Weekend links 627

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Cover art by Alan Aldridge for The Secret Life of Plants, 1975. Via.

• At Aquarium Drunkard: Alice Coltrane and band in a furious live performance at the Berkeley Community Theatre, 1972. The audio is on YouTube, and was also released on (unofficial) vinyl a couple of years ago, but you can download the whole set at Dimeadozen. (Free membership required.)

• “Black Square is tragic; it’s absurd; it can be bewildering or funny; it’s certainly metaphysical; and now it serves as a precursor for works and projects yet to be imagined.” Andrew Spira on the precursors of Black Square by Kazimir Malevich.

• “The possibility of plant consciousness cuts two ways, depending on whether you see plants as friend or foe, benevolent or threatening.” Elvia Wilk on the secret lives of plants.

• New/old music: Robot Riot by Stereolab. A previously unreleased recording from the mid-90s which will appear on the fifth instalment in the Switched-On compilation series.

• “Dare’s good, but Love And Dancing broke the mould and kicked off the whole modern dance scene.” Ian Wade on 40 years of remix albums.

• Coming soon from Strange Attractor: Arik Roper: Vision of The Hawk.

• At Unquiet Things: Deborah Turbeville’s unseen Versailles.

• “Thinking like a scientist will make you happier”.

• At Dennis Cooper’s: Karel Zeman Day.

Plantasia (1976) by Mort Garson | Musik Of The Trees (1978) by Steve Hillage | The Secret Life Of Plants (1979) by Stevie Wonder

Zemania

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Invention for Destruction (1958).

In addition to Jean Kerchbron’s Golem my weekend viewing involved a fresh immersion in the semi-animated fantasies of Karel Zeman, one of which, Invention for Destruction, I’d not seen for many years. It hadn’t occurred to me before how closely Zeman’s technique on these films matches some of my own recent illustration when it applies original drawn elements to settings constructed from old engravings. For Zeman, combining actors with animated models and pictorial backgrounds was an economical way of bringing to life the worlds of Jules Verne, Rudolf Erich Raspe and others while retaining the feel of the original book illustrations. These films are also closer to the Max Ernst school of engraved collage than they may at first seem. The mansion at the beginning of Invention for Destruction could easily have been an illustration of a single building but Zeman offers a hybrid construction with unrealistically conflicting perspectives; later on we see a desert cavalry of camels on roller skates. It’s no surprise that Jan Svankmajer admires Zeman’s films. And having recently watched all the Svankmajers it’s good to know there are several Zeman features still to see.

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Continue reading “Zemania”

Weekend links 498

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The Sentinel 280, a car design by Syd Mead from 1964.

• “Boris Dolgov did not exist. The man who bore that name may have existed, but there never was a man in the United States with that name until 1956, too late for Weird Tales.” Teller of Weird Tales on the mysterious identity of a magazine artist.

• Saying goodbye to 2019 also meant saying farewell to Vaughan Oliver, Neil Innes and Syd Mead. Related: Vaughan Oliver at Discogs; I’m The Urban Spaceman; a look back at Syd Mead’s vehicle designs.

Lanre Bakare on how ambient music became cool. (Again. This begs the question of when it became uncool, especially when a ten-year-old Brian Eno piece about “the death of uncool” is being quoted.)

Westerners interpreted the peyote experience very differently from the practitioners of the peyote religion, where the focus was “ritual, song and prayer, and to dissect one’s private sensations was to miss the point”. Writers such as Havelock Ellis, who published an essay on his peyote experiences in the Lancet in 1897 (it’s likely that he also administered the substance to his friends W.B. Yeats and Arthur Symons), instead tended to focus on its visual effects. Ellis described “the brilliance, delicacy and variety of the colours” and “their lovely and various textures”. Peyote reached Europe in tandem with the X-ray, cinema and electric lights, Jay notes, and “nothing delighted the eye of the mescal eater so much as the new electrical sublime”.

Emily Witt reviewing Mescaline: A Global History of the First Psychedelic by Mike Jay

Peter Bradshaw takes on the thankless task of ranking Federico Fellini’s feature films.

Geoff Manaugh on when Russia and America coöperated to avert a Y2K apocalypse.

• “Music is an ideal medium for interstellar communication,” says Daniel Oberhaus.

Keith Allison on Karel Zeman, a creator of remarkable cinematic fantasies.

•  Japanese Designer New Year’s Cards of 2020.

• At Dennis Cooper’s: Vera Chytilová Day.

2020 in public domain.

Sentinel (1992) by Mike Oldfield | Sentinels (2001) by Cyclobe | Sentinel (2004) by Transglobal Underground

Weekend links 481

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L’Hamestoque (1977) by Christine Gaussot.

• Another announcement from Strange Attractor Press: Of Mud & Flame: A Penda’s Fen Sourcebook edited by Matthew Harle and James Machin will be published at the end of October. Among the contents will be the screenplay of David Rudkin’s cult television play, an item that’s always been impossible to find in print.

• A trailer for Journey to the Beginning of Time (1955), another semi-animated fantasy film by Karel Zeman which will released on disc next month by Second Run.

• “There was craziness in getting lost and dizzy.” Stereolab choose favourite songs from their back catalogue.

E=MC² (1976), an album of spacey jazz-electronica by Teddy Lasry which has never been reissued.

• “Why do so many book covers look the same? Blame Getty Images,” says Cory Matteson.

• Mix of the week: The Ephemeral Man’s Teapot by The Ephemeral Man.

Masataka Nakano has been photographing a deserted Tokyo for almost 30 years.

• Beyond the bounds of depravity: an oral history of David Cronenberg’s Crash.

Woodblocks in Wonderland: The Japanese Fairy Tale Series.

• A new novel by M. John Harrison is always a good thing.

Hamid Drake‘s favourite music.

Warm Leatherette (1980) by Grace Jones | Crash (1980) by Tuxedomoon | A Crash At Every Speed (1994) by Disco Inferno

Weekend links 363

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The Constant Drumbeat of Terrible News (no date) by Allison Sommers.

• Nadia Khomami on Gay UK: Love, Law and Liberty, an exhibition at the British Library. Related: Simon McCallum‘s potted history of LGB characters on British screens. Elsewhere: writer and philanthropist Chuck Forester on gay sex in the 1970s.

The Panic Fables: Mystic Teachings and Initiatory Tales by Alejandro Jodorowsky. Finally available in English, a collection of all the comic strips written and illustrated by Jodorowsky when he was living in Mexico in the 1960s.

• A trailer for the restored print of The Fabulous Baron Munchausen (1961) by Karel Zeman. Related: collage designs by Graphic Manipulator for a Japanese collection of Zeman’s films.

• “Whether divining ancient wisdoms or elevating the art of cold reading, Tarot is a form of therapy, much like psychoanalysis,” says James McConnachie.

James Reith on “the Icelandic publisher that only prints books during a full moon – then burns them”.

• Mixes of the week: Wire 400 Mix #6 by Emptyset, and Secret Thirteen Mix 223 by Constantine.

• Mud And Flame: Penda’s Fen re-examined by Matthew Harle and James Machin.

Tilda Swinton in a Leonora Carrington-inspired fashion shoot for i-D magazine.

• At Dennis Cooper’s: Spotlight on William Burroughs’ The Wild Boys.

Applied Ballardianism: A Theory of Nothing by Simon Sellars.

• At Dangerous Minds: The Dark Rift by Jim Jarmusch’s Sqürl.

French Underground Rock: 1967–1980; a Discogs list.

Suzanne Ciani‘s favourite albums.

Infinite artwork: Untitled, 2017

Rip, Rig And Panic (1965) by The Roland Kirk Quartet | Panic (1984) by Coil | Flash Of Panic (1994) by Axiom Ambient