Weekend links 63

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Polish poster by Andrzej Bertrandt for Andrei Tarkovsky’s 1972 film of Solaris.

• Stanislaw Lem’s Solaris receives its first ever direct English translation by Bill Johnston (only on Audible for the moment), all previous editions having been sourced from a poor French translation. An all-too-common state of affairs for non-English fiction where bad or bowdlerised translations persist for years.

• Now that Minnesota politician Michelle Bachmann is running for US president it’s a good time to examine her views when (theoretically) her actions could one day impact on us all. The Daily Beast gathered together some of her worst pronouncements, including the following about gay people: “It’s a very sad life. It’s part of Satan, I think, to say that this is gay.” Her husband describes his attempts to counsel (ie: cure) gay teenagers with the words “Barbarians need to be educated.” It’s no surprise that both these people find confirmation of their views in the usual narrow interpretation of Christian doctrine. Not all American Christians are this ignorant or offensive, of course. The Heartland Proclamation calls for “an end to all religious and civil discrimination against any person based on sexual orientation and gender identity and expression”.

Journalist Andrew Sullivan in 2003 proposed a label for people like Bachmann: “I have a new term for those on the fringes of the religious right who have used the Gospels to perpetuate their own aspirations for power, control and oppression: Christianists. They are as anathema to true Christians as the Islamists are to true Islam.” It’s a term that ought to have more widespread use.

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Czech poster for Solaris. No designer credited.

• Probing the secrets of psilocybin: “Scientists at the Johns Hopkins University School of Medicine have zeroed in on the dose levels of the ‘sacred mushroom’ chemical capable of yielding positive, life-changing experiences, while minimizing the chance of transient negative reactions in screened volunteers under supportive, carefully monitored conditions.”

• Rick Poynor relates a visit to the Frederic Marès Museum, Barcelona, home to the 50,000 objects Marès collected over his lifetime. Further details of the collection can be found at the museum website.

In her 1969 essay “The Pornographic Imagination,” [Susan] Sontag insisted that Story of O could be correctly defined as “authentic” literature. She compared the ratio of first-rate pornography to trashy books within the genre to “another somewhat shady subgenre with a few first-rate books to its credit, science fiction.” She also maintained that like science fiction, pornography was aimed at “disorientation, at psychic dislocation.”

If so, that aim is far more interesting than what most generic “mainstream” novels set out to do. No one could describe O as predictable or sentimental. Its vision was dark and unrelenting; everything about it was extreme. Sontag also compared sexual obsession (as expressed by Réage) with religious obsession: two sides of the same coin.

Carmela Ciuraru on the story of The Story of O by Pauline Réage.

• “No hay banda! There is no band. It is all an illusion.” David Lynch will be opening a Club Silencio in Paris (Montmartre, of course). Facebook pages here and here.

• Sad to say that Chateau Thombeau is now closed but Thom has begun a more personal journal here.

• Picture galleries of the Vorticists at the Tate here and here. Related: Into the Vortex.

• Illuminated Persian pages from 1604 at BibliOdyssey.

• Tape drawings by Chris Hosmer.

• Miles Davis and co. at the Isle of Wight Festival, 1970: part 1 | part 2 | part 3 | part 4

Weekend links 15

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One of the entries from the Greenpeace competition to rebrand BP.

What Kenneth Anger was doing inside the Pentagon, October 1967.

Ghosts Of The Future: Borrowing Architecture From The Zone Of Alienation. Jim Rossignol on Stalker: the film, the game and the reality.

Electric Eden: Unearthing Britain’s visionary music. A blog and a forthcoming book by Rob Young.

• Lesbian filmmaker Kiana Firouz isn’t wanted in the UK thanks to the iniquitous asylum laws of the previous administration; the Home Office intends to return her to Iran where gay people are flogged and executed. Coilhouse has details including recommendations of how people can help. Related: Britain’s immigration system is guilty of “institutional homophobia”, according to a new report.

Cameron Carpenter, a prodigiously talented (and sequinned) concert organist.

No Barcode: Javier Garcia’s graphic design blog.

Shapeways: 3D printing from your own designs.

Spintriae: brothel coins from Ancient Rome.

Winq magazine: “global queer culture”.

A steam-powered synthesiser.

Seven days with Brian Eno.

Among The Trees, Michael Chapman on the Whistle Test in 1975.

Rerberg and Tarkovsky: The Reverse Side Of “Stalker”

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Stalker (1979).

Among the new documentary films being shown at the Sheffield (UK) Doc/Fest is Igor Mayboroda’s Rerberg and Tarkovsky: The Reverse Side Of “Stalker”.  Behind the unwieldy title there lies an exploration of the troubled genesis of one of my cult artefacts, Andrei Tarkovsky‘s 1979 science fiction film, Stalker, a personal adaptation by the director of a Russian sf novel, Roadside Picnic, by Arkadi & Boris Strugatsky. Tarkovsky’s production suffered from technical calamities, illness, artistic disagreements and, worst of all, location work in a polluted area which (allegedly) caused the early deaths of a number of the people involved, including the director and leading actor, Anatoli Solonitsyn. All of which makes the completed film seem both miraculous and chilling for reasons beyond its uniquely sinister atmosphere.

When the British Film Institute launched a survey on “the film you would like to share with future generations”, behind Blade Runner in first place was a surprise second place entry: Andrei Tarkovsky’s science fiction film Stalker, in which a guide leads two clients to a site known as “the Zone”, which has the supposed potential to fulfill a person’s innermost desires. This creative documentary tells the remarkable story behind the making of Stalker, including the series of conflicts which led to crew members, most notably celebrated director of photography Georgi Rerberg, being left off the credits, leaving careers in tatters. Far from your standard making of doc, Director Igor Mayboroda has woven an engrossing “documentary cinema novel” which not only stands as a tribute to Rerberg’s career but also as a delight for cinephiles interested in how the creative process can flourish even under the most difficult and ultimately devastating of circumstances.

Stalker as it currently exists on DVD has a couple of interviews about the making of the film but nothing as substantial as Mayboroda’s documentary which sounds like essential viewing. Those in the Sheffield area can see a repeat showing on November 8.

Also at the Doc/Fest is a new film for the BBC’s long-running arts series, Arena, which will no doubt be screened on TV in due course. Eno is directed by Nicola Roberts and—needless to say—its subject is musician, producer, artist, etc, Brian Eno. Arena has always used Eno’s short piece, Another Green World, for its theme music but I believe this is the first time he’s been profiled in the series. Roberts also directed the excellent 1994 Arena doc, Philip K Dick: A Day in the Afterlife, so I’ll be looking forward to seeing this one as well.

Danger! High-radiation arthouse! | Geoff Dyer on his own Stalker obsession.

Previously on { feuilleton }
Brian Eno: Imaginary Landscapes
The slow death of modernism
Thursday Afternoon by Brian Eno
The Stalker meme

The slow death of modernism

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“Soon to be picturesque ruins” was a slogan the Situationists used to enjoy posting on Parisian buildings but their rebuke to architectural hubris can be applied anywhere. St Peter’s College seminary building at Cardross near Glasgow was an example of post-Le Corbusier concrete construction which drew praise for its clean modernity in the 1960s. Today it brings only photographers and graffiti kids to its dereliction. Brian Dillon notes that the seminary

resembles nothing so much as the desolate and sentient “zone” in Andrei Tarkovsky’s 1979 film Stalker: a place where snow falls slowly upon vacant altars, where stagnant pools are so full of rot that they look horribly alive even at the edge of winter, where a startlingly tame robin will perch on your head as you step delicately over the rubble. (More.)

Yes indeed, and Flickr is full of striking examples like these. Someone ought to take advantage of what Dillon calls the seminary’s “futuristic rot” and use the place as a film set before the decay becomes too hazardous or the building is demolished altogether.

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Previously on { feuilleton }
The ruins of Detroit
Ephemeral architecture
The temples of Angkor
St Pancras in Spheroview
• The Stalker meme

The Hourglass Sanatorium by Wojciech Has

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The original Polish poster by the incredible Franciszek Starowieyski.

The shrinking pool of films still unavailable on DVD contracted by at least one title recently with the surprise appearance in the UK of The Hourglass Sanatorium (Sanatorium pod klepsydra; 1973) from the distinctively-named Mr Bongo Films. I’ve been waiting to see this for at least twenty years so being able to walk into Fopp and buy a copy for a mere £12 strikes me as one of those small but rarely acknowledged miracles of contemporary existence.

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Director Wojciech Has is  better known for his long and weird 1965 adaptation of the equally long and weird Saragossa Manuscript, a rambling semi-fantastical novel by Jan Potocki from around 1805. David Lynch described Saragossa as “Simultaneously horrific, erotic and funny…this is one mother of a film,” and the same description could be applied to The Hourglass Sanatorium, as far as I’m aware the only other excursion Has made into full-on strangeness. If anything, Sanatorium outdoes the earlier film on just about every level. Readers familiar with the writings of Bruno Schulz will already have recognised the title as being a truncated variant of Sanatorium Under the Sign of the Hourglass, the second and final collection of Schulz’s unique and very strange stories.

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