Weekend links 623

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A symmetrical ink blot from Gobolinks, or Shadow Pictures for Young and Old (1896) by Ruth McEnery Stuart & Albert Bigelow Paine, a book where the blots are much more interesting than the interpretative verses that accompany them.

• “…within a year, they were on The Tube, performing their German-language extrapolation of Throbbing Gristle’s Discipline to a visibly nonplussed audience.” Alexis Petridis on the return of Propaganda. The group’s debut album, A Secret Wish (previously), has long been an obscure object of desire round here.

• RIP Alan White, drummer in Yes for much of the 1970s (see Sound Chaser for details), and also—although nobody mentioned this at the time—the originator of the drum sounds sampled on a Fairlight for Beat Box by the Art Of Noise.

• “For the anthropologist Stewart Guthrie, pareidolia is not a fringe phenomenon: it is at the core of religious experience.” Hunter Dukes on the interpretation of ink blots.

• “…self-righteousness is the one thing that I don’t agree with,” says John Waters. “We used humour to fight when I was young.”

• New music: October Cut Up by Black Glass Ensemble, and New Witness by Michael Begg.

• Also RIP Shiv Kumar Sharma, master of the santoor.

• “Scientists recreate Cleopatra’s favourite perfume.

Simon Fisher Turner’s favourite albums.

• At Dennis Cooper’s: Len Lye Day.

Cleopatra’s Barge (1962) by Alex North | Cleopatra’s Needle (1963) by Ahab And The Wailers | Cleopatra King Size (2002) by Jah Wobble & Temple Of Sound

Weekend links 622

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Testa Anatomica (1854) by Filippo Balbi.

The New School of the Anthropocene is “…an experiment. But it is also an act of repair. In partnership with October Gallery in London, we seek to reinstate the intellectual adventure and creative risk that formerly characterised arts education before the university system capitulated to market principles and managerial bureaucracy… (more)”

• “Every once in a while, you come across old music that generates a shock of new excitement.” Geeta Dayal on Oksana Linde whose electronic compositions are being released in a retrospective collection next month.

• More Walerian Borowczyk: Anatomy of the Devil, a collection of Borowczyk’s short stories, newly translated into English by Michael Levy, and with a cover design by the Quay Brothers.

• Washing machines, garden snails, and plastic surgery: A stroll through the Matmos catalogue. Related: “Why scientists are turning molecules into music.”

• Coming soon from Strange Attractor: Boogie Down Predictions, Hip Hop, Time and Afrofuturism, edited by Roy Christopher.

• At Spoon & Tamago: Exploring Japan’s historical landmarks and shrines in the middle of streets.

• New music: Adrian Sherwood Presents: Dub No Frontiers, music by female dub artists.

Winners of the 2022 Milky Way Photographer of the Year.

• A Vision In Many Voices: The art of Leo and Diane Dillon.

Molecular Delusion (1971) by Ramases | DNA Music (Molecular Meditation) (1985) by Riley McLaughlin | Pop Molecule (Molecular Pop 1) (2008) by Stereolab

Cocteau and Lovecraft

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This one arrives via Tentaclii, via ST Joshi’s news page. Jean Cocteau paying homage in pencil to HP Lovecraft is both unlikely and almost too good to be true. But the drawing, circa 1951, is from a Beverly Hills gallery where other Cocteau artwork is up for sale so it can be accepted as the genuine article.

Cocteau’s enthusiasm for Lovecraft’s fiction doesn’t seem to be news either, even though this is the first I’ve heard of it. Another of Joshi’s links is to this newspaper feature from 1954 in which Cocteau together with various notables of the time are asked to choose their books of the year. While the other contributors list the kinds of titles you’d expect Cocteau has a book about Atlantis by Denis Saurat, books about parapsychology and “les soucoupes volantes” (flying saucers), plus the first French collection of Lovecraft’s stories, translated by Jacques Papy. I knew that Cocteau had a mystical side—you’d expect nothing less from the director of Orphée—but this combination of Lovecraft and full-on crankery is a surprise. He lived just long enough to see the first publication of Pauwels and Bergiers’ Ur-text of the 70s’ crankosphere, The Morning of the Magicians, so I can imagine him lapping up that one as well.

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As for the doodle, this is Cocteau’s version of a sea-monster illustration from Conrad Gessner’s Historia Animalium (1551–1558), a five-volume study which includes a number of fantastic creatures among its descriptions of the animal life known to 16th-century Europeans. Gessner has a page or two about the so-called “sea bishop” which includes this illustration together with another one I adapted myself in 2013 for the Neil Gaiman story in Lovecraft’s Monsters. Good to know that Cocteau and I were on the same page, as it were.

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Elsewhere on { feuilleton }
The Lovecraft archive

Previously on { feuilleton }
Cocteau drawings
Querelle de Brest
Halsman and Cocteau
La Belle et la Bête posters
The writhing on the wall
Le livre blanc by Jean Cocteau
Cocteau’s sword
Cristalophonics: searching for the Cocteau sound
Cocteau at the Louvre des Antiquaires
La Villa Santo Sospir by Jean Cocteau

Weekend links 617

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Diane (1977) by Mimi Parent.

Richard Pinhas expounds upon his favourite musical choices for Warren Hatter. The influence of Robert Fripp has always been to the fore in the Pinhas oeuvre—an early track by Heldon is titled In The Wake Of King Fripp—so there was bound to be a King Crimson album on the list. But which one? Click through the selections to find out.

• Vinyl is the product of a toxic manufacturing process, as well as being difficult to recycle without releasing yet more toxins, but you seldom see these issues discussed by today’s quality-conscious vinyl fetishists. Jono Podmore talks to some of the people trying to create an eco-friendly disc.

• “…these Renaissance images shock us because they are so frequently ithyphallic: Christ has risen, but not in the way we have come to expect.” Hunter Dukes on ostentatio genitalium in Renaissance art.

• At Wormwoodiana: Mark Valentine on those music projects that used to be described as “hauntological”, with an emphasis on The Machinery of the Moment, a new release from The British Space Group.

• “Like Delia Derbyshire jamming with This Heat.” Jesse Locke tours the Broadcast discography.

• 50 Watts announces the birth of 50 Watts Books, a publisher of strange and/or unusual art books.

• “Black lights turn this North Carolina mine into a psychedelic wonderland.”

• At Dennis Cooper’s: Bill Morrison Day.

Black Lightening Light (1968) by The Shy Guys | Black Light (1994) by Material | Transmission Nine: Black Light (2013) by Pye Corner Audio

Weekend links 615

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Tesla does the Astro. Hunter Dukes at Public Domain Review examines the promotion of Nikola Tesla’s ideas via this famous photograph.

• Coming soon from Side Real Press: Kokain—The Modern Revue, a magazine produced in Vienna that ran for five issues during 1925. “Original copies are so rare that it scarcely appears in any of the literature relating to the Weimar period and its contents have remained almost entirely ignored and certainly untranslated. Until now.”

• “Magritte had gotten this far in life by refusing to obey anyone, and in a way his disobedience proved that he understood Surrealism better than the leader of the Surrealists.” Jackson Arn reviewing Magritte: A Life by Alex Danchev.

• “Go as far into your dream as possible and find your own unique voice.” Meredith Monk (again) talking to Elizabeth Aubrey.

• Coming soon from Strange Attractor: City of the Beast: The London of Aleister Crowley by Phil Baker.

• At Spoon & Tamago: The natural world springs to life in kirie paintings by Tamami Kubota.

Antonia Mufarech on why sunflowers are Ukraine’s national flower.

• At Dennis Cooper’s: Etienne-Louis Boullée’s unbuildable tombs.

• Mix of the week: I Can’t Go For That by The Ephemeral Man.

• New music: Triumph Of The Oak by The Lord.

• RIP Philip Jeck.

Tesla (1997) by Jimi Tenor | Tesla (2011) by They Might Be Giants | Tesla Coil (2016) by Xhei