{theatre} – Page 29 – { feuilleton }

Weekend links 107

Le Faune (1923) by Carlos Schwabe.

• “When I recently attended a conference in China, many of the presenters left their papers on the cloud—Google Docs, to be specific. You know how this story ends: they got to China and there was no Google. Shit out of luck. Their cloud-based Gmail was also unavailable, as were the cloud lockers on which they had stored their rich media presentations.” Ubuweb’s Kenneth Goldsmith on why he doesn’t trust the Cloud.

• “I’m a poet and Britain is not a land for poets anymore.” A marvellous interview with the great Lindsay Kemp at Dangerous Minds. Subjects include all that you’d hope for: Genet, Salomé, David Bowie, Ken Russell, Derek Jarman, The Wicker Man and “papier maché giant cocks”.

• “As early as the 1950s, Maurice Richardson wrote a Freudian analysis which concluded that Dracula was ‘a kind of incestuous-necrophilious, oral-anal-sadistic all-in wrestling match’.” Christopher Frayling on the Bram Stoker centenary.

• Björk gets enthused by (among other things) Leonora Carrington, The Hourglass Sanatorium and Alejandro Jodorowsky’s YouTube lectures.

• Before Fritz Lang’s Metropolis there was Algol – Tragödie der Macht (1920). Strange Flowers investigates.

David Marsh recreates famous album covers using Adobe Illustrator’s Pantone swatches.

• New titles forthcoming from Strange Attractor Press. Related: an interview with SAP allies Cyclobe.

• 960 individual slabs of vinyl make an animated waveform for Benga’s I Will Never Change.

• An exhibition of works by Stanislav Szukalksi at Varnish Fine Art, San Francisco,

• Keith Haring‘s erotic mural for the NYC LGBT Community Center is restored.

• The Situationist Times (1962–1967) is resurrected at Boo-Hooray.

• Doors Closing Slowly: Derek Raymond‘s Factory Novels.

• Will Wilkinson insists that fiction isn’t good for you.

• More bookplates at BibliOdyssey and 50 Watts.

• The Top 25 Psychedelic Videos of All Time.

• Flannery O’Connor: cartoonist.

• RIP Adam Yauch.

• Their finest moment: Sabotage (1994) by Beastie Boys.

Weekend links 106

Gold Head 2 (2011) by Kouji Oshiro.

• Josef Hartwig’s 1922 Bauhaus chess set. Contemporary copies can be bought from Naef Spiele but they’re not cheap. Related: Bauhaus: Art as Life, a major exhibition at the Barbican, London. Related, related: Art as life by Fiona MacCarthy.

• Rattera is a new font by Barnbrook Design for Fuse 1–20, Taschen’s collection of the experimental typography publication. Related: The Fuse poster explained.

• Genesis (1981), video feedback and computer animation by Ron Hays with an electronic score by Ragnar Grippe.

• Deadly Doris, a recording by Malcolm Mooney-era Can from the forthcoming Lost Tapes collection.

• “How did a pop band end up in a museum” Sasha Frere-Jones on Kraftwerk.

• Philip Glass & Robert Wilson on how they made Einstein on the Beach.

• An astonishing aerial photo of post-quake San Francisco in 1906.

• More electronic music: Buddha Machine’s SoundCloud page.

• My Baby, music and video from Julia Holter & Jib Kidder.

• Homotography‘s photos can now be browsed at Pinterest.

• Deviates, Inc., a Tumblr.

• Raoul Björkenheim live: Apocalypso pt. 1 | Apocalypso pt. 2 | 1-2-11 DMG, NYC

Ubu

One last film post for a very busy week. Ubu is a highly-stylised animated adaptation of Alfred Jarry’s Ubu Roi. This was a British production directed in 1978 by Geoff Dunbar who employs an ink-spattered style reminiscent of Ralph Steadman’s drawings; in place of vocal dramatisation Pa and Ma Ubu shriek horribly and occasionally spit out speech balloons. As a condensation of the play, and a taste of Jarry’s grotesquery, this feels a lot closer to its source than Jean-Christophe Averty’s 1965 film which seems polite by comparison. Ubu took a long time to arrive on YouTube so watch it while you can, it may well vanish again.

• Ubu pt. 1 | Ubu pt. 2

Previously on { feuilleton }
• Bring Me the Head of Ubu Roi

Salomé, 1910

A rather crude 9-minute silent drama directed by Ugo Falena which claims to be based on Oscar Wilde’s play. I’m not sure Wilde would have thanked them for cramming his wordy opus into a few brief scenes of gesticulating performers. The colours are a bonus, however, as this is hand-tinted throughout.

Elsewhere on { feuilleton }
• The Salomé archive

Weekend links 103

Robert Fripp photographed by Chris Stein. Video posterization by Michael Schiess.

Scans of Synapse, “The electronic music magazine”, are posted here. Issues range from 1976 to 1979, and include interviews with the more notable synthesists of the period, Kraftwerk included. Brian Eno was regularly interviewed by synth mags despite always being reluctant to talk about what equipment he might be using; sure enough he’s featured here. Far more interesting is a longer interview with Robert Fripp that catches the guitarist as he emerged from his self-imposed retirement in the mid-70s with the extraordinary Exposure album. (See a 1979 promo video for that here.) Related: TR-808 drum sequences in poster form by Rob Ricketts.

• More electronic music from the 1970s: “[Don Buchla] showed me that the idea of playing a black-and-white keyboard with one of these instruments was completely ridiculous. It was inappropriate and had nothing to do with the way you would use an electronic instrument.” Suzanne Ciani talks to John Doran about electronic music composition. A collection of her early recordings, Lixiviation, is released by Finders Keepers. Related: The Attack of the Radiophonic Women: How synthesizers cracked music’s glass ceiling.

• “Her writing—full of immigrants, circus animals, freaks, socialists, hipsters, servants, and suffragettes—revels in the atmosphere of the ‘Yellow Nineties,’ a period characterized by Wildean decadence and art for art’s sake.” Jenny Hendrix on Djuna Barnes.

More etchings by Albin Brunovsky at But Does It Float.

• More scanned magazines: the Fuck You Press archive at Reality Studio. A trove of rare publications produced by Ed Sanders in the 1960s with contributions from world-class writers, William Burroughs included.

• “[My parents] were horrified by what I did, but they encouraged me to keep doing it because I was obsessed, and what else could I do?” John Waters writing in (of all places) the Wall Street Journal.

• A time-lapse assembly of Alfred Hitchcock’s Rear Window (1954) by Jeff Desom who explains how he did it here.

• The Occult Experience: a 95-minute documentary on the international occult scene, filmed in 1984–85.

• Compost and Height re-post A Gold Thunder, a song by Julia Holter first sent to them in 2010.

• Drawings by Bette Burgoyne.

• Schroeter’s Salomés

• Cats are liquids

• Fade Away And Radiate (1978) by Blondie (featuring Robert Fripp) | Exposure (1978) by Peter Gabriel (produced by and featuring Robert Fripp) | Exposure (1979) by Robert Fripp | Babs And Babs (1980) by Daryl Hall (produced by and featuring Robert Fripp) | Losing True (1982) by The Roches (produced by and featuring Robert Fripp).