{"id":14371,"date":"2013-10-06T02:36:30","date_gmt":"2013-10-06T01:36:30","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14371"},"modified":"2013-10-06T02:36:30","modified_gmt":"2013-10-06T01:36:30","slug":"weekend-links-180","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/10\/06\/weekend-links-180\/","title":{"rendered":"Weekend links 180"},"content":{"rendered":"

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

One of Jonathan Andrew<\/a>‘s photos of coastal bunkers and concrete defences from the Second World War. In 2006 JG Ballard<\/a> looked at the way these structures embody the functional nature of Modernist architecture.<\/em><\/p>\n

\u2022 “Utamaro, whose prints of famous courtesans were regarded as the very models of sober beauty by 19th-century Western collectors, in fact produced more Shunga books and albums than non-erotic works.” Adrian Hamilton<\/a> on the Shunga: Sex and Pleasure in Japanese Art<\/em> exhibition.<\/p>\n

\u2022 “…in Samoa, as in many traditional cultures around the world, androphilic males occupy a special transgendered category.” Alice Dreger<\/a> on gay male couples and evolution.<\/p>\n

\u2022 Robert Fuest’s film of Michael Moorcock’s first Jerry Cornelius novel, The Final Programme<\/em><\/a> (1973), is out on (Region 2) DVD this month.<\/p>\n

Masked by reticence and cloaked in tweeds, [Herbert] Read was the unexpectedly ardent and frighteningly prolific champion of nearly everything that was radical in the first half of the twentieth century: Imagism, Surrealism, abstraction, the Bauhaus, Marxism, anarchism, Freud and Jung, progressive education, Gandhian nonviolent resistance. Though now somewhat dimly remembered, he was, for decades, the Victoria Station of the arts, England\u2019s primary explainer of the modern.<\/p>\n

Eliot Weinberger<\/a> introduces Herbert Read’s strange fantasy novel, The Green Child (1935).<\/em><\/p><\/blockquote>\n

\u2022 KW Jeter’s steampunk novel Fiendish Schemes<\/em> is published (with my cover art) by Tor on the 15th. There’s an extract here<\/a>.<\/p>\n

\u2022 Mix of the week: An early Halloween mix (and interview) from Joseph Stannard of The Outer Church<\/a>.<\/p>\n

\u2022 At Dangerous Minds: Codex Seraphinianus<\/em><\/a>: A New Edition of the Strangest Book in the World.<\/p>\n

\u2022 A trailer<\/a> for the forthcoming Blu-ray release of Murnau’s Nosferatu: A Symphony of Horror<\/em>.<\/p>\n

\u2022 Kenneth Halliwell: lover, killer\u2026 artist? Philip Hoare<\/a> on the collages of Joe Orton’s partner.<\/p>\n

\u2022 Clive Hicks-Jenkins looks back at Cocteau’s La Belle et la B\u00eate<\/em> here<\/a>, here<\/a> and here<\/a>.<\/p>\n

\u2022 Anastasia Ivanova<\/a>‘s photo portraits of lesbian couples in Russia.<\/p>\n

\u2022 Christopher Fox<\/a> on electronic music’s sound of futures past.<\/p>\n

\u2022 At Strange Flowers: Melchior Lechter’s book designs<\/a>.<\/p>\n

\u2022 Vaughan Oliver<\/a>‘s favourite 4AD album covers.<\/p>\n

\u2022 Swinging Sixties Japanese film posters<\/a>.<\/p>\n

\u2022 John Foxx’s favourite albums<\/a><\/p>\n

\u2022 Beauty And The Beast<\/a><\/em> (1977) by David Bowie | Slow Motion<\/em><\/a> (1978) by Ultravox | I Am The Green Child<\/a><\/em> (2000) by Coil<\/p>\n","protected":false},"excerpt":{"rendered":"

One of Jonathan Andrew‘s photos of coastal bunkers and concrete defences from the Second World War. In 2006 JG Ballard looked at the way these structures embody the functional nature of Modernist architecture. \u2022 “Utamaro, whose prints of famous courtesans were regarded as the very models of sober beauty by 19th-century Western collectors, in fact … Continue reading “Weekend links 180”<\/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":[8,2,42,1029,4,29,21,7,5,22,3,12,20],"tags":[5265,3537,5270,5271,767,2272,1301,5268,5269,5267,132,2611,137,2963,1295,5263,2164,2964,1753,1063,65,592,1388,249,2419,2960,2210,5264,1465],"class_list":["post-14371","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-collage","category-design","category-electronica","category-fantasy","category-film","category-gay","category-horror","category-music","category-photography","category-science-fiction","tag-adrian-hamilton","tag-alice-dreger","tag-anastasia-ivanova","tag-christopher-fox","tag-clive-hicks-jenkins","tag-coil-group","tag-david-bowie","tag-eliot-weinberger","tag-fw-murnau","tag-herbert-read","tag-jean-cocteau","tag-jerry-cornelius","tag-jg-ballard","tag-joe-orton","tag-john-foxx","tag-jonathan-andrew","tag-joseph-stannard","tag-kenneth-halliwell","tag-kw-jeter","tag-melchior-lechter","tag-michael-moorcock","tag-philip-hoare","tag-robert-fuest","tag-steampunk","tag-strange-flowers","tag-the-outer-church","tag-ultravox","tag-utamaro","tag-vaughan-oliver"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3JN","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14371","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=14371"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14371\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14371"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14371"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}