Tree Shadows on the Park Wall, Roundhay, Leeds (1872) by John Atkinson Grimshaw.
• “In many cases, the rules of physics that apply in a real scene appear to be optional in a painting; they can be obeyed or ignored at the discretion of the artist to enhance the painting’s intended effect.” An extract from The Visual World of Shadows by Roberto Casati and Patrick Cavanagh, in which the authors examine some of the rule-breaking that takes place when artists are dealing with shadows in paintings. I mentioned this aspect of artistic licence in a recent interview, making the point that meticulously accurate light and shade is a tell-tale sign of AI art.
• Orson Welles’ unfinished film of Don Quixote is back in the news again. Welles spent twenty years shooting scenes when he had the time and the money, and I seem to have spent an equivalent time reading about attempts to release the film. Any assembled footage will lack Welles’ bravura editing but I’d still like to see it.
• Read an extract from Still In A Dream: Shoegaze, Slackers And The Reinvention Of Rock, 1984–994 by Simon Reynolds.
• Mixes of the week: King Tubby – The Heaviest Dubs – A DJ Mix by Mista Savona, and Bleep Mix #319 by Yu Su.
• “What makes music psychedelic?” James McKeown on the music of Terry Riley.
• At the BFI: Gayle Sequeira selects 10 great films about dinner parties.
• Steven Heller’s font of the month is Loopy.
• The Strange World of…King Tubby.
• Shadows (1967) by The Leather Boy | The Never-Deserting Shadow (1991) by Jarboe | Moon Shadows (2001) by Laraaji
