Brian Eno – { feuilleton }

Weekend links 720

The Poet and the Siren (1893) by Gustave Moreau.

• “Some books become talismans. Because they are strange, wildly different to the common run of literature; because they are scarce, and only a few precious copies are known to exist; because, perhaps, they liberate by transgressing the moral limits of the day; because their authors are lonely, elusive visionaries; because, sometimes, there is an inexplicable glamour about the book, so that its readers seem to be lured into a preternatural reverie. This book possesses all those attributes.” Mark Valentine in an introduction he wrote for a 1997 reprint of The Book of Jade (1901) by David Park Barnitz. The book’s author was an American writer who died at the age of 23 after publishing this single volume, a collection of poetry inspired by his favourite Decadent writers. Praise from HP Lovecraft, Clark Ashton Smith and Thomas Ligotti has since helped maintain the book’s reputation. The Book of Jade turned up recently at Standard Ebooks, the home of free, high-quality, public-domain texts. Also the home of an increasingly eclectic list of publications.

• At n+1: The Dam and the Bomb by Walker Mimms, a fascinating essay about the entangling of Cormac McCarthy’s personal history with his novels which makes a few connections I didn’t expect to see. Also a reminder that I’ve yet to read McCarthy’s last two books. Soon…

• The latest installation from teamLab is Resonating Life which Continues to Stand, an avenue of illuminated eggs on the Hong Kong waterfront.

• At The Wire: Symphony of sirens: an interview with Aura Satz, David Toop, Elaine Mitchener, Evelyn Glennie and Raven Chacon.

• At Unquiet Things: The Art of Darkness presents The Sleeper May Awaken: Stephen Mackey’s Unrestful Realms.

• RIP Marian Zazeela. There’s a page here with a selection of her beautiful calligraphic poster designs.

• At Spoon & Tamago: Tomona Matsukawa’s realistic paintings reconstruct fragments of everyday life.

• At Public Domain Review: Thom Sliwowski on The Defenestrations of Prague (1419–1997).

• Trinity (2024), a short film by Thomas Blanchard. There’s a lot more at his YouTube channel.

• At Dennis Cooper’s: Lotte Reiniger’s Day.

• Sirens (1984) by Michael Stearns | Sirens (1988) by Daniel Lanois & Brian Eno | Siren Song (2009) by Bat For Lashes

Imaginary Landscapes: A film on Brian Eno

The landscapes are those that may come to mind when listening to one of Brian Eno’s instrumentals, as Eno himself explains in this 40-minute portrait by Duncan Ward and Gabriella Cardazzo. I linked to a streaming copy of this several years ago but Flash streams are no use today so it’s good to find again on YouTube. Imaginary Landscapes was made in 1989, and the relatively short running time isn’t really enough to do justice to Eno as either composer or indefatigable theorist. The brevity is also a little surprising when the whole thing was shot on film in the UK, USA and Italy. Maybe expense was an issue? Whatever the answer, we get to see many actual landscapes—California, the rivers and shoreline of Suffolk, the urban landscape of New York City—while Eno explains some of the ideas behind his art and his music. He discusses his time in New York, which he’d recently left to return to his home town of Woodbridge, and his intention to develop his art installations to a greater degree than he’d done in the past. We know now that he did exactly this, I got to see one of his “Quiet Club” installations at the Hayward Gallery’s Sonic Boom group show in 2000. The quietness was rather compromised by sound leakage from other noisier exhibits but it was one of the show’s more memorable pieces.

I’ve a lot of time for Eno’s approach to art installation and the instrumental music he creates for these works, less so for his recent songs. Imaginary Landscapes was made shortly before the release of the song-based Nerve Net, an album I’ve never liked very much, plus another release, The Shutov Assembly, a collection of instrumentals that I’ve listened to more than most of his albums, with the possible exception of Thursday Afternoon. Many of the posts here were written to the accompaniment of The Shutov Assembly, I find it an ideal album of “thinking music”, more so than the later Neroli which is actually titled “thinking music” but which takes the Eno systems approach to a minimal extreme. The Shutov Assembly could be regarded as another collection of imaginary landscapes, with each piece having a nine-letter title that refers to a real location (all of which hosted one of Eno’s artworks) without being in any way illustrative. The Shutov pieces were recorded around the time Imaginary Landscapes was being made, and we see Eno demonstrating synthesizer sounds that are close to some of those you hear on the album. I’d have been happy with a lot more of this, 40 minutes more in fact, but the film-makers had other ideas.

Previously on { feuilleton }
• Harold Budd, 1936–2020
• Synapse: The Electronic Music Magazine, 1976–1979
• Fourth Worlds: A Jon Hassell Mix
• Mistaken Memories Of Medieval Manhattan
• Thursday Afternoon by Brian Eno
• Moonlight in Glory
• Tiger Mountain Strategies
• Generative culture
• My Life in the Bush of Ghosts

Weekend links 692

Illustration by Alfred Pearse for The Horror of Studley Grange by Clifford Halifax & LT Meade. Via.

• The Haunting at 60: Guy Lodge asks “Is it still one of the scariest films ever made?” I say yes but then it’s always been a favourite. Also, Robert Wise is something of a cult figure in this house, not for his big-budget directing jobs on The Sound of Music and Star Trek: The Motion Picture, but for his RKO horror entries (The Curse of the Cat People and The Body Snatcher), his film noir (Born To Kill, The Set-Up, Odds Against Tomorrow), and two smaller science-fiction films from different decades, The Day the Earth Stood Still and The Andromeda Strain. All this and he also edited Citizen Kane.

• “This show makes an irrefutable case for her technical mastery while also affirming her as a first-rate fabulist whose disparate influences—chivalric romance, medieval architecture, tarot, psychology, astronomy, and much more—cohere into a visionary whole.” Jeremy Lybarger reviewing Science Fictions, the retrospective devoted to the art of Remedios Varo.

• New music: Improvisation On Four Sequences by Suzanne Ciani; Incorporeal by Hidden Horse; Atlas by Laurel Halo; Infinito (Version) by Moritz von Oswald.

While Ballard’s more outwardly conventional books may give us solider, more stable realities, what these realities often present…is a child (or childlike figure) frolicking against a backdrop provided by the destruction of an older order of reality that the world previously took for granted. It’s a cipher for his oeuvre as a whole: endlessly playing among the ruins, reassembling the broken or “found” pieces (styles, genres, codes, histories) with a passion rendered all the more intense and focused by the knowledge that it’s all—culture, the social order, the beliefs that underpin civilization—constructed, and can just as easily be unconstructed, reverse engineered back down to the barbaric shards from which it was cobbled together in the first place. To put it in Dorothean: In every context and at every level, Ballard’s gaze is fixed, fixated, on the man behind the curtain, not the wizard.

Tom McCarthy: JG Ballard’s Brilliant, Not “Good” Writing

• At Public Domain Review: Behold the Nebulous Smear: ‘Abd al-Rahman al-Sufi’s Illustrated Book of Fixed Stars (ca. 1430).

• At Unquiet Things: Shake, Shiver, and Shriek: The Haunted Gothic Nightmares of George Ziel.

• Winners of Nature TTL Photographer of the Year 2023.

• The Strange World of…Gavin Bryars

• Watch The Stars (1968) by Pentangle | Stars (1983) by Brian Eno with Daniel Lanois & Roger Eno | Kelly Watch The Stars (1997) by Air

Weekend links 674

The Far Side of the Moon, as photographed by NASA’s Lunar Reconnaissance Orbiter.

• “It goes against centuries of traditional belief to accept that the moon is barren, that it is indifferent, that it is innocent of any role in monthly spikes in the crime rate or in the cycles of menstrual unreason. When telescopic observation had found nothing on the near side (Roger Boscovich had established by 1753 that it lacks even an atmosphere), the far side still remained a site for the projection of fantasies of a different, neighbouring world.” Justin EH Smith working his way towards a history of the dark side of the moon.

• “It shocks me that movies still lean in so hard to all these outmoded gay narrative tropes: coming out, coming of age; very identity-oriented representations of gay characters. It’s much easier to represent a gay boy who’s repressed in high school and comes out and makes friends. It’s very mainstream, and kind of played out.” Bruce LaBruce on cinematic trends in relation to his new film, a gay-porn take on Pasolini’s Teorema.

• At Cartoon Brew: Pavel Sannikau explains how he developed his own techniques of digital animation in order to create the ever-expanding Floor796.

• There’s always more Poe: Mysterium, Incubus et Terror, Poe-inspired music by a variety of artists, plus illustrations by John D. Chadwick.

• At Smithsonian Magazine: The results of a themed contest in the Close-Up Photographer of the Year Challenge.

• Mixes of the week: In Praise of the Saddest Chord at Ambientblog, and The Funky Eno Pts 2 & 3 by DJ Food.

• Steven Heller talks to Hungarian artist István Orosz about his Escher-like drawings.

• At Unquiet Things: Caitlin McCormack’s ghostly chains of knotted memory.

• At Spoon & Tamago: Intricate and organic sculptures by ceramicist Eriko Inazaki.

• New music: Illumina by Call Super with Julian Holter.

• Dark Side Of The Mushroom (1967) by The Chocolate Watchband | Dark Side Of The Star (1984) by Haruomi Hosono | On The Dark Side Of The Sun (live) (2003) by Helios Creed

Weekend links 672

Le Vice Errant (1902) by Vincent Lorant-Heilbronn.

• “So however surreal those cities, the invisible ones that he builds, they have their counterpart in the real. They always have their counterpart in visible cities.” Darran Anderson on Italo Calvino’s Invisible Cities.

• At Wormwoodiana: Mark Valentine on the centenary of The Riddle and Other Stories by Walter de la Mare, with special attention paid to The Vats, a very strange story.

• New music: A Bad Attitude by African Head Charge; Lapsed Gasps by Push For Night + Jon Mueller; Forevervoiceless by Brian Eno.

The strands of medicine, consciousness expansion, intoxication, addiction, and crime were tightly entangled in fin-de-siècle Paris, where ether and chloroform circulated among bohemian demi-mondaines alongside morphine, opium, cocaine, hashish, and wormwood-infused absinthe. These solvents were often carried in small glass vials and medicine bottles by the asthmatic, tubercular, and neurasthenic, added to patent tonics and syrups, and, on occasion, to cocktails: an ether-soaked strawberry floating in champagne produced a heady rush, the fruit preventing the volatile liquid from evaporating too quickly. Literary references to ether abounded, either as a signifier of decadence or as a literary prop to shift a realistic narrative into the landscape of dreams and symbols, where its dissociative qualities became a portal to strange mental states, psychological hauntings, uncanny doublings, and slippages of space and time.

Mike Jay on Jean Lorrain and the ether dreams of fin-de-siècle Paris

• At Aquarium Drunkard: Jim Jarmusch and Carter Logan talk about the recording of Silver Haze, their first album as Sqürl.

• James Balmont offers a beginner’s guide to the films of Dario Argento.

• At Unquiet Things: Rachael Bridge’s Luminous, Technicolor Shadows.

• Mix of the week: A mix for The Wire by Erika.

• Ether Ships (1978) by Steve Hillage | Ether (1998) by Redshift | Ether (2000) by Coil