Weekend links 376

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The House by the Canal (1945) by Algernon Cecil Newton.

• RIP Tobe Hooper. Black Hole Reviews recounts the troubled history of The Texas Chain Saw Massacre in Britain, a film that was given a short-lived cinema release then banned for 20 years. Elsewhere: Who sampled from Tobe Hooper’s films? Tucktonia, a model village whose London buildings were destroyed for Hooper’s Lifeforce.

• Graphic language of the wall: Rick Poynor on Brassaï’s photographs of graffiti for Le Livre de Poche. More Poynor: National Theatre Posters: A Design History is available for pre-order from Unit Editions. There’s more from the latter here.

• “A question of queer as a kind of futurism: an attitude or tendency that connects mid-20th-century performers and photographers to contemporary digital art and fashion.” Brian Dillon reviewing Queer British Art at Tate Britain.

In evolutionary terms, the intelligence of octopuses is an anomaly. The last common ancestor between octopuses on the one hand, and humans and other intelligent animals (monkeys, dolphins, dogs, crows) on the other, was probably a primitive, blind worm-like creature that existed six hundred million years ago. Other creatures that are so evolutionarily distant from humans—lobsters, snails, slugs, clams—rate pretty low on the cognitive scale. But octopuses—and to some extent their cephalopod cousins, cuttlefish and squid—frustrate the neat evolutionary division between clever vertebrates and simple-minded invertebrates. They are sophisticated problem solvers; they learn, and can use tools; and they show a capacity for mimicry, deception and, some think, humour. Just how refined their abilities are is a matter of scientific debate: their very strangeness makes octopuses hard to study. Their intelligence is like ours, and utterly unlike ours. Octopuses are the closest we can come, on earth, to knowing what it might be like to encounter intelligent aliens.

Amia Srinivasan reviewing Other Minds: The Octopus and the Evolution of Intelligent Life by Peter Godfrey-Smith, and The Soul of an Octopus: A Surprising Exploration into the Wonder of Consciousness by Sy Montgomery

Royal Academy of Arts to reveal explicit side of Dalí and Duchamp.

• At Wormwoodiana: Mark Valentine on The Mystic Umbrellas.

Norton Critical Edition’s Periodic Table of Literary Villains.

• Mix of the week: FACT mix 616 by Lanark Artefax.

Virus Fonts has a new website.

Little Umbrellas (1969) by Frank Zappa | Umbrellas (1971) by Weather Report | Black Umbrellas (2003) by Broadcast

Weekend links 372

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Battistero della Basilica di Santa Maria Maggiore, Bergamo (2017) by Mattia Mognetti.

• “Mumbo Jumbo: a dazzling classic finally gets the recognition it deserves.” Jonathan McAloon on Ishmael Reed’s unique novel being reissued as a Penguin Modern Classic.

• Amanda Gefter talks to Donald D. Hoffman, professor of cognitive science at the University of California, about “the evolutionary argument against reality”.

• Geeta Dayal on composer Raymond Scott. A new compilation, Three Willow Park, collects more of Scott’s electronic music from the 1960s.

Nagle critiques the follies of campus identity politics and social media liberalism not from the right, but as a left-leaning feminist. As she elucidates point after reasonable point, it feels as if a grown-up has finally entered the room. Like Mark Fisher, the Marxist critic who was savaged by his putative comrades for decrying “the stench of bad conscience and witch-hunting moralism” of the online left, Nagle has no sympathy for Twitter/Tumblr liberalism’s “cult of fragility and victimhood mixed with a vicious culture of group attacks, group shaming, and attempts to destroy the reputations and lives of others”. It is reassuring to find a self-described feminist disdaining the “hysterical” liberal call-out culture, and acknowledging that it has produced “a breeding ground for an online backlash of irreverent mockery and anti-PC”. Without joining the forces of reaction or losing sight of the vileness of the alt-right, she writes of “the deep intellectual rot of contemporary political progressivism”; “the moral self-flattery of … a tired liberal intellectual conformity”; and “the hysteria and faux-politics of liberal Internet culture”.

Rob Doyle reviewing Kill All Normies by Angela Nagle

• Mixes of the week: XLR8R Podcast 501 by Ryan Elliott, and ReMelodiya vol. 1 by Laurent Fairon.

Sumit Paul-Choudhury on the slime mould instruments that make sweet music.

The Wire Salon: an audience with photographer and writer Val Wilmer.

Simon McCallum‘s list of 10 great lesser-known British LGB films.

Zaria Gorvett on the ghostly radio station that no one claims to run.

S. Elizabeth reposted her Coilhouse interview with me from 2010.

• “Boys are selling sex in Japan. Who is buying?” Boys For Sale

• At Spoon & Tamago: Ando Tadao’s Hill of Buddha.

• At Dennis Cooper’s: Gisèle Vienne Day.

Sun Ra is now on Bandcamp.

Shaolin Buddha Finger (1994) by Depth Charge | Atomic Buddha (1998) by Techno Animal | Psycho Buddha (2001) by Acid Mothers Temple & The Melting Paraiso U.F.O.

Weekend links 357

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Ruth St Denis (2010) by Agnieszka Brzezanska.

As Above, So Below: Portals, Visions, Spirits & Mystics is an exhibition of occult-oriented art at IMMA, Dublin. “An alternative history of art of the last century,” says Aidan Dunne.

THIS IS THE SALiVATION ARMY: a Tumblr archive of Scott Treleavan’s queer-pagan-punk zine, 1996–1999.

• Mixes of the week: Secret Thirteen Mix 219 by Paper Dollhouse, and a Mika Vainio Tribute Mix by broken20.

• Valdimar Ásmundsson’s Icelandic translation of Bram Stoker’s Dracula has been translated back to English.

• First evidence for higher state of consciousness found (thanks to psychedelic drugs).

• At Bibliothèque Gay: Narkiss (1908) by Jean Lorrain.

Boyd White on finding Arthur Machen’s bookplate.

Barry Adamson’s favourite albums.

John Waters: By the Book.

Dread: Lustmord in dub.

XXY Oscilloscope

Vampire (1976) by Devon Irons | Keep On Dubbing (1976) by Augustus Pablo | African Dub (1977) by The Silvertones

Weekend links 342

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La femme et le pantin (1909) by Ángel Zárraga.

• RIP John Berger. Berger’s essential TV series on art, Ways of Seeing (1972), is at YouTube and Ubuweb; “Such freedom is unthinkable today,” says series director Mike Dibb; the book of the series was designed by Berger and Richard Hollis; ways of seeing Ways of Seeing; Geoff Dyer, Olivia Laing & Ali Smith on Berger; M. John Harrison on Berger.

• The beginning of January means the LRB posting Alan Bennett‘s diary for the previous year. In related news, Network DVD will be releasing Six Plays by Alan Bennett next month, a collection that includes a favourite of mine, Me! I’m Afraid of Virginia Woolf (1978).

• At Dennis Cooper’s: Acid Westerns Day (Restated). Related: Jodorowsky’s El Topo and The Holy Mountain are being released on Blu-ray (Region B) by Gryphon Entertainment.

The acre of suburban lawn surrounding our house became like the Paramount lot for my feverish theatrics. I graduated to building “spook houses” in the family garage out back. Inspired by the ride-through Trimper’s Haunted House in Ocean City, Maryland, designed by Bill Tracy (and it’s still there in operation), I remembered excitedly wheeling through this attraction in these rickety little coffin-shaped cars and dreaming of befriending the crudely built, motorized corpses, cannibals, and skeletons who lived inside. I fantasized the cars breaking down, the panicked, chickenshit children screaming, bolting from their seats, tripping over live wires, and electrocuting themselves. I wanted to take this imagined fear, this frightened happiness, back to my own house where I knew I could preserve, protect, and stylize it on my own adolescent terms.

John Waters on his childhood home

Strange Flowers‘ latest reading recommendations include books on lesbian decadence, occult Paris, flâneurie and the queerness of the Benson family.

Where Evil Dwells (1985), a 28-minute preview of a longer piece of weird cinema (now destroyed) by Tommy Turner and David Wojnarowicz.

Francis Ford Coppola and Brian De Palma having a conversation about Coppola’s The Conversation.

The Edge Question for 2017: “What scientific term or concept ought to be more widely known?”

• Mixes of the week: Drone Theory with Roly Porter, and Secret Thirteen Mix 205 by Stavaris.

Simran Hans suggests where to begin with the films of Todd Haynes.

• More decadence, this time among the Mexican Modernists.

Moon Wiring Club at Bandcamp.

No Name, No Slogan (1989) by Acid Horse | Those Tapes Are Dangerous (1997) by The Bug | Spooky Action At A Distance (2014) by Sqürl

Inner Sanctums—Quay Brothers: The Collected Animated Films 1979–2013

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In previous posts about the Quay Brothers’ films I’ve expressed a hope that we might see a new collection from the BFI that gathers together more of their recent works. That’s what we have now in a 2-disc Blu-ray set that will be released in the UK on 10th October.

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Quay (2015) directed by Christopher Nolan.

The new collection repeats the contents of the earlier BFI DVD set, The Short Films 1979–2003, while adding some of their recent commissions including Maska (2010), Through the Weeping Glass (2011), and Unmistaken Hands: Ex Voto F.H. (2013). Among the extras there’s a short portrait of the brothers, Quay (2015), directed by Christopher Nolan. This shows the Quays at work in their Southwark studio where they discuss the technical details of animation and puppet-making a little more than I’ve seen in other interviews. Nolan’s film is both beguiling and frustrating, the latter for being so inexplicably short. When I first saw Quay announced I thought it might be a feature-length documentary rather than a fleeting glimpse; the Quays have been interviewed regularly over the past few years so they’re not exactly unforthcoming. I’m hoping now that Nolan’s public enthusiasm for the brothers might at least help them to make another feature, a decade having elapsed since The Piano Tuner of Earthquakes (2005).

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Street of Crocodiles (1986).

As to the films, seeing them in high-definition is certainly a plus although the earliest ones were all made in 16mm so they don’t gain a great deal. Street of Crocodiles, however, looks superb, and I found myself noticing details that I’d earlier missed despite numerous viewings. I’m disappointed that two early shorts, Igor: The Paris Years (1982) and Leoš Janáček: Intimate Excursions (1983), remain unreleased due to apparent problems with music copyrights. (See this post for YouTube links.) Also uncollected are their other music videos apart from the two produced for His Name Is Alive, together with a handful of other short pieces. (See this post for further links.)

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Street of Crocodiles (1986).

Of the longer films on the second disc, Maska has become a favourite, with its combination of a baroque science-fiction scenario (from Stanisław Lem) and a score by Penderecki. Through the Weeping Glass, a 30-minute documentary about the medical oddities housed in the Mütter Museum in the Quays’ home city of Philadelphia, is a kind of companion piece to The Phantom Museum (2003), a similar study of the Wellcome Collection in London. This is the first film the Europhile Quays have made in the US, and comes with a short documentary showing them at work on the film, and an interview about the production. I’m still getting used to their shift to digital video—I miss the grain and texture of their films—but since I’ve been working digitally myself for many years now I can’t complain if others choose to do the same.

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The preview discs of the new collection came without the booklet which will be present in the package. This will include an updated Quays Dictionary by Michael Brooke (as featured in the previous BFI collection), and the 2012 “interview” by the deceased calligrapher Heinrich Holzmüller, On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets. The latter appeared in the catalogue for the Quays’ MoMA exhibition where it was printed at an eye-straining point size. I’m hoping the BFI version will be an improvement.

The Films
Nocturna Artificialia (1979)
The Cabinet of Jan Švankmajer (1984)
This Unnameable Little Broom (1985)
Street of Crocodiles (1986)
Rehearsals for Extinct Anatomies (1988)
Stille Nacht I: Dramolet (1988)
Ex-Voto (1989)
The Comb (1990)
Anamorphosis (1991)
The Calligrapher (Parts I, II, III) (1991)
Stille Nacht II: Are We Still Married? (1992)
Stille Nacht III: Tales from Vienna Woods (1993)
Stille Nacht IV: Can’t Go Wrong Without You (1994)
In Absentia (2000)
The Phantom Museum (2003)
Songs for Dead Children (2003)
Eurydice, She So Beloved (2007)
Alice in Not so Wonderland (2007)
Kinoteka Ident (2008)
Inventorium of Traces (2009)
Wonderwood for Comme des Garçons (2010)
Maska (2010)
Through the Weeping Glass (2011)
Unmistaken Hands: Ex Voto F.H. (2013)

Special features
Introduction by the Quay Brothers (2006, 20 mins)
Quay (2015, 8 mins): a film by Christopher Nolan
Quay Brothers audio commentaries for This Unnameable Little Broom, Street of Crocodiles, Stille Nacht I-III and In Absentia
The Falls [excerpt] (1980, 5 mins)
BFI Distribution ident (1991, 30 secs)
The Summit (1995, 12 mins)
No Bones About It: Quay Brothers (2010, 12 mins)
Behind the Scenes with the Quay Brothers (2013, 31 mins)
Unmistaken Hands: Ex Voto F.H. trailer (2 mins)

Elsewhere on { feuilleton }
The Quay Brothers archive