghamshire, commissioned twin coffins which reflect their passion for canal boat sailing.

To John Gratton-Fisher, a building contractor, a skip is a business assoiciate. On his final journey he will be put in a skip and go out with the rubbish.

An eleven year old boy, victim of a skateboarding accident, was buried at his family’s request in a replica of the board he played on every day.

Words by Paige Bennett

Coffin Craze

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WORLD WIDE RITUALS: HINDUISM

Many people in the West, religious or not, are most familiar with the traditions within Christianity. Black attire for funerals is a given. Heaven forbid that you should turn up in a red dress, which can symbolise blood or passion. Leave a few flowers, say a few words before the burial, and we know no different. There are other ways, however. Hinduism is considered the oldest living religion (at least in the origin of its ideas) and the third largest. Contrary to popular belief, there is a singular God at the heart of it, a supreme deity known as Brahman. The many other

deities worshipped, such as Vishnu and Shiva, are different forms of that one being. In regards to death, Hindus believe in reincarnation, with actions in this life being connected to the others through karma. By replacing earthly desires with spiritual awareness, the ultimate goal is to avoid rebirth. This can only happen when your soul sees the true nature of reality, which could take many lifetimes. Eventually, you achieve moksha, meaning that your soul can merge with Brahman, ending all suffering.

Although this is mostly down to personal responsibility, it is essential to perform the funeral rites properly. They ensure safe passage for the departed, and neglecting them could keep their soul without a body, like a ghost. These beliefs are open to interpretation, however, so the details vary between different communities and families. The funeral will ideally be within 24 hours of death, beginning the spiritual journey as soon as possible. During this time, the body is kept in an open casket at home for visitors to pay their respects. Mourners wear simple, white clothes. This stands for purity, whereas black would absorb depressive energy, acting as a barrier to positivity. Obviously it is still a sad occasion, but belief in life after death is a great comfort. Ritual purification is the main purpose of this event. Sacred ash may be applied to the forehead of the deceased, while flower garlands adorn the body. Water is sprinkled from a container, preferably from the River Ganges, that being a holy place. This doesn’t always happen outside India, but families have been known to collect Ganges water on visits there. Cremation is most common, because the external body has no further use – it is the inner self that lives on. Once the pyre has burned for some time, the ashes are collected and scattered into a river. This is the end of the service, but normal life doesn’t continue immediately. MORT asked Reena Khirodhur, 22, a Hindu born in Wales, for her experience. “Hindus mourn for up to a month afterwards. We fast on the day of the funeral, and the next day we don’t eat meat. It’s very intense. It seems like Westerners spend less time mourning, and move on to celebrating their life sooner.” Words by Max Evans Images by SiSi Xiong

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Man-up ‘Maybe curiosity is eating me up inside, but so far it tastes pretty good’ – Manuel Vason

mediums communicates new vocabularies creating a unique hybrid art form. The convergence provides an dequate loss of original information with the acquisition of new varieties of artist’s expression. This link between image and the body is presented through the artist’s idea of performance combined with a sense of photographic composition. Vason’s passion for capturing a moment in time as a habitual towards the illusion of immortality converts to a entirely new creation. Thus resulting in inquisitive images with visual impact and the performance of a juxtaposition of life and movement. Artist Statement

I see my practice as a constant battle against the impossibility of reaching ‘presence’ .For years I have been trying to hard to bridge

against photography and performance, and everyday I live the illusion of having fulfilled my ambition. In the core of my practice lies an exchange; between myself and another artist, between the work and the viewer. I see myself reflected in all the artists I have met, collaborated and fallen in love with… can art be a relationship? Working with different minds and bodies allows me to discover every day something new about my own mind and body. I’ve always wanted to be sculptor although I’ve been using photography as my main medium. Surface in my material. Surface is my biggest enemy. Maybe curiosity is eating me up inside, but so far it taste pretty good.- Manuel Vasson Words by Amber Ainsworth

Manuel Vason (13)2012 Photo by Manuel Vason

Untitled Collaboration, 2004, photo Manuel Vason

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Manuel Vason,is a fine-art photographer born in Paodva Italy 1974. Whilst studying at the University of Social Science he became a photographer and decided to move to Milan where he worked for two years as a studio assistant. By 1998, Vason had moved to London and was assisting some of the most highly regarded photographers in the fashion industry. His first project ‘Exposure’ was a live performance publication featuring the artist’s fascination for the human body and its manifestation. Since 1999, Vason’s work has featured in L’Uomo Vogue, ID, Dazed and Confused, Flash Art, Frieze, Contemporary,Tate Magazine etc. and exhibited at Tate Liverpool, ICA London, Whitechapel Gallery London, Tramway Gallery Galsgow, Arnolfini Gallery Bristol, VB Museum (Finland), Museo delle Papesse (Italy).The relationship between photography, performance, presence and representation is celebrated throughout the artists work. Vason’s collaboration of

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Manuel Vason (11) 2012, Photo by Manuel Vason

Micheline, 2012, Photo by Manuel Vason

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When your heart stops beating, you keep tweeting 500 word feature ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE T---w----e----eeee ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE Unfortunately,ARTICLE there are a few things in lifeARTICLE which most of us have in ARTICLE ARTICLE common in ourARTICLE modern day ARTICLE society, one being death and the other social media. Of course, death can be unexpected, however ARTICLE ARTICLE ARTICLEand ARTICLE much you’re prepared, the prospect of organising everything can ARTICLE ARTICLE ARTICLE ARTICLE be daunting. There’s your will, grave and expenses, but one that ARTICLE ARTICLE ARTICLE ARTICLE often goes unconsidered is the future of our digital legacies. ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLEthrough ARTICLE With digital legacy tools developing recent ARTICLE years, and the launch of ARTICLE Twitter App ARTICLE LivesOn in March 2013, there is no ARTICLE ARTICLE better time forARTICLE social mediaARTICLE to be bridging the gap between life ARTICLE ARTICLE and death. While the subject could prove a bit morbid, these new ARTICLE ARTICLE ARTICLE ARTICLE social platforms aim to provide an optimistic approach with a hint ARTICLE ARTICLE ARTICLE ARTICLE of dark humour. Take LiveOn’s tagline for example: “When your ARTICLE ARTICLE ARTICLE heart stops beating, you’ll ARTICLE keep tweeting”. The app will analyse tweeting trendsARTICLE by monitoring the users online behavior – such as ARTICLE ARTICLE ARTICLE favourites, likes, tastes and syntax – to form a computer generated ARTICLE ARTICLE ARTICLE ARTICLE ‘ghost’. The deceased’s account will be controlled by nominating ARTICLE ARTICLE ARTICLE ARTICLE an executor of ‘will’, accessing it so that person can live on digitally ARTICLE ARTICLE ARTICLE ARTICLE from beyond the grave. ARTICLE ARTICLE ARTICLE ARTICLE

ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE a recent episode of Charlie Brooker’s Black Mirror, the effect of ARTICLE ARTICLE ARTICLE ARTICLE such technologies can cause psychological issues due to confusion and denial inARTICLE the mourning process. AsARTICLE the zombie persona of a ARTICLE ARTICLE deceased character explains in the program, it will only ever be “a ARTICLE ARTICLE ARTICLE ARTICLE performance, of stuff performed without thinking”. ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE The effect ofARTICLE such coping ARTICLE methods and ARTICLE their potential harm could ARTICLE ARTICLE ARTICLE far outweighARTICLE its advantages. Psychotherapeutic counselor Naomi Laver says, “IARTICLE think memorializing is a good thing…but I can’t see ARTICLE ARTICLE ARTICLE why/how thisARTICLE sort of service would be remotely beneficial. Coming ARTICLE ARTICLE ARTICLE to terms with loss is to accept that once a person has gone, they ARTICLE ARTICLE ARTICLE ARTICLE have gone for good. Who would benefit from this?” ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE ARTICLE However, creators of LiveOn find theARTICLE controversy surrounding their radicalARTICLE idea interesting. “It offends some, and delights ARTICLE ARTICLE ARTICLE others. Imagine if people started to see it as a legitimate but small ARTICLE ARTICLE ARTICLE ARTICLE way to live on. Cryogenics costs a fortune; this is free and I’d bet it ARTICLE ARTICLE ARTICLE ARTICLE will work better than a frozen head,” says Dave Bedwood, creative ARTICLE ARTICLE ARTICLE ARTICLE partner of the app’s developers. ARTICLE ARTICLE ARTICLE ARTICLE

The prospect of a virtual eternity has already been made accessible by digital afterlife tools, If I Die and DeadSocial. Both of the Facebook apps work similarly to LivesOn, due to a trustee being appointed before death, who is then allowed to release scheduled messages, posts or even videos to your friends and family.

There is no doubt that such social media platforms will divide opinions, but this new formula of communicating with loved ones after loss could certainly save us the task of creepy séances, flickering candles and Ouija boards. Although individually we may be fully immersed in a digital world, the question of whether our friends and family can deal with its impact remains.

The argument between whether this is revolutionary or immoral is just one that the creators of such sites will have to face. As seen on

Words by Amber Ainsworth

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BIBLICAL DEATH BIBLICAL DEATH BIBLICAL current mort 2.indd 20-21

PHOTOGRAPHY VITA SLUCKA / LEAH SINCLAIR Taken at st pauls cathedral on monday 18th March 2013

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The show must go on

cheating death

Playing with fire

Downton Abbey’s Matthew Crawley Getting shamefully attached to TV show characters is disturbingly easy. Obviously, you have to hate some of them first. Just like in real life, you watch the town’s craziest bitch ruin your sister’s wedding or see the nerd-next-door blossom into the world’s most sought-after gold-digger magnet. After a while, though, you suddenly find yourself sympathising with these imaginary folk (yes, even the mean ones). You’ve unwillingly become their best friend. You witness the birth of their first child in an overtly dramatic slow-motion montage. And then, unexpectedly, you see them die. This is exactly what happened to one of Downton’s brightest stars, Matthew Crawley. The much-anticipated Christmas special-turned-Christmas disaster of the award-winning British export saw our favourite leading man, played by Dan Stevens, unceremoniously killed. And fans on both sides of the Atlantic were not happy. Some pledged never to tune in again, whilst others begged for Crawley’s

miraculous return (Casper, anyone?). For the misinformed, Stevens chose not to renew his contract, but we, the viewers, simply don’t care. When you’re gone, you’re usually gone for good. Many shows may never recover from such high-profile departures, and American TV classic The O.C. is one of the best examples. Despite the fact that the ultimate teen drama had already “jumped the shark” by the time alcoholic beach babe Marissa Cooper got killed off in the final moments of Season 3, the unbearable thought of no longer seeing the beloved train wreck was what really put most viewers off. Needless to say, the show wrapped up after Season 4. Certain soap-type shows like Grey’s Anatomy have been around for so long that getting rid of boring characters has become a common procedure. Lexie, George, Mark – can anyone keep track of the count? As soon as the new season starts, everyone’s already forgotten about the lost soldiers of MORT | 23

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brainless everyday entertainment. No need to for a mental breakdown then. Sometimes, however, you might think that saying goodbye to one especially favourable character is extremely painful. But think again. You’ll cry your heart out when watching the legendary series finale of Six Feet Under. The seven-minute death extravaganza shows every single personage dying. Imagine looking into the future: instead of seeing all the fun stuff, you see people die. On the other hand, the show was primarily about death. But that didn’t make the ending any less sob-worthy. Being used to having a certain person’s company is bad. But not knowing what to do without Matthew Crawley on a Saturday night is even worse. Dying TV characters really do have the power to break our hearts. And, unfortunately for us, they do so repeatedly. Words by Vita Slucka

When thinking about cheating death, I immediately create extravagant scenarios in my mind, usually similar to too many action packed thrillers starring Bruce Willis or Denzel Washington. Fear consuming my body, drawing each breath as my last, when suddenly, I somehow escape the clutches of death. Although my thoughts are pretty hyperbolic, we have our own visions of death, and how will we deal with it when and where it happens. However some manage to live to tell the tale of their fatal brush with death, and how they cheated the most unescapable thing in the world. The popularisation in modern society of cheating death is now celebworthy, where everyday Joes surviving deadly circumstances can create overnight celebrities. “Doing things death defying and posting it on video sharing sites can now make a person famous for a period of time,” says social media strategist Joanna Halton. “Whether people accidentally have cheated death or purposely hurt them selves for a chance at ‘stardom’- it’s something that has become popular online, and has been for years with shows like ‘You’ve

Been Framed’.” YouTube compilations of people surviving chaotic car crashes, and close calls with trains can garner up to 6,000,000 million views, while watching a plane plummet 50,000 feet to the ground in a Michael Bay worthy explosion can get up to twice as many views. Do we just love a good survival story? Or is it the element of surprise and not knowing? “We watch these kind of videos to be shocked, astonished and feel a different kind of emotion that we don’t experience in our day to day. It’s a rush of the unknown and not knowing how and why they survived but acknowledging that somehow they did.” Being able to cheat death is almost like a miracle, something most people are too cynical to believe in. Maybe watching hours of YouTube videos of people surviving death has more to do with acknowledging there is more than just ‘us’ in the universe, and that there is something bigger at hand. Then there are people who cheat death for a living. Take adrenaline junkie and stuntman Gary Connery. “I’ve done some pretty death defying stuff, and simply wouldn’t

change my job for the world,” says Connery through a rather enthusiastic email. This daredevil has featured in movies from ‘Batman Begins’ to ‘Johnny English’, and is most well-known for his iconic parachute jump dressed as The Queen at the 2012 London Olympics. “That was an amazing moment for me,” continues Connery. “Not just because it was a historic moment in British culture, but it was kick ass! Such a rush comes from doing my job, and the bigger the scale the more enhanced my love is!” When posed a question about the fear of dying, our virtual convo turned serious. “You can’t worry about things like that when it’s your profession. Death is inevitable and it’s a waste of time to over think something you can’t control.” Whether the near death experience was once in a lifetime or a regular occurrence, our obsession with cheating death reminds us to live life to the fullest. The cheesy idioms emblazoned upon kitsch memorabilia ring true, and living life the best we can is a motto to stand by. Words by Leah Sinclair.

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`1444444 444444= The Sound Of Death Words by Paige Bennett

Music plays a huge role in the socialisation of the youth forward and getting where you want to be in life. Even 10 today. No one can escape from music; it is omnipresent years ago in the charts we were told a story of depression and easily available through the radio, TV, the Internet, and loneliness with Evanescence’s ‘Bring Me To Life’, and mobile phones, which allows us to hear it in diverse but they still shed light over the whole subject with the settings and situations, alone or shared with friends. People lyrics: “My spirit’s sleeping somewhere cold until you subconsciously absorb lyrics without contemplating find it there and lead it back home,” showing that there their real meaning, especially with the increasing use is always a light to bring you back from the brink of death. of headphones. The effect of today’s music has a great effect on youth due to the explicit content of lyrics, and Metal: the ease of access to downloaded music that tends to be Bring Me The Horizon recently released ‘Shadow Moses’, original versions. Research has reported that the sheer which takes a completely different look at death to their exposure to such explicit lyrics could produce changes previous material. The lyrics of the song ‘Pray For Plagues’, in behaviours and attitudes of listeners. released in 2006, sound somewhat Death has always been a popular theme demonic and tell us: “So clap your running through most genres but simply hands to the sound of every first born People portrayed in different manners. Lyrics of dying now, watch the rivers flow with many music genres, such as heavy metal, subconsciously blood, death will stand where life once absorb lyrics rap, rock, pop, and country have been stood.” They have somewhat grown into found to revolve around topics such as their music with each album, realising it without sexual promiscuity, death, homicide, contemplating isn’t cool to promote death. ‘Diamonds suicide and substance abuse. Aren’t Forever’ released in 2008 tells their real us to stand up to death: “We will never meaning Rock: sleep ‘cause sleep is for the weak and The American Academy Of Pediatrics explained that we will never rest ‘till we’re all fucking dead.” They have “Rock and roll music has been an important influential become positive about life with their most recent track communication source which provides adolescents with ‘Shadow Moses’: “We live our lives like we’re ready to messages about death in society.” But is it always portrayed die, we’re going nowhere,” showing that maybe metal in a negative light? For example, Paramore’s most recent has finally seen the light of day and crawled out from it’s single ‘Now’ speaks of coming back from being close stereotypical dark and dingy hole. to death: “Feels like I’m waking from the dead, there’s a time and a place to die but this ain’t it.” They speak of R’n’B: moving forward and carrying on with life: “If there’s a RnB hasn’t always been renowned for the subject of death future we want it.” Rock appears to be taking more of a but more of promiscuity. However, Rihanna’s ‘Diamonds’ positive attitude and looking at life not death, moving says to “Feel the warmth, we’ll never die,” which appears

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to share with us to embrace life and reach your goals, because we are precious like diamonds and therefore life is precious. Even in the past when 2Pac released ‘Life Goes On’, we are faced with lyrics of respecting life and enjoying it while we can: “Bury me smilin’ with G’s in my pocket, have a party at my funeral” takes a more light hearted approach to such a negative situation. In the past 50 Cent has been known for his explicit material regarding promiscuity, but in the case of his song ‘Many Men (Wish Death)’ he takes a negative approach to death: “Death gotta be easy, cause life is hard, it’ll leave you physically, mentally and emotionally scarred.” And once again with a ten year gap he has changed his outlook: ‘Accept it, respect it, this is a gift, God-given, like the air in the lungs of every fucking thing livin’.” It seems quite a trend for musicians to change their feelings on the subject with age, making it seem like more of a teen-angst thing to promote it. Dance: Now dance has always been about the beat and less about the lyrics, because you want something you can move to. Most songs of the early 2000s are simply music and samples from other songs, but last year we were subjected to enduring dance DJs such as Swedish House Mafia and Example that are filled with inspiring lyrics. Swedish House Mafia tell us not to worry about death, creating again, a positive attitude: “Don’t you worry child, see heaven’s got a plan for you.” Another example could be ‘Stay Awake’ by Example. The opening line: “If we don’t kill ourselves we’ll be the leaders of a messed up generation” does create a negative feel. The first time I heard these lyrics I related to what he was saying. We are a messed up generation, and could this be partly to do with the fact that we cannot avoid hearing words of violence, murder and death everyday, even in our music? However he then goes on to tell us: “It was all to stay awake for the longest,” ‘awake’ obviously implying being alive and embracing life. Now by telling us to stay awake for the longest he is obviously contradicting his first statement. Why? Who knows, but the effect his lyrics and music have had on this generation is astounding, and his most recent album ‘Evolution Of Man’ peaked at number 1 in the UK Dance album charts. The clue is in the album title.

changed over the years. Given how music was in the past, I think we are finally reaching a turning point. The fact that teenagers today are even more into the work of artists that have died such as Kurt Cobain, Jimi Hendrix, Elvis Presley, Janis Joplin and Bob Marley does feel in a way quite morbid, and their drugged up rock ‘n’ roll ramblings cannot be doing them any good either, but thankfully they cannot simply escape the wrath of the UK music charts being played in every single shop, on every single radio station and on every single advertisement. We can see that in the past we were subject to a bombardment of death-related music, band names and lyrics – especially in heavy metal. Names such as Megadeth, Slayer and Anthrax speak for themselves. Song titles such as ‘Suicide Solution’, ‘Highway to Hell’ and ‘Psycho Killer’ are death related, and the band Guns N’ Roses even recorded a cover version of the song ‘Look at Your Name Girl’, which was written by the infamous murderer Charles Manson. In the early 90s we even had the record company ‘Death Row Records’ releasing songs named ‘Murder Was the Case’ and ‘Natural Born Killers’. There is definitely no escaping from death when it comes to music but at least it appears to be taking more of a positive role in most genres now.

Death became a particularly prominent feature of music during the baby boom of the 1950s. A musical genre that was often referred to as ‘Coffin Songs’ featured themes that relate to dying and grief, and it has continued but

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POWERING UP THE SEX INDUSTRY Machines have already changed the face of manufacturing during the industrial revolution, and been the inspiration of countless futuristic novels and films. But now it seems there is just no stopping them, with machines set to transform the sex industry as we know it according to academic researchers, Ian Yeoman and Michelle Mars from Victoria University.

predicted social reforms to combat human trafficking. In their paper they also ponder whether sexual mores might be different where robotic prostitutes are concerned. For example, would spouses view sex with a robotic partner as cheating, or as a form of masturbation akin to using a vibrator, and whether people would more openly admit about paying for sex with robots than they are about paying for sex with humans.

In their paper, Robots, Men and Sex Tourism, currently featured in the science journal Futures, Yeoman and Mars of the Victoria Management School in Australia, envision what Amsterdam’s redlight district will look like in 2050. Following on from existing predictions made by the European Robotics Research Network chairman Henrik Christensen — who claims humans will be having sex with robots in five years — and University of Maastricht robotics researcher David Levy, who believes that Massachusetts will legalise human to robot marriage by 2050.

Robot sex is safer sex, free from the constraints, precautions and uncertainties of the real deal

“Robot sex is safer sex, free from the constraints, precautions and uncertainties of the real deal,” write professor and futurist Yeoman and sexologist Mars, who forecast robotic prostitutes to be the solution to many of the world’s problems associated with the sex trade. The researchers paint a scenario of a sex club in Amsterdam named Yub-Yum in the year 2050, an establishment where all employees are android prostitutes who are free of the risk of sexually transmitted diseases and provide their customers with a sublime sexual experience that’s unmatchable by any human-on-human interaction. “Amsterdam’s tourist industry is built on an image of sex and drugs. The council is worried that if the red light district were to close, it would have a detrimental effect on the city’s brand and tourism industry, as it seems unimaginable for the city not to have a sex industry. Sex tourism is a key driver for stag parties and the convention industry. The Yub-Yum offers a range of sexual gods and goddesses of different ethnicities, body shapes, ages, languages and sexual features. It would be licensed by the council meaning it could be regulated and used to market the city as a sex tourism destination,” explain Yeoman and Mars. The futuristic duo bases these predictions on the continued growth of the sex industry, the human fascination with physical beauty, and

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Meanwhile 65% of Mort readers surveyed online say that they would not feel comfortable having intercourse with a robot regardless of their sexual performance ability, a further 83% confessed that they would feel guilty and as though they have cheated on their partner, whilst only 20% people said that they wouldn’t feel embarrassed or cautiously of telling others about having sex with robots. It is important however to note that with all this said, 97% responded that they felt it was a sustainable and safe way of eradicating sexually transmitted diseases and stopping sex trafficking. Implying it may only be a matter of time until the majority of the public comes round to Yeoman and Mars’ way of thinking. Words by Kristina Lennon Images by Michael Oswald

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Mercy or murder We live in a democratic society. And for the most part, we should be able to decide what’s best for us and the people we care about. But for the past few decades, the never-ending debate about the acceptance of a universal right-to-die has become more heated than ever before. Pro-choice liberals have repeatedly gone head to head with right-wing extremists who passionately maintain that “euthanasia should continue to be treated as murder”. In the UK and a number of other countries, the act of helping another person die is, indeed, seen as a criminal offence. But is it really?

“choosing not to suffer should be a right”. And despite the fact that I’ve considered myself a pacifist for years now, I couldn’t agree more.

In this day and age, I do have to wonder – just why exactly is expressing your wish to die still seen as a dirty thing? Unfortunately for those considering euthanasia, many people don’t realise that there’s a difference between simply killing yourself and asking for assistance when being in pain or knowing that you won’t be able to look after yourself anymore.

I clearly remember thinking to myself that I would rather choose to pass away when I think the time is right than have absolutely no control over my life. And although my thoughts may have slightly changed over time, the idea of not being able to do simple everyday tasks like preparing a meal or using the bathroom still worries me deeply. At the end of the day, I’d like to keep my options open. And you may too.

Besides, the public have an opinion too. And the critics won’t like it. A recent poll reveals that 86% of the surveyed believe euthanasia and assisted suicide should be legalised in every country with the majority saying that

When I was seventeen, I started working in a care home for people with dementia. Having never been previously exposed to so many acutely ill patients at once, I spent my first day at work in a state of shock. All I could see was people not knowing who they were or why they couldn’t be with their family. Some of the residents were on their deathbed or, worse, in excruciating pain.

What’s more interesting is that I’m not alone in my fears. In 2011, 66% of euthanasia requests in Oregon – one of the three U.S. states where assisted suicide is legal – stated the possibility

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of becoming a burden to others as one of the main reasons for wanting to die of their own free will. Terminally ill patients and those suffering from incurable diseases such as the Alzheimer’s are concerned that they will not only make their loved ones’ lives difficult, but also lead an unbearable existence for whatever time they’ve got left on this planet. At the other end of the spectrum, however, many pro-life organisations argue that ‘mercy killing’ is a slippery slope. Alex Schadenberg, Executive Director and International Chair of the Euthanasia Prevention Coalition, insists that “euthanasia is a recipe for elder abuse”. And while I do believe that any kind of deadly procedures should never be performed on someone who hasn’t made a clear request, for a lot of people, choosing assisted suicide means choosing their own destiny. The recent case of George Martin is a thoughtprovoking example. The terminally ill 86-yearold from Nottinghamshire gained media attention by going on hunger strike for more than twenty days before dying in his sleep in order to protest against his inability to legally receive help from his family to stop him from

further suffering. What Martin wanted was to be heard. But did anyone listen? “I am of sound mind; I have loved my life and feel very proud of many things, not least my family, but now I want to be allowed to die with dignity,” he said. The former accountant made a ‘living will’ in 2004 in which he documented his intentions to refuse medicine should he ever be taken seriously ill and had since re-signed it every year as proof that he hadn’t changed his mind. Martin’s family was fully aware of the elderly man’s final wish, and although they didn’t like it, they did fully accept it.

simultaneously seek assisted suicide, but also because neither of the men was terminally ill.

had completely revolved their lives around one another, and the thought of no longer having that luxury was going to be too impossible to cope

“They lived together, did their own cooking and cleaning. You could eat off the floor. Blindness would have made them

I have loved my life “and feel very proud

with. “Their great fear was that they would no longer be able to see each other. That was for my brothers unbearable,” he said. Belgium is currently one of the few countries where the practice of voluntarily euthanising people is legal. According to official figures, 1133 cases were recorded in 2011, and the number increased by 25% in 2012. While these statistics may appear shocking at first, several highly publicised pleas to allow assisted suicide in the UK and other states may suggest that a huge number of people travel to Belgium as well as Switzerland, Luxembourg and the Netherlands to legally end their lives there. And that’s why, some may argue, the number is so high.

of many things but now I want to be allowed to die with dignity

Another noteworthy case is that of the now deceased Belgian twins Marc and Eddy Verbessem who decided to end their lives after finding out that they’d soon go blind. The 45-year-old brothers, who were both deaf since birth, made waves early this year by not only being the first siblings ever to

completely dependent. They did not want to be in an institution,” said Dirk Verbessem, the older brother of the twins. Verbessem explained that Marc and Eddy

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“Parliament urgently needs to acknowledge the fact that people are travelling overseas

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to die – and this trend shows no sign of stopping”, said Sarah Wootton, chief executive of the UK based assisted suicide support group Dignity in Dying. “We believe that every country should have a law which is specific to the needs and wishes of their society. The UK is behind many countries in not addressing the issue of assisted dying with a fully safeguarded law,” agreed her colleague, Jo Cartwright. Back in 2009, Debby Purdy, a 50-year-old political activist with progressing multiple sclerosis, gained widespread public recognition after winning a court case in which she argued that she had the rights to know whether her husband would get prosecuted if he helped her to travel to Dignitas Clinic had her physical condition

worsened. The Swiss institution, set up in 1998, has become a popular destination for those wishing to die with more than 200 Britons having chosen to end their life over there. Despite the positive outcome of Purdy’s case, there is still no guarantee that those helping euthanasia seekers won’t get into legal trouble. Besides, many considering the costly overseas procedure would much rather spend their last moments at home surrounded by their family than at an overtly sterile and unfamiliar establishment. And whilst the British government is still uncertain about the legalisation of euthanasia, many members of France’s medical ethics council have expressed their support to allowing assisted suicide to those incurably ill patients who have

repeatedly asked to help them end their suffering. Moreover, in December 2012, Belgium’s government announced plans to allow euthanasia to be “extended to minors if they are capable of discernment or affected by an incurable illness or suffering that we cannot alleviate”. Attitudes towards the ‘right-to-choose’ are clearly starting to change. The more we open up room for discussion, the more successful we’ll be in making the right decisions when it comes to what should and shouldn’t be allowed. While many still find it hard to accept that assisted suicide is not murder, we are slowly moving towards a more understanding environment – as long as we’re willing to listen. Written by Vita Slucka

Marc and Eddy Verbessem: Belgian Twins

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coconut shell, then filled with compacted peat and cellulose. A tree seed chosen by the family of the deceased is then placed inside, and the ern is buried in the ground. The ashes help to nourish the growing tree, leaving a permanent reminder of loved ones. Ceri Allan had an interesting take on the benefits of eco-cremations: “It’s nice and a more helpful way for children to learn about death, loved ones ‘turning into’ trees.” For a process dubbed as ‘eco’, cremations are not very environmentally friendly at all. Cremation produces around 150 grams of harmful carbon dioxide per body, along with 200 grams of toxic mercury. There is a new method of body disposal called aquamation. This process involves placing the corpse into a steel container to which potassium and water are added. It is then heated to 93 °C, causing the body to be completely composed within 4 hours, leaving bones as the only solid remain.

STEP FOOT INTO YOUR B I O - D E - GRA V E Words by Velvet Vejnovic

Having your ashes rocketed up into space to float among the stars, or your newly deceased body frozen and preserved for eternity, are just some of the weird and wonderful things the youth of today consider when thinking about their final resting place. It is very apparent that as time has moved on, so have the thoughts and traditions surrounding people’s final send-offs. The traditional funerals of our grandparent’s era seem to appeal very little to the current generation, with only 22% of people surveyed admitting to wanting a traditional burial. One’s own mortality is something that is thought about much more today, with 83% of 18-25 year olds surveyed confirmed that they had thought about their own funerals, some fleetingly, but most in great detail. Victoria Burns answered our survey saying, “My ashes shall be blown away by the wind from a mountain, or blown into the sea. I don’t want to be buried though, don’t want to be eaten by worms!” She is not alone in taking time considering these morbid thoughts, with 83% of people surveyed confessing that they had even thought about the songs they want played at their funeral. Kyle Bigger had an interesting approach to picking his funeral song: “I want ‘Helena’ by My Chemical Romance, but maybe also something funny like LMFAO’s ‘Sexy And I Know’ It as a laugh. I want people to remember to laugh when I’m gone.” With grave spaces in Britain running worryingly low, the government are having to consider somewhat shocking alternatives. These including burying people in a vertical position

to save on space, charging people a yearly fee to keep loved ones in their plots or even compulsory cremation.

Modern society has seemingly become obsessed with leaving their mark on the planet after they are gone. Whether you end up being compressed into a diamond or stuffed to create human taxidermy, remember that maybe the most important thing we can hand down after we are gone is a sustainable planet for future generations.

Biodegradable Urn With Seed, £63.63, www.urnabios.com

Society today is more concerned about the environment than ever before. The days of hardwood caskets made from unsustainable sources are quickly dying out. Eco-funerals are an alien concept to some, but they are on a stratospheric rise in popularity. People have the option to be buried in beautiful biodegradable wicker, bamboo, or even cardboard coffins, adorned with wild flowers, allowing for the full decomposition of a body back into the earth. Some people find the thought of an eco burial a little too much, but the process of having your cremated ashes turn into a tree is proving a lot more popular. Flora Reynolds loves the idea of eco-cremation stating; “I like the idea of living on in some way, growing with a tree and being remembered, it is like still existing, in a sense.” During this process, the ashes are put into a bio-degradable earn made of

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Fade in the headlights Photography Amber Ainsworth

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Do You Really Want To Live Forever? Is aging just an inevitability of human life or is it as Aubrey De Grey suggests, a disease that can be cured? De Grey, chief science officer at the SENS foundation believes that the age-old tale of the elixir of life can be made into a reality. There are very few certainties in life, few things that link the entire human race. The universal truth that everyone will be born, grow old and eventually die is the lone absolute. If that corner stone fact were to be taken out of the equation, how would the human race be affected? The world as we know it would inevitably be changed forever, the question is would it be for the better?

In the 1950s scientists began to understand that metabolism, age damage and age related diseases were all linked. Since then, many medicines have been developed to manage the symptoms of aging and degeneration but none developed to remove them, until now. The SENS foundation has spent the last few decades laying the foundations for the development of regenerative medicines. They claim that someday in the not too distant future, humans will be able to live for up to several centuries and diseases like Alzheimer’s and Heart disease will be a thing of the past. To any average person on the street, the aging process looks pretty straightforward. The joints stiffen, skin looses elasticity and eyesight and hearing start to fail. The scientific reality of why these visible signs of aging start to occur is more complex. Being aware of these processes makes it much easier to see that it can all be prevented. The SENS Foundation explains it like this: “Every metabolic development is relevant to ageing, but SENS believe that they have

narrowed down the most consequentia to a list of seven reversible processes. These include obvious issues, such as the literal degeneration and loss of important tissue and cells, and some, which are more complex, like damaged proteins, which impede the function of cells from both inside and outside cellular walls.” A normal human cell usually divides 75 times over an average lifespan. Each time the cell divides the telomere (the compound structure that caps the end of a chromosome) erodes causing the cell to stop being able to divide further, and eventually die. Some animals like lobsters produce an enzyme called telomerase, which prevents the decay of telomere, effectively working as an anti aging protection for cells. If scientists managed to develop a medication safe for human consumption which contained this enzyme it would mean that our cells would be able to divide many more times leading to the deceleration of the aging process. The animals involved in this scientific study are classed to have ’Negligible Senescence’; an aging process that is non-existent or too slow to be measured in a laboratory. Creatures such as lobsters, sharks and alligators don’t have a finite life span like other animals. The cells of these animals never lose their vigour or their ability to reproduce. They don’t have a maximum life expectancy and they also seem to resist the diseases of old age. They do have a likely expiration based on disease, predators and starvation but if these are taken out of the equation, these animals, in a sense, can be considered immortal. It is the cellular structure and function, the DNA and chromosomes of these non-aging animals that the scientists at SENS are beginning to research in the hopes of finding the fountain of youth. Caleb Finch, professor at the University of Southern California’s Leonard Davis School of Gerontology suggests, “I think we’re pretty far away from finding the answers we are seeking. There are a lot of mechanisms that determine life span. No one is paramount. Even with such studies, I don’t expect a quick and easy answer, potion or elixir. I do know we can learn more about aging by studying animals with life spans longer than humans.” Lets fast-forward, imagine 400 year into the future, a world in which the human race has developed into a dystopian society, into a world in which people no longer have a finite lifespan. What would it look like? On the positive side of things, people could spend hundreds of years fulfilling their life long goals and no one would ever run out of time to do things that would enrich their life. It would be a world where ambition was not limited by a ticking clock. As a result of this, the development of medication to cure degenerative diseases and many cancers would be cured and brain degeneration

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would be a thing of the past. People would no longer have to suffer, watching their loved ones slowly deteriorate before their eyes, forgetting their names and faces. The process of loss would be postponed and for many people this would be enough to dub this whole process a great idea. But looking at all the facts with an open mind could bring people to a different conclusion. For example if this world was to become a reality and people were living for hundreds

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conserve cropland, freshwater, energy, and biological resources. Humans everywhere must understand that rapid population growth damages the Earth’s resources and diminishes human well-being.” Effectively the natural resources of the world will be mined, used up and destroyed and the Earth will be left ravaged. Throughout history, particularly within the Victorian era, we have seen evidence that overcrowding leads to the increased

I don’t expect a quick and easy answer, potion or elixir. I do know we can learn more about aging by studying animals with life spans longer than humans

of years, the first major consideration would be the inevitable immense overpopulation. If people stopped dying but babies were still being born the population would grow at a phenomenal rate and the world would very quickly become over crowded. According to Sociologist Hans Rosling, currently,“The world’s population is set to grow to 9 billion over the next 50 years.” Which leads us to question, are we really that far away? There would not be enough resources such as food for the masses. Finding employment would become almost impossible due to the lack of jobs. This would cause the poverty gap to widen so much that the Earth would effectively become a third world country. Current crime figures show that if you doubled the crimes in developed countries, they would not even come close to the figures from those in corrupt third world countries, and that is only based on the recordable crime. This shows that crime would dramatically increase, leading to the possibility of the public overthrowing the ruling systems becoming practically inevitable. Professor David Pimental of Cornell University comments on the situation stating: “With the imbalance growing between population numbers and vital life sustaining resources, humans must actively

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presence of diseases like cholera and dysentery. The likelihood of these old diseases making a comeback would drastically increase as a result of poverty causing poor living conditions, alongside the threat of new diseases forming. The other avenue the world could go down is one of a lack of human rights and hyper-control. The world could be forced to universally respond to the problem of over population using a similar approach as China does today, limiting the public to only one child per family. It could possibly be taken to the furthest extreme, with permits given to families wanting to have children, making it an elitist act saved for the upper classes. An entirely unfair and extreme new caste system would occur as a result of this, which could lead to society reverting to a tribe-like existence. All of these possible eventualities sound drastic but are they really all too far from the truth? In fact, are they really too far away from our current reality? Advances in science are an integral part of growing as a society and race but how far can we take this advancement before it starts to become harmful to our existence? It seems that only time will tell us. Words by Velvet Vejnovic

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FANTASTIC

Despite being aware of London’s great vastness, it is ever so easy to fall naively into the routine trap of going to the same commercial and tourist-ridden streets when visiting the capital consequently overlooking those hidden gems and neglecting the often fascinating and eccentric characters behind them. Characters like Viktor Wynd; multidisciplinary artist, curator, collector and Chancellor of The Last Tuesday Society - an organisation devoted to exploring and furthering the esoteric, literary and artistic aspects of life in London and beyond. “It is a Pataphysical organisation founded by William James at Harvard in the 1870s presently run by the Chancellor, myself Viktor Wynd and the Tribune, Suzette Field with the aid of The Fellows of The Society,” explains co-founder Wynd. Situated in deepest darkest Hackney, the little shop of horrors as it is now regularly referred to, is a two-floor treasure trove of curios including taxidermy, entomology, osteology, juvenilia, and naturalia. The back of the first floor houses a gallery curated by Wynd and the basement a museum bursting with cabinets, bell jars and framed oddities. “Originally it was a theatre project – the idea was a fake shop selling

complete rubbish, and then there would be actors who would perform a script among people who didn’t know they were actors. And then it kind of got lost in the process…” Wynd explains. “I’m interested in the idea and the dialogue of objects. When you have something beautiful next to something not beautiful next to some complete bit of kitsch. There’s a wonderful 17th century German word ‘Wunderkabinett’ which is about putting everything together to make one piece – a collection of objects assembled at a whim on the basis of their aesthetic or historical appeal.” And what a collection it is. Ranging from a wall of delicate iridescent butterflies that Wynd had painstakingly prepared himself, hybrid taxidermy winged cats hanging from the ceiling, bottled human fetuses, to more obscure modern collectables like Amy Winehouse’s jarred excrement and Russell Brand’s pubic hair. “The scariest object we’ve had is probably our collection of shrunken heads, which we sold to a museum in Belgium,” Tells Wynd. “A lot of people are spooked when they see such objects on display but I find it comforting rather than scary. In my library I have three human fetuses in a bottle, two shrunken heads, two human skeletons and about five human skulls and a baby. I work there most

MR WYND

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days, and sometimes fall asleep when working late. Waking up in the dead of night, it is comforting to know that you are never entirely alone.” Also a multidisciplinary artist and curator, Wynd has worked on many projects and exhibitions since completing a foundation course in art and design at John Cass, and being awarded the Rosenquist Fellowship in Fine Art at South Florida University. His extensive portfolio includes his own drawings and installations, as well as collaborations with fellow up-and-coming creatives such as Jen Denike and the late artist and icon of dandies Sebastian Horsley. Wynd’s first gallery show entitled ‘Why I think I am So Fucking Special: It’s All About Me’ was unveiled in June 2004. Among it were a series of impressionistic sketches, nine syringes of strangers’ blood, multiple balloons (some blown up by factory workers, bartenders, and others), and twin pickle jars filled with semen soaked Kleenex tissues - enhanced by photographic documentation of their production in a handy album dangling from a string. The exhibition held at Objex Artspace in Miami was met with heavy criticism. Carlos Suarez De Jesus at The Miami New Times commented “Just what Miami needs, another huge ego”, whilst spectators at the opening night brayed “he is putting the CON in conceptual art and his show is full of shit”. Wyde, ever the gentleman remained composed throughout, remarking he was aspiring to put the “capital F back into art”, and followed on by dismissing the concept of originality as “19th Century Romanticist poo”. The review is now featured pride of place in the portfolio of work on his website. His following exhibition, ‘Structures of The Sublime; Towards a Greater Understanding of Chaos’ in May 2005 was equally abstract, and saw him collaborate with Robert Wyndam Bucknell. “There was an almost nightmarishquality to much of the work, in the

uncompromising lack of any cohesive ordered composition with only occasional hints as to what might be there, there is a sense of a world lacking in space, or more specifically lacking any way of perceiving space and ones own relationship to it” reflects Wynd. Hovering above the gallery space was a pared down version of the bedroom that he himself had fled one night in a state of sleepwalk, only to rouse in the bathroom, where he had fainted and smashed his head open on the sink. The ordeal left Wynd trembling on the floor, unable to emerge for fear of being engulfed by the world outside. “Much of my work is to do with the absurdity, pathos, misery and pointlessness of every day life,” instigates Wyde in regard to the inspiration behind his complex and connotative creations. “There was originally a deep quest to understand the world, to see some sort of meaning in the chaos, since probably abandoned.” When pushed to explain the new journey undergone in his work since this abandonment, Wyde once more stumbles upon the dreaded unknown, which had once been his sole driver. “Other than trying to give substance to a tiny handful of the many dreams I have every day before breakfast, I really don’t know who, or what or how I am, or what I am doing or why I am doing it, what I am going to do next or where I am going,” he concludes. This sense of contending with the unknown and the unavoidable realisation that all the answers one seeks cannot be found, are explored in his latest installation. Quoting Marlowe’s Doctor Faustus: “Cut is the branch that might have grown full straight, and burned is Apollo’s laurel bough”, Wynd sets the scene of ‘The Sorrows of Young Wynd’. A tragic tale of the death of youth and its innocent naivety in which he plays the protagonist, the corpse of an artist whom love and the world

The Death of Young Wynd

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The Death of Young Wynd have conspired to kill. It is by far Wynd’s most decadent and aesthetically alluring work to date. As the lifeless body hangs in the darkened room, it is surrounded by languidly fluttering butterflies, moths and exotic invertebrates, which occasionally join the artist in his pact with death by dive-bombing the candles. “Decadence comes from the Latin word cadere – which means to fall. It is the beautiful way to fall. It’s a very slow movement, which has lots of beauty. It can be a kind of self killing in a beautiful way, a tragic way,” muses Wyde. “It was intended as a critique of the romantic movement, much in the spirit of Leonardo Alenza y Nieto’s ‘Satire on Romantic Suicide’, hoping to demonstrate the shallowness of individualism, the vacuity of

the cult of the original and the obsession with the self, but instead limps, characteristically unsuccessfully, towards being a celebration of all the values that I most hate - a telling indictment of what Isaiah Berlin called the tyranny of art over life.” Words by Kristina Lennon Images by Victor Wynd The Last Tuesday Society is situated at 11 Mare Street, London E8 4RP and open Wednesday to Sunday, 12 - 7 pm. As part of The Hendrick’s Lecture series, a talk with Roberta Ballestriero on Anatomical Waxes takes place in store on the 3rd June 2013, along with a Mouse Taxidermy Workshop with Shannon Harmon running from 31st March – 2nd June. Visit thelasttuesdaysociety.org for tickets and more information on upcoming events.

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Tr i a l B y Fi r e Earlier this year, Paralympic athlete Oscar Pistorius was charged with the premeditated murder of Reeva Steenkamp, his girlfriend. On Valentine’s Day, while Steenkamp was staying at his Pretoria home, Pistorius admits to shooting her through a locked bathroom door, but claims that he mistook her for an intruder. After a brief investigation, the disgraced public hero has been released on bail. The prosecution suggested that Pistorius may be a flight risk. Chief Magistrate Desmond Nair, however, says that the famous double amputee would be

easily recognised. As for the murder accusation, he maintains that “none of the factors that need to be established have been established”. In the meantime, Pistorius is under strict conditions such as surrendering passports and firearms to the police, and being closely supervised. This much is common knowledge. Living in a world where information can be instantly leaked onto the Internet, it seems futile to bemoan a lack of privacy. But it’s worth considering. Some newspapers and sites are more reliable than others at getting the

story straight, but you should still take everything you read with a pinch of salt. Not least if you only pay attention to those you agree with. Believe it or not, the problem isn’t dishonesty. It’s that different media outlets cherry-pick the facts. This is not about conspiracy theories, however. Mainstream news is mostly written in the interests of objective journalism, though this aspiration is limited by selective accounts. Whenever an article or news broadcast is made available, it is generally taken as fact, in light of what is known thus far. As such, it is possible for them to report

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he can come out of this mess either as a cold blooded killer or an example of trigger happy protective instinct

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inaccuracies and backtrack later, though use of the word ‘allegedly’ may help in legal situations with those defamed. Unfortunately, public opinion can be based more on emotional reaction. Who among us hasn’t seethed over a particularly upsetting story at some point? Sometimes this is justified, but on other occasions we’ll get worked up for the wrong reasons. Hilton Botha, formerly the lead investigator in this case, made blunders that at first constituted serious evidence in the news. Most notable was the herbal remedy that he mistook for a testosterone injection. It was even briefly speculated in American tabloid The National Enquirer that Steenkamp was pregnant. Mike Steenkamp, spokesman for Reeva’s family, dismissed this. “The post mortem would have revealed if Reeva was pregnant and it did not reveal anything like this. Maybe it comes from the other side, to garner and build up some sort of support for Oscar,” he told South African newspaper The Times. Debates have sprung from this tragedy over social issues, relevant to the case in varying degrees. Domestic violence against women has been used by some to explain the crime, presuming that it was deliberate. Four days before her death, Steenkamp tweeted: “I woke up in a happy safe home this morning. Not everyone did. Speak out against the rape of individuals.” When the subject is already in the public eye, it’s understandable that those dedicated to that worthy cause would like to use her murder as an example. There is no proof of this being a related factor so far, however, and gut feelings cannot be used as evidence. Admittedly though, sensitivity in the media reached an all-time low with “The Sun’s seedy front cover of Reeva standing in her bikini with the crass title ‘Three Shots. Screams. Silence’”. This doesn’t

amount to physical violence, of course, but to publicly objectify a woman who has recently been killed is distasteful to the extreme. And that headline sounds like the harrowing promo for a horror film. Fans of the tabloid defended it as an accurate portrayal of Steenkamp’s main profession (glamour model), but many were repulsed by the lack of tact. It does highlight that death in the news is received by some as little more than entertainment, barely distinct from fiction.

Silver Woods Estate, the home of Pistorius and others, is described as a “suburban fortress” with extensive security measures to prevent home invasion. Even so, the gun culture is such that having a 9mm Parabellum pistol by your bed is nothing unusual, and this was the legally registered firearm with which Steenkamp was shot. Perhaps his additional arsenal of unlicensed weapons was excessive, but as an explanation for why he would resort to shooting immediately, it’s a possibility.

General violence in post-apartheid South Africa is a different matter. The extent varies depending on the concentration of wealth, and racial tension is still a defining issue. In 2008, Pistorius’ hometown Pretoria was ranked “among the most dangerous places in the country when it comes to house robberies” by news source IOL. Let’s put things into perspective. In England and Wales, “549 homicides (includes murder, manslaughter and infanticide) were reported in the year ending September 2012.” In South Africa, official crime statistics for the same year show 15,609 murders reported by the police. Despite restrictive gun laws, firearms have a prevalent role in the environment.

Elsewhere, we can sit at home, read a handful of articles and play Sherlock Holmes. Why didn’t he check if his loved one was safe in bed, like any normal person? Why would he shoot through a locked bathroom door without asking who it is first? These are valid questions, but not irrefutable evidence. And yes, freedom of speech does entitle having an opinion on something, but to consider yourself the voice of justice with limited, second-hand information is nonsensical.

Given that gun control debates are continuously heated in the USA and Europe – particularly as a response to all-too-frequent massacres in the former – the Pistorius case was never going to come at a good time for public speculation internationally. He can come out of this mess either as a cold-blooded killer or an example of trigger-happy protective instincts. Neither persona is likely to find popularity in somewhere like the UK, where firearm laws are among the strictest in the world. It does put his actions into context, however. While the poorer areas of Pretoria are more dangerous, there is no great distance separating the middle class, who grow up in a similar state of paranoia.

When it comes to murder cases in the media, the focus is on getting the information out into the public domain, on the pretence that everybody deserves to know everything, all of the time. Never mind that there could be wild inaccuracies, and every report portrays the accused in a different light. Take the Joanna Yeates murder, for example. Before arresting the actual killer of the 25-year-old, innocent neighbour Christopher Jefferies was the prime suspect. Was this fact kept private, for the professionals to decide? No, he spent weeks being portrayed as a sociopath. He was nationally condemned, for it seemed as simple as an attractive, vulnerable young woman being violated by an eccentric old pervert. When this was proved false, the forced apologies and compensations came in droves. Even the police were influenced by these fantastical stories, by assuming that they’d already caught the killer.

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Oscar Pistorius and late girlfriend, Reeva Steenkamp

Granted, the fact that Pistorius shot his girlfriend is undisputed, and this trial is based on whether it was an unfortunate accident or not. But still, reactions have varied depending on how people interpret the evidence available. It’s almost like a cop show. When The Mirror uses the phrase “shocking new twist” in its headline, it does admittedly feel like the plot to one. It doesn’t help that Hilton Botha, the man previously in charge of investigations, turned out to be facing seven counts of attempted murder. Then you can read the tenuous side stories, once hard facts dry up –

Desmond Nair is related to a woman who is suspected of killing her children and herself, and Oscar’s brother Carl Pistorius is being charged with culpable homicide for colliding with a female motorcyclist in 2010. It does all seem like an elaborate storyline, but due to audience interaction, it’s like we’re all extras in the TV sensation. Ideally, court cases would be a private affair, with only enough coverage to explain that someone is facing an accusation. Otherwise, all you’re left with are select details to piece together,

guessing the verdict before it even happens. Of course, it is wishful thinking to expect journalists to shy away from potential headlines, but some intellectual modesty from the readers wouldn’t go amiss. Some of the professionals are corrupt (in this case more than usual), but that does not give the rest of us a license to condemn. Court dates recommence in June, but even if Pistorius is eventually acquitted, expect some public discord – O.J. Simpson, anyone? Words by Max Evans

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Winning From Have you ever wondered how much you’ll be worth after you die? Maybe you know the answer. But imagine if you were a successful musician whose legacy can only live on. The repackaging of yourself and your brand could go on to make you more money than you could have dreamed of while you were alive. The development of new technologies could even allow for a resurrection of your musical self in the form of a hologram or sonic construction. Creative works do not stop earning money just because the creator has died. If people are still appreciating the artist’s work, then there is still money to be made. The arts can offer substantial earnings through releasing unknown material, and constant remastering of singles and albums. Most commonly the brand itself is the predominant money maker. Musicians still making an impact are the obvious contenders – for example, Michael Jackson, Elvis Presley and John Lennon. Forbes’ yearly countdown of the richest dead musicians often features the same names, but if you delve deeper you’ll find that artists such as Jeff Buckley, Eva Cassidy and Nick Drake are leaving the same effect but on a more modest scale. The incredible influence these icons leave on music is the key element towards the increase in interest and revenue. Michael Jackson’s premature death put him straight back into the charts along with a hastily put together film, ‘This Is It’, which has made his estate 40 million since his death. Advertising is another crucial aspect to such success. Elvis Presley has generated millions through

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licensing and tourism at his Graceland mansion. He has also appeared digitally in a number of adverts, for everything from Apple to Lipton’s Ice Tea. Royalties from back catalogues being the most essential part of any artist’s legacy, Bob Marley’s family have benefitted hugely from choosing to release ‘Legend’, the best-selling reggae album in history. The Marley brand can be seen worldwide to this day, through the sale of clothing and paraphernalia. Something that most of these deceased artists also have in common is the reissuing of old and new material. John Lennon and George Harrison will always take a prominent position in the Forbes shortlist, due to the constant remastering of Beatles albums, as well as the steady influx of royalties they receive. From the punk era, The Ramones are a perfect example of legacy through merchandising. With only one member remaining, the brand continues to make more money than much of their music did when it was in the charts in the late 70s/ early 80s. Many of the people who wear the merchandise today probably couldn’t even name one Ramones song. The question we have to ask at this point is whether these moneymaking ventures actually contrast with the ideals of the musician. Kurt Cobain and Ian Curtis would be rolling in their graves to hear of Nirvana and Joy Division tops being sold in high-street fashion retailers, not to fans but as a brand.

Beyond The Grave Singer-songwriters often gain more recognition after death. Nick Drake didn’t score a chart position until 30 years after his death, with singles ‘Magic’ and ‘Riverman’, due to a compilation release in 2004 featuring new unheard material. It is thought that there were a number of reasons holding back these talented musicians from instant fame during their life. Particularly for Nick Drake, these included timing, location and the lack of demand at the time for live music in that genre. Sometimes you can appreciate an artist’s work more after their death, as the music reflects their thoughts when they were alive. Nick Drake’s lyrics, for example, feel more poignant now that we understand more about his state of mind during his final years. In Eva Cassidy’s case, she would often shun the limelight that now shines on her work. The soulful wordsmith’s commercial downfall during her life came from the fact that she fell into no particular genre, and had no label backing. Like many deceased singersongwriters, the beautiful vocals and lyrics were only appreciated by industry insiders. It was after her death in 1996 that she began to gain more widespread recognition, and a number one single with ‘Over the Rainbow’. An interesting rise of the modest, deceased musician is the work that has been revealed by Jeff Buckley since his departure. The release of the album ‘Sketches for my Sweetheart the Drunk’ aimed to preserve, rather than exploit

the singer-songwriter’s talent. His mother, Mary Guibert, along with bandmates and friends, pulled together a collection of demos he had been working on before his death to make a purely organic Buckley album. Insisting that there be no overdubbing – instead celebrating his inimitable voice – his mother aimed to extend his small but startling output, and not in the way that posthumous releases from Jimi Hendrix and Tupac Shakur have since. Reality TV programmes have recently had a major role in the resurgence of legacies like Jeff Buckley’s, by allowing awful covers to dominate the charts. This being a small appreciation of their work is the only element to make it mildly acceptable. Unfortunately, with the lack of profit in the music industry right now, it is unlikely that even the most talented musicians will reach the same levels of recognition as Jim Morrison, Ray Charles and Johnny Cash after death. Partly, this may be because we dwell on these past legacies preventing evolutions. Newer artists may then find it more difficult to be seen as truly original. However, the posthumous constructed album is providing a popular alternative to continuing the life of a legacy. Since his death, Jimi Hendrix has had a

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number of albums released in his name, and he holds one of the greatest musical legacies of our time. The production of a sonic construction through the use of sampling, voice remnants and other guitar parts put together have allowed for brand new material to be released 40 years after his death. The guitar legend left behind hundreds of takes for songs, complete and incomplete, so there is no doubt that new offerings of Jimi Hendrix will carry on for years to come. Controversy wsurrounding these albums is inevitable though. We have to question whether the artist wanted this material to be heard, or whether it actually still belongs to them, unless the deceased chose an executor. The authenticity of the vocals on Michael Jackson’s posthumous album ‘Michael’ has been doubted since its release, and there have been accusations that they belong to his relatives – digitally produced to sound more like him. Surely though, the chart success of sounds, vocals and lyrics plucked from a musical vault and then put together by producers only helps the deceased artist to then stand the test of time. This method of eternal success can also be recognised in the legacy of Tupac Shakur. With some of the highest posthumous album sales, the hip-hop

legend has achieved far more success than during his life span. The only difference is that clues in recent song titles suggest conspiracy theories that he may still be alive. Digital reconstructions of his raps have allowed him to carry on collaborating with other musicians, making him still accessible to his contemporaries. He is also one of the first musicians whose legacy can now be seen in a visual format. Recently, a hologram of a Tupac performance was showcased at Coachella, opening the doorway for new technologies to bring deceased legends back to life, for a live audience. This new invention meant that the hologram was able to interact with the audience, and perform in sync with the other artists onstage. By concentrating on voice and likenesses, the creators are able to digitally recreate the performer. The holographic performance could prove a revolutionary way to relive the essence of these musicians, and allow for our generation to discover their legacies. However, there is a risk that there is actually nothing live about the experience, and the performance may lack all spontaneity, which is the whole point of live music. Unless there is a way in which holographic performances can be inconsistent, then it is doubtful that the music world will welcome the recently proposed introduction of Jim Morrison and Jimi Hendrix digital illusions.

Bringing these icons back to life through the power of technology will never be the same as appreciating them in the time they lived, but the music industry would certainly benefit. The concern that the financial side of their legacies could leave them open for exploitation is one that can’t be controlled or determined. A lot of people still buying their music and merchandise grew up in a time when they were current, and will therefore continue to support them until they are seen as genuine history. If we look at the musicians who currently dominate our charts, it is unlikely that the death of someone like Justin Bieber could ever have the same effect as the likes of Michael Jackson, Elvis Presley or Jimi Hendrix. Therefore, these musicians’ legacies may live on, never fully allowing pop culture to progress. But that isn’t necessarily a bad thing. Words by Amber Ainsworth

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Gazing where the lilies blow Photography Kristina Lennon

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From television to magazines - has media and popular culture lead us to living in a death- denying society? Words by Leah Sinclair

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Texas Chainsaw Massacre

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involvement of popular figures regarding death, which are a mainstay on televised news programming. News coverage of famous deaths has taken on a new virtual dimension, and has recently been demonstrated through the media frenzy surrounding various popular figures. The funeral of Whitney Houston in 2012 was telecast live on all national TVs across America, and available to watch online. Her March 2012 funeral was rumoured to have a global viewership of 40 million. “You could look at The Gulf War of 1991 which had live coverage of the battles as they occurred.” continues Agute. “An average of 2.3 million households tuned in daily to the O. J. Simpson trial, and with the addition of the internet more people are tuning in to watch something that will make history.” People around the world tune in to watch these iconic events, and the accessibility we have to pry into these people’s lives is almost voyeuristic. Every

At a recent screening of Tarantino’s controversial new movie ‘Django Unchained’, I felt a certain numbness to the everlasting violence which unraveled on the cinema screen. The excruciating whipping of an innocent black slave, the bloodbath western-style shoot down between Calvin Candie and Django glazed over me with no element of shock or horror. Of course all themes of violence plague Tarantino movies, but it was more than that. The constant theme of death seeps into every nook and cranny of contemporary culture, leading me to believe we’ve become numb to it all. From gory slasher movies such as Scary Movie 1 through 5, to repetitive medical dramas like ‘Grey’s Anatomy’ and the over saturation of death being scattered across magazine covers and newspapers alike. The constant exposure of death and dying in society today makes me wonder: has the various manifestations of death in popular culture led us to deny death altogether? Film “Nobody watches films for reality, and I think that’s why they’re so popular’ says film blogger Jordanna Virdee of thatfilmguy. net. “Horror movies are usually so popular because of the fantasy presented to the viewer but also that small incline of feeling that it could happen to anyone.” According to Moviefone.com, horror movies are the highest grossing film genre from 2010-2012, with hits spanning from 2012’s ‘Mama’, 2011’s Jennifer Lawrence led ‘House at the End of the Street’, and the hit slasher comedy franchise ‘Scary Movie’. Films like the Scary Movie series, are constantly rehashed because of their popularity. “They’re always going to be number one in theaters,” continues Virdee. At the top of 2013, popular franchise ‘Texas Chainsaw Massacre’ released their seventh film, which was once again number #1 in the British and American box office. With this franchise spanning almost forty years, fans of the series know the plot and the penultimate end to all these movies. The same plots are repeated with each horror movie, and we’re watching the same thing over and over again, making it less morbid, shocking and disturbing, and more practical, typical and in some ways plausible. “Many of these horror movies have quite a morbid focus, looking into the various creative ways of dying or killing characters and the process of it all,” says freelance film writer Ben Fowler. The ‘Saw’ series continue to be the dominating horror movie, depicting various captivating ways of mutilating the human anatomy, which audiences find fascinating; hence the pending 2013 release of the eighth ‘Saw’ movie. “These horror movies do continue to push the boundaries of death and violence in cinema, because they know that we as a society will push ourselves to see where are limits are” says psychology expert Suvanya Niranjan. “The further these films push, the further we can test where our tolerance for death and violence is. The difference is your tolerance for violence on a TV/cinema screen doesn’t mirror that in reality. There is no correlation between

how far you can manage watching death and dying occurring to if you see it first hand. And that’s a misconception that many young people in society have today.” Surely, to be so entertained by such graphic horrific acts suggests some detachment from the reality of death? If we saw for ourselves the acts performed by the Freddy Krugers, Chuckys & Leatherfaces of the world, we wouldn’t find these movies entertaining or humorous. Our exposure to different forms of death has ultimately led us to deny death all together. It’s become a dream, a fantasy sequence. Just like those movies. TV There is nothing more direct and attainable than a television. One is placed in almost every British home, where families gather round to eat their dinners and watch their favourite TV shows. However, the majority of these TV shows feature elements of death or dying, and we barely ever recognise this. From Coronation Street and Hollyoaks, to Family Guy and Grey’s Anatomy – each of these shows are different genres, yet consistently portray elements of death, which we are barely aware of. Maybe we don’t see death being shown to us on a daily basis, as the topic is subconsciously placed in shows allowing us viewers to not pay full attention as we stare mindlessly into our Samsung HDTV screen. “Funnily enough, some of the most violent TV shows are cartoons,” says TV analyst Maria Rua Aguete. “They usually contain many taboo themes in cartoons which are subliminal and suppressed amongst the larger than life characters.” Cartoons can contain up to 20-25 violent acts per hour, which go unnoticed or ignored due to the humourous nature of the cartoons. Violence and deaths in cartoons go under the radar because there are never any repercussions for their violent acts in these cartoons, despite the impressionable age children watch them at. Tom and Jerry, anyone? Ren & Stimpy? The list goes on and goes ignored. Then there’s the mass publicity of celebrity deaths, or the

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isn’t real to us because we’re watching it from the comfort of our own home, leaving the reality of death still at arm’s length. Print media Supermarket tabloids are a key factor in how society views death and dying, with tabloids such as The Star, Sun & National Enquirer featuring stories on death in a rather hyperbolic way. Of course ostracising news is common in tabloid magazines because that’s what will fly off the shelves, and sells magazines. Take the Oscar Pistorius case for example. This news story has been all over headlines of every major and small newspaper around the world, providing 24 hour updates on this devastating event. The fact that consumers can know every detail of this story from publications; from the gun used, to intimate details of their relationship, shows the level of exposure and lack of seclusion . A matter which innately should be dealt with

horror movies do continue to push the boundaries of death and violence in cinema, because they know that we as a society will push ourselves

major network, as well as many specialized cable networks (e.g. VH1 and MTV) features live coverage of events as they unfold, and watching these hard-hitting events through a television screen almost seems unreal. As we watch a tragedy unravel on a TV screen, there is a medium of separation between the viewer, the television and what is being shown. The realisation of death for us is numbed, because we have the ability to grab our remotes and switch our TVs off when we feel like we’ve watched enough. We go back to our regular scheduled programming, our normal everyday lives and that’s ok for us. The television allows us to see the effects of death without necessarily experiencing it directly. It all becomes a false reality that we can’t seem to attach ourselves too, because we have no direct contact to it all. Not to mention that television for most is a form of escapism, and an opportunity to chill out at the end of a hard day’s work. In some ways, to watch something realistic on TV doesn’t seem real, because it’s subliminally like we’re watching another television show which combines elements of real life. But it still

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privately and allow the family to mourn has turned into a media circus. We’ve become desensitised to the effects death can have on people, as we feel the need to know every aspect of the death of a popular figure without thinking of the insensitivity and intrusion they must feel. The desensitization created by the media by feeding us every detail in their publication shows the further denial of death plaguing our society, as we forget to show courtesy and kindness to those who are affected by death, and live off of their exposure and misery by purchasing these trashy mags which sell off of people’s agony. Whether you agree or disagree, death is something that our generation is definitely not prepared for. Through popular culture we’ve been able to redefine our meaning of what death is and how to deal with it. Problem is that we haven’t dealt with it. Movies, TV and the media suggest the deep denial our generation is in today as we detach ourselves from the complexity of what death could really mean, in fear of discovering an ugly truth.

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CAUSING A RYATT

London Product Design graduate, Davi Ryatt has been growing from strength to strength since his style reformation three years ago. Initially having started out making pen and ink drawings, Ryatt decided to try his hand at digitalising his work, never for a moment expecting it would result in online success and industry recognition. Now a YouTube sensation, owner of his own clothing label, overloaded with commissions and with support from the likes of B.O.B, David Haye, and Sway, he explains how it all happened and the reason for killing everyone’s childhood Disney friends in his latest series of satirical illustrations. MORT: How did you first get into art and graphics? Was it always a route you wanted to take? RYATT: I have been drawing for as long as I can remember, whether it’s copying something in front of me or from my head. Every opportunity I had as a child to grab some paper and draw I would! My mum used to have to get me the dot-to-dot colouring books, as I didn’t like the other ones because the drawing was already done for me and I wanted to do it myself. As I have gotten older, I’ve taught myself new techniques and my style has developed to where it is now.

MORT: How would you summarise your artistic style to someone who hasn’t seen it before? RYATT: My artistic style… I draw things worth looking at? That sounds harsh to other artists, but I just mean that I wouldn’t create something that would look nice in the living room. I draw things that make people think, or wonder certain things. I don’t believe in pictures of flowers and meadows, although it may go well in your mums kitchen, to me it’s boring. My art isn’t boring; at least that’s what I aim for anyway. I draw exciting stuff, in a rough style, which focuses more on the story of the piece rather than the technique - as long as I get my imagination across. MORT: You frequently make reference to well known fictional characters, is there a reason for that? RYATT: Fiction plays a massive part in my work. I’m a bit of a comic book fan and love reading about superheroes and how they got where they are. The same with cartoons, Ill always choose the hero of a video game or program. I’m not too sure

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why or where the use of these characters comes from, but it makes things more entertaining to draw and look at, because everything is recognisable.

ahead of you!MORT: After the success of your animated video for B.O.B’s “Don’t let me fall” is video animation a direction you’re going to be exploring further?

MORT: What was the thought process behind your dead Disney character series?

RYATT: The “Don’t Let Me Fall” video was intended to be the first of many. I actually did a few similar projects after that, including the animation of a prank phone call to B.O.B himself by “Ralphage prank calls”, but this never really took off, and during the time of doing it I could have created 10-20 different drawings for other use.

RYATT: Don’t get me wrong I love Disney just as much as the next kid, older Disney though, not the new animated crap! I guess it was just the opportunity to get it out of my system, taking something innocent and turning it around. Who would imagine a Disney film where snow white chops up Pinnochio and burns him to keep warm? The point is that everyone knows the characters, and their stories so they can relate. Now that I think about it, I’m not sure how much I like Disney. It’s not as magical as it makes out to be! But that’s a different conversation all together. MORT: A lot of your pieces have a sardonic feel to them, would you say you have a dark sense of humour? RYATT: My “humour”, the amount of times my friends have asked if I’m “having personal problems” or “going through difficulties”. In all honesty I’m a happy guy! I can’t draw in an angry or sad mood, even though my art looks that way. I’m not a freak artist who draws with the curtains closed and lights skull candles around the room (I have poor eyesight in the dark anyway!). I would say my humour is different. People look at my picture of Mickey Mouse in a trap and are like “What the heck?” Me? I found it hilarious! The three main reactions I aim to get from my work are either; a laugh, a “that’s awesome!” or a “How did you think of that?” It’s about throwing your imagination out there and not being afraid to let it run

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It took it out of me that video! Day and night for a month! But who knows, I would like to do something again, it was fun and I was proud of what I had created and the response it received. MORT: What’s next on the horizon for Davi Ryatt? RYATT: I kind of just wing it. I never have much of a plan, I just like to draw and that’s what I’ve done up to this point and its worked so far. I’m currently planning launching my online store, which will sell posters and framed prints – each print will be numbered so people can have fun collecting them. But first, I’m just working on publicity and currently working with some big clients interested in work! Drawing will never be a job to me; it’s something I do to unwind after a long day. I always want to be that three-year-old kid drawing just for fun! Davi Ryatt can be contacted via his website www.daviryatt.co.uk and twitter @Davi89 #ipredictaryatt Words by Kristina Lennon Images by Davi Ryatt

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Death: A Self Portrait

Thursday 15 November 2012 - Sunday 24 February 2013, Welcom Collection- London

“Death never takes the wise man by surprise; he is always ready to go” Jean de la Fontaine, Fables 1678-79

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Ever wondered what death looks like? Well apparently he turns up in all sorts of forms ready to surprise and endear you into a world of diverse artworks, artifacts and specimens from across the world. The Welcome Collection in London presents a personification of Death this winter in the form of their Death: A Self Portrait exhibition. Assembled by Richard Harris, a former antique dealer from Chicago, this unique collection aims to celebrate iconography of death and complex and contradictory attitudes towards it. Death-depicting artists work such as Durer, Goya and Jacques Callot provide a harrowing experience for any curious mind. Captivating treasures including bone chandeliers, and ivory dusk carved with Durer’s Horsemen

and a lace-work of autopsy drawings turned into a large dolly, adored by 19th century Germany, come to life again. Our historic fascination with death can be seen in Victorian photographs of autonomists with a flayed corpse beneath the humorous caption ‘’When will we meet again? “and the charnel house of Ex Libris plates in which skulls wearing laurels silently mouth the words of bed time readings. Endless illustrations of skeletons with no character behind their black and white linear create a sense of reserved mortality much like the exhibition itself. One of the most powerful works to be seen are Otto Dix’s War Etchings. This collection of 50 prints comprises a chaotic declaration of experiences the artist had to endure while serving in the Second World War. The graphic images make visible

the uncomfortable reality of memories from the battleground, in a way, which emotionally exceeds most of the exhibitions content. Such art can induce revulsion, anxiety, uneasiness, sorrow and perhaps shock but certainly awe. The collection is vast but enchanting, not solemn but celebratory. Harris says the collection is his way of making peace with Death but how do you do that when Death appears to be just a skull with no eyes to look into, no personality or obvious identity. Stepping into this world of uncertainty somehow brings optimism about what Death really is and can be. So get closer to the inevitable and let the uneasiness serve its purpose into a rewarding haunt of essential viewing. Written by Amber Ainsworth

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