{"id":13765,"date":"2013-05-12T01:29:58","date_gmt":"2013-05-12T00:29:58","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=13765"},"modified":"2013-05-12T05:47:02","modified_gmt":"2013-05-12T04:47:02","slug":"weekend-links-159","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/05\/12\/weekend-links-159\/","title":{"rendered":"Weekend links 159"},"content":{"rendered":"

\"francov2.jpg\"<\/a><\/p>\n

El Banquete Magn\u00e9tico (2011) by Cristina Francov<\/a>.<\/em><\/p>\n

\u2022 Did Vertigo<\/em> Introduce Computer Graphics to Cinema?<\/a> asks Tom McCormack. He means Saul Bass’s title sequence which mostly uses still harmonographs but also features some animated moments by John Whitney.<\/p>\n

\u2022\u00a0 Temple of the Vanities by Thomas Jorion<\/a>. “Pictured here are political monuments and munitions depots, hulking concrete forms that marked the edges of empires.” Related: Paintings by Minoru Nomata<\/a>.<\/p>\n

\u2022 Musical reminiscences: Matt Domino<\/a> on the Small Faces’ psychedelic magnum opus Ogden’s Nut Gone Flake<\/em>, and Richard Metzger<\/a> on the sombre splendours of Tuxedomoon.<\/p>\n

Harrison is best known as one of the restless fathers of modern SF, but to my mind he is among the most brilliant novelists writing today, with regard to whom the question of genre is an irrelevance. To read his work is to encounter fiction doing what fiction must: carrying out the kinds of thinking and expression that would be possible in no other form. I pass through his novels feeling a mixture of wonder, calmness and disturbance; I end them brain-jarred and unsettled. Metaphysical echoes persist for days afterwards. It feels as if I have had a strabismus induced, causing illusions that slowly resolve into insights.<\/p>\n

Robert Macfarlane<\/a> on M. John Harrison and the reissue of Climbers.<\/em><\/p><\/blockquote>\n

\u2022\u00a0Divine Machinery: An Interview with Paul Jebanasam<\/a>. Arvo P\u00e4rt, Cormac McCarthy and Algernon Blackwood are folded into his new album, Rites<\/em>.<\/p>\n

\u2022 Autostraddle<\/a> shows the evolution of twelve queer book cover designs. As is often the case in cover design, latest isn’t always best.<\/p>\n

\u2022 “My Definition Of Hell? It\u2019s Other People, At The Cinema!” Anne Billson<\/a> on the very thing that finished me as a cinema-goer.<\/p>\n

\u2022 “London in the 1830s was a truly weird and terrifying place.” Spring-Heeled Jack, The Terror of London<\/a><\/em>.<\/p>\n

\u2022 At Scientific American<\/em>: The Reading Brain in the Digital Age: The Science of Paper versus Screens<\/a>.<\/p>\n

\u2022 Van Dyke Parks<\/a>: “I was victimised by Brian Wilson’s buffoonery.”<\/p>\n

\u2022 Colour film of London in 1927<\/a>.<\/p>\n

\u2022 Abandonedography<\/a><\/p>\n

\u2022 Social Dead Zone<\/a><\/p>\n

\u2022 Tuxedomoon: Tritone (Musica Diablo)<\/em><\/a> (1980) | Desire<\/a> (1981)<\/em> | Incubus (Blue Suit)<\/em><\/a> (1981)<\/p>\n","protected":false},"excerpt":{"rendered":"

El Banquete Magn\u00e9tico (2011) by Cristina Francov. \u2022 Did Vertigo Introduce Computer Graphics to Cinema? asks Tom McCormack. He means Saul Bass’s title sequence which mostly uses still harmonographs but also features some animated moments by John Whitney. \u2022\u00a0 Temple of the Vanities by Thomas Jorion. “Pictured here are political monuments and munitions depots, hulking … Continue reading “Weekend links 159”<\/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":[52,8,2,42,4,29,7,5,3,44,12,17,15],"tags":[182,4179,4775,96,4758,351,2291,4770,4769,4774,4772,4773,436,4771,4037,4768,1611,3800],"class_list":["post-13765","post","type-post","status-publish","format-standard","hentry","category-animation","category-architecture","category-art","category-books","category-design","category-electronica","category-film","category-gay","category-music","category-painting","category-photography","category-psychedelia","category-technology","tag-algernon-blackwood","tag-anne-billson","tag-arvo-part","tag-cormac-mccarthy","tag-cristina-francov","tag-john-whitney","tag-m-john-harrison","tag-matt-domino","tag-minoru-nomata","tag-paul-jebanasam","tag-richard-metzger","tag-robert-macfarlane","tag-saul-bass","tag-small-faces","tag-thomas-jorion","tag-tom-mccormack","tag-tuxedomoon","tag-van-dyke-parks"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3A1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13765","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=13765"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13765\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=13765"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=13765"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=13765"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}