![\"nguyen.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/nguyen.jpg\")
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From the Beautiful Faces series (2012) by Tran Nguyen<\/a>.<\/em><\/p>\n \u2022 “What possessed a generation of young European artists, and a few Americans, to suddenly suppress recognizable imagery in pictures and sculptures? Unthinkable at one moment, the strategy became practically compulsory in the next.” Peter Schjeldahl<\/a> on the birth of abstraction.<\/p>\n \u2022 “A profanely mystical work of hyperpurple theory-porn,\u00a0ObliviOnanisM<\/em><\/a>\u00a0is an auto-erotic intellectual fiction envisioning the phantastical unending odyssey of a young woman, Gemma, whom you will never know.”<\/p>\n \u2022 Psychedelia\u2014An Ancient Culture, A Modern Way of Life<\/em><\/a>, a 520-page history of psychedelic culture by Patrick Lundborg. Related: Ken Kesey<\/a> talks about the meaning of the Acid Tests.<\/p>\n [Hodges] made a convincing case that Turing\u2019s teenage crush on a fellow schoolboy, Christopher Morcom, was an important catalyst for his lifelong preoccupation with the relationship between brain and mind. Morcom\u2019s unexpected death at the age of eighteen was a shattering blow to Turing, who began to reflect on whether his friend\u2019s consciousness might survive after death or whether it was simply a result of complex material processes and expired when life did. Hodges also linked the famous \u201cTuring Test\u201d, in which a computer attempts to pass as an intelligent human being, to Turing\u2019s own dilemma as a gay man in a homophobic world. (Turing called his test the \u201cimitation game\u201d, and Hodges observed, \u201clike any homosexual man, he was living an imitation game, not in the sense of conscious play acting, but by being accepted as a person that he was not\u201d.)<\/p>\n Michael Saler<\/a> reviews three books about computing pioneer Alan Turing<\/em><\/p><\/blockquote>\n \u2022\u00a0Paul Gallagher<\/a> at Dangerous Minds looks at Flowers<\/em>, Lindsay Kemp’s theatrical staging of Genet’s Our Lady of the Flowers<\/em>.<\/p>\n \u2022 David Pearson<\/a> designed a new edition of George Orwell’s Nineteen Eighty-Four<\/em> for Penguin.<\/p>\n \u2022 Quadtone \u2013 Lumisonic Rotera<\/em>: Mariska de Groot<\/a> plays a light-to-sound instrument.<\/p>\n \u2022 “Cash Mobs” Go Global\u2014Battle Spreads Against Chain Store Dominance<\/a>.<\/p>\n \u2022 Cities and the Soul<\/a>: a feast of Italo Calvino links at MetaFilter.<\/p>\n \u2022 25 dessins d’un dormeur<\/em><\/a>, Jean Cocteau, 1929.<\/p>\n \u2022 Haunted Decor<\/a>: a Flickr group.<\/p>\n \u2022 Computer In Love<\/a><\/em> (1966) by Perrey & Kingsley | Computer Love<\/a><\/em> (1981) by Kraftwerk | Computer Love<\/a><\/em> (1992) by The Balanescu Quartet<\/p>\n","protected":false},"excerpt":{"rendered":" From the Beautiful Faces series (2012) by Tran Nguyen. \u2022 “What possessed a generation of young European artists, and a few Americans, to suddenly suppress recognizable imagery in pictures and sculptures? Unthinkable at one moment, the strategy became practically compulsory in the next.” Peter Schjeldahl on the birth of abstraction. \u2022 “A profanely mystical work … Continue reading “Weekend links 141”<\/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":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,4,851,29,7,5,3,12,14,17,15,46],"tags":[706,3373,3555,1055,395,407,132,751,323,122,1178,4449,4447,4446,4448,4450,4445,6371,4444],"class_list":["post-12908","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-drugs","category-electronica","category-film","category-gay","category-music","category-photography","category-politics","category-psychedelia","category-technology","category-theatre","tag-alan-turing","tag-balanescu-quartet","tag-dangerous-minds","tag-david-pearson","tag-george-orwell","tag-italo-calvino","tag-jean-cocteau","tag-jean-genet","tag-ken-kesey","tag-kraftwerk","tag-lindsay-kemp","tag-mariska-de-groot","tag-michael-saler","tag-patrick-lundborg","tag-paul-gallagher","tag-perrey-kingsley","tag-peter-schjeldahl","tag-the-balanescu-quartet","tag-tran-nguyen"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3mc","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/12908","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=12908"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/12908\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=12908"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=12908"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=12908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}