Lockdown elevation

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The post this week included a poster print by Toby Melville-Brown, an artistic response to the lockdown of April and May. Toby has a colourful graphic style that favours architectural views in the mode of Archigram and other futurists, past and present; at the end of February I featured one of his invented book covers (below) in a weekend post. The title of the cover—Notes from a Troubled Rock—seemed darkly humorous at a time of political turmoil and a growing pandemic. Four months on it reads like a summary of 2020.

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The lockdown poster, Life Indoors: A Cross-Section, is more positive, a cutaway elevation of a high-rise block, with each apartment showing the response of a real person or group of people to the viral situation. To fill out the rooms Toby sent an email to 175 households asking for a photographic reflection of lockdown life. I’m in one of the rooms but if you want to know where you’ll have to buy a copy of the poster which is available here. All profits go to Refuge, a charity supporting those at risk from domestic violence. When I first moved to Manchester I spent four years in a Brutalist flatblock that would have had JG Ballard’s wealthy high-rise denizens fleeing for the suburbs. Toby’s elevation looks like a better place to be.

(And I’ve just been informed that the poster sale will end at midnight [UK time] on Friday 12th June.)

Weekend links 517

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Edward James by René Magritte; La Reproduction Interdite (1937).

• “James was filmed in the late 1970s, striding round Las Pozas in a sweater and a tattered dressing-gown, surmounted by parrots (The Secret Life of Edward James can be seen on YouTube). When asked what motivated him, he replied: ‘Pure megalomania!’ He was having his second childhood, he said, though he wasn’t sure the first had ever ended.” Mike Jay on lifelong Surrealist, Edward James (1907–1984), and the concrete fantasia he built in the Mexican jungle.

• “I found the roots of electronic music in a cupboard!” Musician Paul Purgas (one half of Emptyset) on the discovery of early electronic music from India’s National Institute Of Design. Related: Purgas talks about his discovery with Patrick Clarke.

• RIP Phil May. Here’s The Pretty Things in their guise as psych band “Electric Banana” for an appearance in What’s Good for the Goose (1969). A decent moment in an otherwise terrible film.

• Music is a memory machine: David Toop explores how the transmission of music between disparate cultures can be a tool against populism and prejudice.

• Kraftwerk’s remarkable journey, and where it took us: Bob Boilen and Geeta Dayal discuss the tanzmusik of Düsseldorf.

• At Dangerous Minds: Acid Drag & Sexual Anarchy: Fifty years ago The Cockettes turned drag upside down.

Hua Hsu on the secret lives of fungi: “They shape the world—and offer lessons for how to live in it”.

• The great writer who never wrote: Emma Garman on the flamboyant Stephen Tennant.

• Cult 1998 PlayStation game LSD: Dream Emulator is finally playable in English.

Jim Jupp of Ghost Box records talks about the Intermission compilation album.

Jonathan Moodie on psychoactive cinema and sacred animation.

Alex Barrett on where to begin with Akira Kurosawa.

• At Dennis Cooper’s: Skeletons.

Skeleton Makes Good (1982) by Captain Beefheart & The Magic Band | Red Skeletons (1996) by Coil | Kids Will Be Skeletons (2003) by Mogwai

Weekend links 514

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Athanasius Kircher welcoming two guests to the Collegio Romano, a detail from the frontispiece to his Romani Collegii Societatis Jesu Musaeum celeberrimum (1678).

Opium (1919) by Robert Reinert: “A Chinese opium dealer takes revenge on Westerners who have corrupted his wife.” With Werner Krauss and Conrad Veidt a year before their pairing in The Cabinet of Doctor Caligari.

Aubrey Beardsley at Tate Britain: in which the gallery thinks that 7 minutes is enough to give us a taste of a major exhibition that we can’t otherwise see.

Joe Pulver (RIP): His Highness in Yellow. A memorial piece that includes artist Michael Hutter talking about his paintings of Carcosa.

Court Mann on the strange history of Robert Smithson’s Spiral Jetty, 50 years old this month.

• “Invisible Little Worms”: Athanasius Kircher’s Study of the Plague by John Glassie.

Sophie Monks Kaufman on why literary lesbians are having a moment on screen.

• Photographer Ryan McGinley: “I was taught to believe in Satan. It scared me.”

• At Dennis Cooper’s: Ellen Burstyn Day, and the ghostly novels of WG Sebald.

Dorian Lynskey on where to start with Nina Simone’s back catalogue.

• Wie funktioniert ein Synthesizer? (1972). Bruno Spoerri explains.

• Banham avec Ballard: On style and violence by Mark Dorrian.

John Boardley on the most dangerous book in the world.

Improvisation for Sonic Cure by Ryuichi Sakamoto.

• The Strange World of…JG Thirlwell.

Diet Of Worms (1979) by This Heat | Stomach Worm (1992) by Stereolab | Heartworms (1998) by Coil

Weekend links 513

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Water Tower (1914), Margaret Island, Budapest, Hungary.

George Bass on five ways The Year of the Sex Olympics (1968) predicted the way we live now. Nigel Kneale’s TV play will be reissued on DVD next week.

Ballardism (Corona Mix): three new drone pieces by Robert Hampson available as free downloads.

• Grace Jones: where to start in her back catalogue; John Doran has some suggestions.

Hal was the wry and soulful and mysterious historical rememberer. He specialized in staging strange musical bedfellows like Betty Carter and the Replacements or The Residents backing up Conway Twitty. Oh, the wild seeds of Impresario Hal. He was drawn equally to the danger of a fiasco and the magical power of illumination that his legendary productions held. Many years ago he bought Jimmy Durante’s piano along with Bela Lugosi’s wristwatch and a headscarf worn by Karen Carpenter. Some say he also owned Sarah Bernhardt’s wooden leg. He had a variety of hand and string puppets, dummies, busts of Laurel and Hardy, duck whistles and scary Jerry Mahoney dolls and a free ranging collection of vinyl and rare books. These were his talismans and his vestments because his heart was a reliquary.

Tom Waits pens a letter to remember Hal Willner

• The food expiration dates you should actually follow according to J. Kenji López-Alt.

• Blown-up buildings and suffocating fish: the Sony world photography awards, 2020.

• Rumbling under the mountains: a report on Czech Dungeon Synth by Milos Hroch.

Sophie Pinkham on The Collective Body: Russian experiments in life after death.

• Mix of the week: Spring 2020: A Mixtape by Christopher Budd.

Olivia Laing on why art matters in an emergency.

• At Dennis Cooper’s: Bloody.

Blood (1972) by Annette Peacock | Blood (1994) by Paul Schütze | Blood (1994) by Voodoo Warriors Of Love

Weekend links 509

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The Art of the Occult: A Visual Sourcebook for the Modern Mystic by S. Elizabeth. The book will be published in September by White Lion Publishing, and includes some work of mine.

• “The structure of the film as a memory palace consists of scenes intercutting different movies, depicting similar situations lived by the same actors in similar locations and, yes, similar sexual positions building over the course of its run-time.” Memory Palace: on Ask Any Buddy and the Golden Age of Gay Porn. Caden Mark Gardner writes on a kaleidoscopic, experimental archive piece of gay pornography. • Related: Paul P., the artist making dreamy paintings from vintage gay erotica.

• At Dennis Cooper’s: Spotlight on…Terry Southern The Magic Christian (1959), and Bill Hsu presents…High Anxiety: tense, dark films from 2010-2019 (for fans of Robert Aickman and Brian Evenson).

Green (1986) by Hiroshi Yoshimura, a welcome reissue of an album of minimal electronica. More green: The Green Fog by Guy Maddin has been on Vimeo for a while.

• Mixes of the week: Time is on our hands by Beautify Junkyards, and Textural Hominini Cognition by The Ephemeral Man.

• How John Waters and Mink Stole made Pink Flamingos, and Mink Stole on the inside story of John Waters’ greatest films.

Viktor Wynd: “I was offered a mummified arm—but I didn’t have €2,000 on me”.

• At Dangerous Minds: the solitary Surrealism of Gertrude Abercrombie.

Cats and Domino

Webcam in Italia

The Green Chinese Table (1988) by Seigen Ono | Green Water (1996) by Coil | Green Evil (1997) by Paul Schütze