{"id":11459,"date":"2012-05-27T02:19:30","date_gmt":"2012-05-27T01:19:30","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=11459"},"modified":"2013-02-02T03:36:13","modified_gmt":"2013-02-02T03:36:13","slug":"weekend-links-110","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/05\/27\/weekend-links-110\/","title":{"rendered":"Weekend links 110"},"content":{"rendered":"

\"janke.jpg\"<\/a><\/p>\n

Til Eulenspiegel by\u00a0Urban Janke. From Twenty Postcards of the Wiener Werkst\u00e4tte<\/a> at 50 Watts.<\/em><\/p>\n

\u2022 Rorschach Audio<\/em> by Joe Banks<\/a> is “essential reading for everyone interested in air-traffic control, anechoic chambers, artificial oxygen carriers, audio art, bell-ringing, cocktail parties, cognitive science, communications interference, compost, the death penalty, Electronic Voice Phenomena, evangelism, evolutionary biology, experimental music, ghosts, the historiography of art, illusions of sound and illusions of language, lip-reading jokes, nuclear blast craters, predictive texting, singing hair, sonic archives, sound design, steam trains, tinnitus, the Turing Test, Victorian blood painting, visual depth and space perception, ultrasonic visual music, ventriloquism, voices and warehouse fires and robberies.”<\/p>\n

\u2022 “Freud did not understand female sexuality. Klimt did. Klimt\u2019s women please themselves. The realization that women have an independent sexual life was an insight in art.” Eric Kandel<\/a> discusses his new study The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present<\/em>.<\/p>\n

\u2022 Three new books already mentioned here receive further attention: Stan Persky<\/a> on Christopher Bram’s Eminent Outlaws : The Gay Writers Who Changed America<\/em>. | Matthew Aquilone<\/a> on Paul Russell’s The Unreal Life of Sergey Nabokov<\/em>. | Karin L. Kross<\/a> on the new translation of the Strugatsky’s Roadside Picnic<\/em>.<\/p>\n

The creative writing moment\/movement baffles me and it intrigues me. What does it signify, all this creative longing? And why through language? Specifically fiction, poetry, memoir? […] The crazy part of it is that we are breeding professional, competent, homogenised writers who will go on to teach writing that is professional, competent and homogenised. The intriguing part of it is whether this movement towards creativity and self-expression is really the start of a kind of Occupy \u2013 that it could be dangerous and confrontational, not homogenised at all.<\/p>\n

Dangerous? But then they won’t get published and win awards and get film deals and… Jeanette Winterson<\/a> prepares to teach creative writing at Manchester University.<\/em><\/p><\/blockquote>\n

\u2022 The Underground New York Public Library<\/a> is a visual library featuring the Reading-Riders of the NYC subways.<\/p>\n

\u2022 Hob<\/em><\/a> by No Man: “Constructed from soundtrack noises from both version of Quatermass and the Pit<\/em>.”<\/p>\n

\u2022 Stephen Thrower<\/a> talks about his soundtrack music for The Erotic Films of Peter De Rome<\/em>.<\/p>\n

\u2022 John Waters<\/a> surprises everyone by hitchhiking across the US.<\/p>\n

\u2022 Sounds & the City: An interview with Julia Holter<\/a>.<\/p>\n

\u2022 The Dead Dream of the Dirigible<\/a>.<\/p>\n

\u2022 Meditation<\/em><\/a> (1979) by Edward Artemyev.<\/p>\n","protected":false},"excerpt":{"rendered":"

Til Eulenspiegel by\u00a0Urban Janke. From Twenty Postcards of the Wiener Werkst\u00e4tte at 50 Watts. \u2022 Rorschach Audio by Joe Banks is “essential reading for everyone interested in air-traffic control, anechoic chambers, artificial oxygen carriers, audio art, bell-ringing, cocktail parties, cognitive science, communications interference, compost, the death penalty, Electronic Voice Phenomena, evangelism, evolutionary biology, experimental music, … Continue reading “Weekend links 110”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,4,29,7,5,22,3,20,13,15],"tags":[2329,3369,3722,3719,408,3718,1812,3372,3569,517,3721,7929,3269,3503,3048,3270,3720,2806,3717,1047],"class_list":["post-11459","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-electronica","category-film","category-gay","category-horror","category-music","category-science-fiction","category-science","category-technology","tag-50-watts","tag-christopher-bram","tag-edward-artemyev","tag-eric-kandel","tag-jeanette-winterson","tag-joe-banks","tag-john-waters","tag-julia-holter","tag-karin-l-kross","tag-manchester","tag-matthew-aquilone","tag-new-york-public-library","tag-paul-russell","tag-peter-de-rome","tag-quatermass","tag-sergey-nabokov","tag-stan-persky","tag-stephen-thrower","tag-urban-janke","tag-wiener-werkstatte"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2YP","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11459","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=11459"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11459\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=11459"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=11459"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=11459"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}