Worlds within worlds: Outpost (2007) by the artist Anne Hardy. Photograph: Anne Hardy, courtesy of Maureen Paley, London
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Terry Pratchett, science and story telling

The best of all possible worlds.

Terry Pratchett’s first Discworld novel was published in 1983. As a wartime child in the 1940s I was already puzzling over an image of a domed world poised on the backs of three elephants that stood on a monstrous turtle. This discworld had a small temple on top of it, and the clawed feet of the turtle rested on the coils of a huge serpent, which also stretched to encircle the world, with the point of its tail in its mouth. It was reproduced in my favourite book, Asgard and the Gods, a scholarly German work on Norse myths, which my mother had used at Cambridge.

This image, and this book, provoked my earliest thinking about the nature of belief and its relation to storytelling. Where on earth did the idea of the turtle and the elephants come from? Did people really believe in them? These questions were related to the kind of embarrassed pain with which I contemplated the stories of origins I was expected to believe in, the Bible with its heaven and hell, the tale of judgement to come.

Pratchett’s new book, The Science of Discworld IV, co-written with the mathematician Ian Stewart and the biologist Jack Cohen, discusses ideas about origins and endings, cosmology and astrobiology, entropy and genetics. The idea of storytelling is not just an embroidered way of including a tale of the discussion of the “Roundworld” taking place on the Discworld. Human beings are defined as pan narrans, the storytelling ape, who exists in a dimension known as the “narrativium”. We look for causes because we think in linear sequences of words. We look for origins because we arrange our world into narrative strings with beginning, middle and end. Stewart, Cohen and Pratchett set out to puzzle us and make us think differently.

Central to their approach is the distinction made by the physicist and sciencefiction author Gregory Benford between human-centred thinking and universecentred thinking. Human-centred thinking comes naturally to human beings. “In this world-view, rain exists in order to make crops grow and to provide fresh water for us to drink. The sun is there because it warms our bodies.” From human-centred thinking comes the idea of a ruler of the universe, as well as the idea that the earth and the creatures, the sea and the oil and the forests are somehow there for our benefit. Universe-centred thinking, on the other hand, sees human beings as “just one tiny feature of a vast cosmos, most of which does not function on a human scale or take any notice of what we want”. The universecentred thinker must have what Keats called “negative capability” – the capacity to be in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason. This is hard and invigorating.

The writers discuss creation myths – including a number of myths about cosmic turtles and scientific ideas about origins, including the Big Bang. They discuss the evolution of ideas about evolution, recent thoughts about the relation of RNA to DNA and the idea of the curvature of space. They also consider neural networks and decision theory, and the strong and weak anthropic principles – ideas about how the physical universe is uniquely suited to the existence of human beings.

Pratchett and co also explore the psychology of belief and disbelief. They describe one way of coming to conclusions – the brain taking in new evidence, and fitting it to the knowledge and beliefs it already holds. This is what they call “System 1”, and it includes scientific thinkers as well as people with inherited religious beliefs. There are, they say, scientists who “know” that DNA is the most important part of the system, physicists who “know” that the world is moving towards entropy. “System 2”, on the other hand, is steadily analytical and sceptical – “trying, not always successfully, to ignore inbuilt prejudices”. Karl Popper’s system of “critical rationalism” held that a theory could be considered scientific if, and only if, it was capable of falsification. Stewart and Cohen claim that “scientists actively try to disprove the things they would like to be true”. They use the example of a believer in UFOs who sees disbelief in UFOs as another form of belief. “Zero belief in UFOs”, they point out, is not the same as 100 per cent belief in the non-existence of UFOs. “Zero belief is an absence of belief, not an opposed form of belief.” What they aspire towards and desire is “a disbelief system”. This is exhilarating.

I remember being on a platform where various poets and writers discussed the ways in which the arts could figure the world of the scientist. That blunt sceptic Lewis Wolpert, sitting in the audience, rose to inform the assembled artists that we would not understand any of his work were we to find ourselves in his laboratory. Some of us were indignant but I believe he was right. People like me can read what is written by those scientists who try to tell us about neurons, genes, the shape of the brain, the shape of space and time. We can respond to those descriptions but we are responding to stories, at second hand.

One of the most pleasing things about Pratchett, Stewart and Cohen’s book is the way the authors demonstrate that we don’t understand even what we think we understand. I realised, reading their account of the complex relations between RNA and DNA, that I had been guilty of holding a belief. I was very excited in the late 1970s by ideas about the “selfish gene”, and particularly by the points made by John Maynard Smith about the immutable nature of the inherited and eternal germ cell. Now the New Scientist is full of articles about newly discovered “orphan DNA”. Stewart and Cohen write:

Darwin’s tree of life, a beautiful idea that derives from a sketch in The Origin of Species and has become iconic, gets very scrambled around in its roots because of a process called horizontal gene transfer. Bacteria, archaea and viruses swap genes with gay abandon, and they can also insert them into the genomes of higher animals, or cut them out. So a gene in one type of bacterium might have come from another type of bacterium altogether, or from an archaean, or even from an animal or a plant.

The story I believed in has to be modified and rethought. When I read this, I think in a human way with a series of images, in the grammar of a story. I should not be able to recognise any gene, let alone think intelligently about it. Stewart and Cohen are very good at illustrating our incapacity to understand. They do so with images and stories. My favourite is the one they tell to make us think about the difference between complicated chemistry and the “organised complexity” of the ribosome. It is a story about caramel.

Every cook knows that heating sugar with fats, two fairly simple chemical substances, produces caramel . . .  Caramel is enormously complicated on a chemical level. It includes innumerable different molecules, each of which has thousands of atoms. The molecular structure of caramel is far more complicated than most of the molecules you’re using to read this page.

But the complexity of caramel, or other complicated polymers, doesn’t produce organised complexity, as ribosomes do. Wolpert would rightly tell me that I still don’t know anything about the ribosomes. But I am at least able now to think about the problem. And the juxtaposition of caramel and brain is unforgettable. There are delights like this on most pages of this book.

In a chapter entitled “Where did that come from?” we are invited to reflect on how we can’t think about things like the origin of an oak tree, or a child, or even a thunderstorm. They make the reader imagine thinking about clouds, the constituents of the atmosphere, static electricity, physics and physical chemistry. Most of us, they say, “will not have come across one or more phrases such as ‘saturated solution’ or ‘particle carries a tiny electrical charge’. These phrases are themselves simplifications of concepts with many more associations, and more intellectual depth, than anyone can be expected to generate for themselves.” Human beings tend to retreat from uncertainty or difficulty into belief stories, like the American Republican candidate who opposed any regulation of the markets on the grounds that this was “interfering with God’s plan for the American economy”.

Pratchett, Stewart and Cohen use their method of complicating descriptions and explanations to examine several problems with things I have trouble with believing myself, because they feel to me like human stories that tidy up our relation to the universe – the Big Bang, the existence of dark matter, entropy and the “anthropic principle”. They discuss conflicting views of the expanding universe and the steady state and cast doubt on the existence of dark matter. They are not propounding or supporting any particular theory of the shape and origins of the universe, but are rather considering evidence that complicates the explanations we have become used to. They are good at picking out the operations of what they call our “very parochial” minds, which use ideas of space and time that evolved with us. “Our view of the universe may be just as parochial as the world-bearing animals of ancient cultures were. Future scientists may view both the Big Bang and four elephants riding on a turtle as conceptual errors of a very similar kind.”

In Richard Feynman’s The Character of Physical Law, they find a tendency evident in “too many physicists” to consider physical reality to be all of reality. Feynman, they write, states that “the same kind of atoms appear to be in living creatures as in non-living creatures [sic]; frogs are made of the same ‘goup’ as rocks only in different arrangements”. Things in the biological world are the results of the behaviour of physical and chemical phenomena with no “extra something.” Stewart and Cohen agree about the “no extra something” but think that a bleak view of the world of particles and elements misses out the complexity of living things, and the things they make and use and learn from.

Entropy may not be our destiny – they see Feynman rather as Pratchett sees his undifferentiated auditors, who want to tidy everything up into packets of particles. Life, say Stewart and Cohen, has “lifted itself up into a story”. That is a metaphor – and an attractive one. It feels right, and should therefore be regarded with the necessary doubt and suspicion. They also take a mocking run at the idea of “fine-tuning”, the idea that the world has evolved as the only possible world in which humans could exist – just the right amount of carbon and water, and so on.

This “anthropic principle”, in both its strong and its weak forms, has always horrified me because it is so clearly a function of the human mind thinking in a humancentred way. Isn’t it amazing, say the Discworld scientists, that our legs are just long enough to reach the ground? Isn’t it amazing that there was a hole exactly the right size to contain that puddle? And what about a sulphur-centred form of thought?

There was one chapter I found hard to understand – on the curvature of space, round worlds and disc worlds. This was where I wished the book had illustrations – I read pages about the doughnut-shaped torus, and then had the sense to consult Wikipedia, where I could see what was being discussed. And I also needed to see the geometry of the wonderful Escher image of angels and demons.

I have become rather sad about surviving into the anthropocene age of human history, where everything is controlled and constructed by and for what the King of Brobdingnag called “the most pernicious race of little odious vermin that Nature ever suffered to crawl upon the surface of the earth”. But, paradoxically, both Pratchett’s storytelling and the resolutely universecentred perspective of the scientists make me happier to be human. I look forward to the next volume.

“The Science of Discworld IV: Judgement Day” by Terry Pratchett, Ian Stewart and Jack Cohen is published by Ebury Press (£18.99). A S Byatt’s most recent book is “Ragnarok: the End of the Gods” (Canongate, £7.99

Both A S Byatt and Terry Pratchett will be appearing at How the Light Gets In, the festival of philosophy and music in Hay on Wye. For more details, visit:  www.howthelightgetsin.org

This article first appeared in the 12 April 2013 issue of the New Statesman, Centenary Special Issue

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump