Everywhere at the end of time

An artistic depiction of dementia:

This project is an accumulation of a multi year release schedule with phase one releasing in
2016 phases 2 and three in 2017 phases four and five in 2018 and the final phase 6, 2019

Made by James Leyland Kirby (the caretaker), an electronic music producer, and Ivan Seal, a
visual artist.

Kirby wanted to capture what it was like to be a dementia patient in everywhere at the end of
time in interviews he stated what a challenging process this has been to try and make
dementia a disease that makes things not make sense make sense to release it to people that it
won't make sense to an it's not supposed to make sense to us those 6 plus hours are sonically
designed to recreate what a person feels and how their memory slowly and terrifyingly fades
away while suffering from dementia.

people who study dementia and study those played with it have reported that almost
universally the longest memory someone can hold onto is remembering their favourite song
when all else fails patients can be heard humming their favourite song making these musical
expressions by Kirby be literally the last thing that a person can ever remember. when the
music goes so do they.

“you cannot name anything in this image “- the concept of that mirrors what Kirby was going
for.

the artist who created these beautiful album covers was Ivan seal. seal is an English artist from
Berlin and his style of art can be boiled down to this same concept of the image “name one
thing in this image”.

the caretaker and seal have been working together for years so it's safe to say each other's
ideas have some form of influence on the other these fantastic images are made with the most
abstract ideas and concepts that could possibly imagined.

Album covers :

I think the slow decline of a person's ability to recognise themselves let alone other people is
represented perfectly in the album covers

.phase one is an image that could pretty safely says a book or magazine rolled up a bit of
questioning about specifics but you know the general idea of what it is

. phase two is an abstract flower pot you know what it is but you can't visualise what it's made
out of you can't remember you can't see specifics

.phase 3 .. there is a tree or seaweed or some **** the brush strokes are getting more and
more distorted and weird as the covers go
.on face four I feel is a direct correlation with William utrermalen..jbj s last self-portrait as a
vaguely quartz material face thing not I'm not entirely sure

.phase five is just pure abstractness….I see someone riding a seahorse but I cannot be certain
about anything at this point

.phase six is the scariest with it just being a piece of wood and some tape….. a blank canvas

Description of the content of the Albums /Phases:

Phase one: the music plays back like it's been ripped from a vinyl record--in the first official
stages of dementia you can hear the memories, you know the structure of them there's just
some slight semblance of distortion with vinyl crackle and occasional clipping.

and song titles are troubling ones to say the least like a burning memory, we don't have many
days, and my heart will stop of joy,--- but if you overlook these and just focus on listening to
the track for the most part the music is fine and very missed alginic which is probably why
Kirby went for a 30s feel to make us feel like we are older so we can simulate having memories
of something very very old

Stage 1-Here we are experiencing the first signs of memory loss. this stage is most like a
beautiful Daydream. The glory of old age and recollection. The last of the great days.

Phase two is very similar to phase one, you can still hear music you can still understand what
you are hearing to relatively the same length and there are still distortions but the difference
lies in the amount of distortion with phase two increasing the white noise increasing the vinyl
crackle and increasing the unsettling vibes there are even some parts where beginning of the
songs are just ambient drones and white noise until the regular song kicks in.

the names of the tracks: losing battle is raging,,,,etccc --- despite their names, the tracks sound
relatively sweet, some increase in vinyl crackle but when phase two was playing I knew that I
was in for a brutal time deterioration in quality the overall personal mood is generally lower at
a point more confusion starts to settle in you know something is wrong but you want to
hopelessly fight in thinking that you can cure it but remembering harder all that does is bring
closer to stage 3

Stage 2- The second stage is the self realisation and awareness that something is wrong with a
refusal to accept that. More effort is made to remember so memories can be more long form
with a little more deterioration in quality. The overall personal mood is generally lower than
the first stage and at a point before confusion starts setting in.

Stage three last a crisp 45 minutes and is when I start to feel my skin crawl same semblance of
musical theory are there but whereas the atmosphere around the song seems to be distorted
it's now the songs themselves that feel distorted with track seemingly being stretched and
heavy layer of river being applied the signifies that these memories are drifting and becoming
thinner and thinner to recognise and becoming more and more hazy after the track would end
the reverb would make it stretch and slowly fade away into a quiet nothing or counter to that
abruptly stopped in the middle and just play the next track it feels like the track is bouncing
around inside your own head with other abstract noises pops and brassy warbles like if you had
a Direct Line to a microphone inside of your own brain

my fear and confusion was accompanied by equally scary and confusing titles: sublime beyond
loss, aching cavern, without lucidity and empty bliss beyond this world

Stage 3-Here we are presented with some of the last coherent memories before confusion
fully rolls in and the grey mists form and fade away. Finest moments have been remembered,
the musical flow in places is more confused and tangled. As we progress some singular
memories become more disturbed, isolated, broken and distant. These are the last embers of
awareness before we enter the post awareness stages.

Face four is when the series goes from a distorted oldies record to a more noise and drone
album not only is the fear and confusion intensified but time is as well with the album coming
in at 90 minutes over an hour of distorted recollections the music has the feeling of the oldies
music with glimpses of it in the distortion but the industrial sound effects have signified that
the music has taken a back seat to the noise you start to confuse what instruments are being
played not knowing if it's a trumpet violin piano what have you but one thing is for sure these
songs sound like they're in pain the size of a semblance of song structure but it feels alien at
the same time

these phases have only four tracks an all but one are titled post awareness confusion and the
other is titled a temporary moment of bliss and with the description post awareness stage four
is where its serenity and the ability to recall singular moments gives way to confusion horror is
the beginning of an eventual process where all memories begin to become more fluid through
entanglements repetitions and rupture like the odd title out said that would be the last
somewhat clear memory I could hear it before a deep quick descent

Post-Awareness Stage 4 is where serenity and the ability to recall singular memories gives way
to confusions and horror. It's the beginning of an eventual process where all memories begin to
become more fluid through entanglements, repetition and rupture.
Phase 5 The last try of wanting to remember but the music speaks for itself the distortions are
too much to recognise anything cohesive the music fades away to confusion like the tracks
themselves have been stretched to 1000 times what they were supposed to be with letters of
industrial movements in grinds peppering instrumentals almost to the point where you can't
even call them instrumentals where they're not instruments rather noises of what used to be
instruments now used to recreate what I can only equate to a broken record player constantly
playing in your head when you try to remember something on occasion it sounds like
memories have overlapped each other and play at the same time with one in the right channel
and one of the left disorienting you making you question if either of these memories truly
existed or if it always sounded like that I would become entrance I hated the noises I was
hearing but I would be unable to remove my headphones the morbid fascination of the project
has taken full effect on me much like the previous section this album is a slog as well clocking in
90 minutes the tracks sound like they're screaming and if you jump into the stage without
experiencing the gradual decline insanity you would assume that these noises are a terrible
electrical glitch in your device the tracks are divided into three parts a double part titled
advanced plaque entanglements sign as retro genesis and sudden time regression in isolation
and with the description of phase five isolation seems to be the only thing left to explore

Post-Awareness Stage 5 confusions and horror. More extreme entanglements, repetition and
rupture can give way to calmer moments. The unfamiliar may sound and feel familiar. Time is
often spent only in the moment leading to isolation.

phase 6 HAS no description 90 plus minutes no semblance of the original music no grasp of
reality no turning back the album has fully converted into one of the most horrifying noise
albums I've ever heard with deep devastating drones and humongous walls of sound the fear
has fully set them the previous five stages had descriptions but this one lacks one only one
sentence reading post awareness stage six is without description only 430 minute plus the
titles a confusion so thick you forget for getting a brutal bliss beyond this empty defeat long
declined it over and place in the world fades away all for these titles is what I experienced the
noise has been slowly becoming more and more normal to me that I feel listening to these
distorted white noise garbles is what I'm supposed to be doing the fight to secure my sanity
has been lost and I have become one with the devastating noise gone are the parts of music I
can clearly remember and all that is left to vague shadows of what once was and the final track
the final stage of the final album the final five minutes is one of the most heart breaking things
I have ever heard in my life the last memory what seems to be the last semblance of what was
once considered music the last cohesive memory you can relive almost as well as back in stage
one or even stage 0 for that matter but like all of their tracks the songs cannot continue like
what once was and the songs fade away and it gets lost in the void even the white noise
becomes silent there is no noise to speak of at all your last piece of sanity your last piece of
memory your last piece of life as the last track entails a slow fade of your last memory signifies
death as your place in the world fades away as well

Post-Awareness Stage 6 is without description.

Proyecto curatorial:

Artistas;

Willem de kooning
En 2001 la banda galesa de los Manic Street Preachers publicaban la canción «His
last painting» en su sexto álbum, Know your enemy. La pista estaba dedicada al
proceso de demencia que sufría Willem de Kooning (1904-1997, alzhéimer
multifactorial diagnosticado a los ochenta y cinco años).

• the change of de Kooning's artistic style has been the subject of many reviews, and the
main focus of this paper is on artistic style across his prolific artistic career in the
context of his progressive neurological condition, which he developed in his late years,
and his long history of alcohol addiction. There are conflicting data from the literature
on the effect of his neurological condition and clear cognitive decline on his artistic
output, with preservation of recognition and the quality of his art. Hence, two
pertinent questions relate to how he was able to maintain his output despite his
cognitive decline, and how his condition could have affected his work

Tras su diagnóstico, Willem pintó más de trescientas cuarenta obras que han sido
enormemente valoradas por algunos críticos de arte. A la misma vez su capacidad
cognitiva descendía a los infiernos, llegando a confundir a su esposa con su hermana y
siendo finalmente declarado incapacitado de forma legal debido a su demencia, lo que
otorgó la tutela de su patrimonio a su hija Lisa.

El caso de de Kooning generó varios artículos de la relación entre demencia y

arte en prestigiosas revistas médicas, entre ellas la británica The Lancet. Sin
embargo, tanto la pintura abstracta desarrollada por el pintor americano como
los métodos de detección de la enfermedad de la época no permitieron
establecer con precisión una asociación directa entre el trazo del artista y la
degeneración irreversible de su cerebro enfermo.

William utermohlen

El caso paradigmático de la asociación entre pintura y alzhéimer pudo

establecerse en la siguiente década. Empezaban los noventa cuando la esposa
de William Utermohlen (1933-2007, enfermedad de Alzheimer
diagnosticada a los sesenta y un años), Patricia, empezó a tener sospechas de
que algo no iba bien. Patricia Utermohlen, Pat, profesora de Historia del
Arte, empezó a darse cuenta de que William comenzaba a tener problemas a la
hora de hacerse el nudo de la corbata, de escribir o de llevar las pequeñas
cuentas de las finanzas caseras. Por entonces, William ya era un pintor de cierto
éxito tanto en Europa como en Estados Unidos. Sus ascendentes habían llegado
en el siglo XIX a América, provenientes de Alemania. William, que nació allá
por los años treinta del siglo pasado en el sur de Filadelfia, había destacado
desde su más tierna infancia en el dibujo y la pintura, aficionándose
especialmente a dibujar personas y retratos.

En 1995 William fue diagnosticado de enfermedad de Alzheimer «probable»,

que es como se diagnostica este proceso neurodegenerativo cuando el paciente
está vivo. Tenía sesenta y un años y hasta entonces una salud de hierro, que solo
se había visto alterada seis años antes, cuando sufrió un accidente de tráfico que
le dejó más de media hora inconsciente. A partir de entonces, y parece ser que
por petición de Ron Isaacs, un enfermero amante de su obra que le incitó a
seguir pintando, y junto con la supervisión y empuje de Pat, William realizó una
serie de quince autorretratos que se han convertido en un recorrido único e
intimista de cómo brota la enfermedad de dentro a fuera, de cómo las
capacidades artísticas se pierden mientras las neuronas se van atrofiando o
muriendo, de cómo el cerebro pierde su capacidad espacial para generar trazos
que definan un rostro, de cómo los colores se apagan pasando del verde al gris,
de cómo la dura mirada del pintor refleja la sospecha de la temida enfermedad y
de cómo los ojos se vuelven tristes, convirtiendo la nitidez de las facciones en
ovillos de rayas y borrones que no permiten adivinar los rasgos faciales mínimos
de la cara que quiere ser pintada.

Cuenta Pat que la última conexión que pudo establecer Utermohlen con otro
artista fue con Francis Bacon, mientras escrutaba el retrato del papa
Inocencio X que había pintado Diego Velázquez. Y por alguna razón que ya
nadie recuerda, tras observar largamente el retrato del papa pintó su
autorretrato con los rasgos célebres del pintor dublinés.

I've parallels drawn between them and the self portraits of artists William m utermallen
jdbjwbds an artist that was diagnosed with a form of dementia and he wanted to turn it into an
art slash science experiment where each year he would create a self-portrait of himself while
the dementia progressively got worse he was diagnosed with dementia in 1995 and started the
experiment the following year with his last instalment being in the year of 2000 you could see
in these images how more and more unfamiliar with his own reflection he got he looks into the
mirror and doesn't recognise what he sees in his reflection .

Dilema:
Mezclar artistas que no sufrieron demencia de verdad?

Obras de arte que estén hechas desde otra patología mental

Obras de arte de artistas en sus plenas facultades interesados en el dibujo de los enfermos
mentales o en un tipo de lenguaje artístico similar.

Francis bacon

No sufrió de demencia. Por esta razón todavía me sigo planteando el incluirlo. Aunque sus
pinturas de rostros se pueden llegar a asemejar a los retratos de Utermohlen del año 98 al
2000

Cesar santos

Tampoco sufre de demencia, simplemente esta desarrollando este nuevo lenguaje visual (similar a
name one object in this photo) que ha resultado de años de enfoque, después de llevar años pintando
figuración académica .

Paula Figueroa Rego

…. Además sus obras poco tienen que ver con el alzheimer..pueden parecer representativas de la
enfermedad pero el significado que le da el artista es otro

Es este arte realmente “apto” también para ser visto por personas con demencia?

Jhon Sleigh, un arts

educator, explica su experiencia con
personas con Alzheimer en el museo:
Last year, whilst working for Birmingham Museum
and Art Gallery and the Arts Council Collection, I
embarked on a series of outreach art session
working with clients in their 70s, 80s, 90s and
above, all with varying stages of dementia. Art from
the collections became a powerful tool for
conversation, stimulus and sharing.
is that connection to art always positive?
Sometimes I found it wasn't – abstraction, for
example, can be challenging to those without
dementia. Living in a changing state of mood,
perception and reality makes abstract art not just
hard, but detrimental in some. The confusion that
some artworks foster works on the presupposition
that we can untangle a riddle. Moments like these
can be unforgiving to those with dementia. As
boundaries fall through dementia, honesty can sear
like a knife. Vivid memories can become real and
hurt.

One piece of sharing I witnessed triggered a war

veteran to remember a moment of violence and
death, a deeply distressing time. Ethical
engagement, preparation and working closely with
carers to mitigate this is vital.

Brightside-

To treasure moments and find a newfound appreciation for photos, paintings of those good
times, memories.

“art should comfort the disturbed and disturb the comfortable”

CORRECCIÓN:

- PICASSO, CHILLIDA,
- AL FINAL DE LA EXPO UN LIENZO EN BLANCO