{"id":14204,"date":"2013-08-25T02:30:51","date_gmt":"2013-08-25T01:30:51","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14204"},"modified":"2013-08-26T02:23:58","modified_gmt":"2013-08-26T01:23:58","slug":"weekend-links-174","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/08\/25\/weekend-links-174\/","title":{"rendered":"Weekend links 174"},"content":{"rendered":"

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

Dress (2012) by Nao Ikuma<\/a>.<\/em><\/p>\n

\u2022 Two of my Cthulhu artworks can currently be seen in the Ars Necronomica exhibition<\/a> at the Cohen Gallery, Brown University, Providence, RI. The exhibition is part of NecronomiCon, and runs to September 13th. In related news, my steampunk illustration has been nominated in the Visual category of this year’s Airship Awards<\/a>. Winners will be announced at Steamcon V in October.<\/p>\n

\u2022 “…the story of how a small cabal of British jazz obsessives conducting a besotted affair with the style arcana of Europe and America somehow became an army of scooter-borne rock fans…” Ian Penman<\/a> looks back at the culture of Mod for the LRB.<\/p>\n

\u2022 “What is it about the writer in the First World that wants the Third World writer to be nakedly political, a blunt instrument bludgeoning his world\u2019s ills?” Gina Apostol<\/a> on Borges, Politics, and the Postcolonial.<\/p>\n

If someone had designed a work regime perfectly suited to maintaining the power of finance capital, it\u2019s hard to see how they could have done a better job. Real, productive workers are relentlessly squeezed and exploited. The remainder are divided between a terrorised stratum of the, universally reviled, unemployed and a larger stratum who are basically paid to do nothing, in positions designed to make them identify with the perspectives and sensibilities of the ruling class (managers, administrators, etc) \u2013 and particularly its financial avatars \u2013 but, at the same time, foster a simmering resentment against anyone whose work has clear and undeniable social value. Clearly, the system was never consciously designed. It emerged from almost a century of trial and error. But it is the only explanation for why, despite our technological capacities, we are not all working 3\u20134 hour days.<\/p>\n

On the Phenomenon of Bullshit Jobs by David Graeber<\/a><\/em><\/p><\/blockquote>\n

\u2022 Ron Rosenbaum<\/a> talks to Al Pacino about all the usual stuff, and reveals some detail about the actor’s obsessive interest in Oscar Wilde’s Salom\u00e9<\/em>.<\/p>\n

\u2022 More queer history: The Brixton Fairies and the South London Gay Community Centre<\/a>, Brixton 1974\u20136.<\/p>\n

\u2022 At Dangerous Minds: Anthony Burgess and the Top Secret Code in A Clockwork Orange<\/em><\/a><\/p>\n

\u2022 Every day for 100 days, Jessica Svendsen<\/a> redesigned a Josef M\u00fcller-Brockmann poster.<\/p>\n

\u2022 LondonTypographica<\/a>: Mapping the typographic landscape of London.<\/p>\n

\u2022 Mix of the week: Secret Thirteen Mix 083 by Demdike Stare<\/a>.<\/p>\n

\u2022 At Strange Flowers: Alfred Kubin the writer<\/a>.<\/p>\n

\u2022 Derek Jarman’s sketchbooks<\/a>.<\/p>\n

\u2022 Rick Poynor<\/a> on Collage Now.<\/p>\n

\u2022 Thomas Leer: Private Plane<\/a><\/em> (1978) | Tight As A Drum<\/a><\/em> (1981) | Heartbeat<\/a><\/em> (1985)<\/p>\n","protected":false},"excerpt":{"rendered":"

Dress (2012) by Nao Ikuma. \u2022 Two of my Cthulhu artworks can currently be seen in the Ars Necronomica exhibition at the Cohen Gallery, Brown University, Providence, RI. The exhibition is part of NecronomiCon, and runs to September 13th. In related news, my steampunk illustration has been nominated in the Visual category of this year’s … Continue reading “Weekend links 174”<\/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":[2,42,27,1029,4,29,7,5,26,3,14,46,10,23],"tags":[170,2351,1592,998,104,3155,2609,511,5108,5107,5110,1483,1759,5106,116,1463,5109,123,249,2419,2001],"class_list":["post-14204","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-borges","category-collage","category-design","category-electronica","category-film","category-gay","category-lovecraft","category-music","category-politics","category-theatre","category-typography","category-work","tag-a-clockwork-orange","tag-al-pacino","tag-alfred-kubin","tag-anthony-burgess","tag-cthulhu","tag-david-graeber","tag-demdike-stare","tag-derek-jarman","tag-gina-apostol","tag-ian-penman","tag-jessica-svendsen","tag-jorge-luis-borges","tag-josef-muller-brockmann","tag-nao-ikuma","tag-oscar-wilde","tag-rick-poynor","tag-ron-rosenbaum","tag-salome","tag-steampunk","tag-strange-flowers","tag-thomas-leer"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3H6","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14204","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=14204"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14204\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14204"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14204"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14204"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}