{"id":14566,"date":"2013-12-01T02:33:40","date_gmt":"2013-12-01T02:33:40","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14566"},"modified":"2013-12-01T06:31:57","modified_gmt":"2013-12-01T06:31:57","slug":"weekend-links-188","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/12\/01\/weekend-links-188\/","title":{"rendered":"Weekend links 188"},"content":{"rendered":"

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

The Baron in the Trees (2011), a book-cut sculpture by Su Blackwell<\/a>.<\/em><\/p>\n

Kurt Andersen<\/a> at Vanity Fair<\/em> examines the latest claims that Vermeer used a combination of lenses and mirrors to aid the creation of his remarkable paintings. David Hockney<\/a> caused a considerable fuss in 2006 when he made similar assertions. Andersen recounts how Tim Jenison (who isn’t an artist) decided to test the hypothesis by building a replica of the room from Vermeer’s The Music Lesson<\/em><\/a> (1662\u201365) which he then painted with the assistance of a lens-and-mirror apparatus. I’m agnostic on this issue, and don’t regard it as a devaluing of the work of Vermeer (or any other artist) if some special apparatus was used to help create the paintings; artists for centuries have been using whatever technology was available<\/a>.<\/p>\n

One point which isn’t mentioned in the article: lens optics were being developed to a high standard in the Netherlands during Vermeer’s time. One of the developers of the microscope, Antonie van Leeuwenhoek<\/a>, was a contemporary of Vermeer’s in Delft, and is even alleged to be portrayed in some of the artist’s paintings.<\/p>\n

\u2022 Before Alfred Hitchcock’s film and Daphne Du Maurier’s short story, The Birds<\/em> was an “eerie yet satirical and rather metaphysical novel” by Frank Baker, inspired in part by Arthur Machen. Michael Dirda<\/a> reviews a new edition. Related: “The Day of the Claw: A Synoptic Account of Alfred Hitchcock\u2019s The Birds<\/em>“, an essay by Ken Mogg<\/a> examining avian menace through the ages.<\/p>\n

\u2022 Kevin Brownlow and Carl Davis<\/a> on how they brought Abel Gance’s 270-minute silent masterwork, Napoleon<\/em> (1927), back to the screen.<\/p>\n

Finally, he was asked about the growth of surveillance and the militarization of the police.<\/p>\n

\u201cThe phenomenon itself shouldn\u2019t be surprising\u2014the scale was surprising\u2014but the phenomenon itself is as American as apple pie,\u201d Chomsky said. \u201cYou can be confident that any system of power is going to use technology against its enemy: the population. Power systems seek short-term domination and control, not security.\u201d<\/p>\n

Matthew Robare<\/a> on “American Anarchist” Noam Chomsky in (of all places) The American Conservative.<\/em><\/p><\/blockquote>\n

\u2022 “Why the hell wouldn\u2019t I?” Evan J. Peterson<\/a> on reading\/performing his poetry in public, and his new book, The Midnight Channel<\/em><\/a>.<\/p>\n

\u2022 The adversaria of Google Books<\/a>: captured mark of the hand and digitization as rephotography.<\/p>\n

\u2022 No surprise that the rabies-haunted town of Scarfolk<\/a> is soon to have its history fixed in print.<\/p>\n

\u2022 Mazzy Star<\/a> made a rare TV appearance last week, playing a song from their recent album.<\/p>\n

\u2022 The Sorcerer<\/em> Blog<\/a> is obsessively devoted to William Friedkin’s cult film.<\/p>\n

\u2022 Unexpected Artefacts: Pushing the envelope with Bristol\u2019s Emptyset<\/a>.<\/p>\n

\u2022 Mix of the week: Secret Thirteen Mix 097 by Lee Gamble<\/a>.<\/p>\n

\u2022 At PingMag: Ryokudo\u2014Tokyo\u2019s Green Roads<\/a>.<\/p>\n

\u2022 Norman Records’ Top 50 albums of 2013<\/a>.<\/p>\n

\u2022 Birds Of Fire<\/em><\/a> (1973) by Mahavishnu Orchestra | Attack Of The Killer Birds<\/a><\/em> (2006) by \u00c9milie Simon | One Thousand Birds<\/a><\/em> (2012) by Six Organs of Admittance<\/p>\n","protected":false},"excerpt":{"rendered":"

The Baron in the Trees (2011), a book-cut sculpture by Su Blackwell. Kurt Andersen at Vanity Fair examines the latest claims that Vermeer used a combination of lenses and mirrors to aid the creation of his remarkable paintings. David Hockney caused a considerable fuss in 2006 when he made similar assertions. Andersen recounts how Tim … Continue reading “Weekend links 188”<\/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":[8,2,42,29,7,22,3,44,14,41,15],"tags":[5442,416,5435,197,5441,5436,2144,881,3188,1035,5437,5433,5439,5440,5432,5445,3873,5443,2427,5438,5444,4979,4555,3932,5431,5434,3225],"class_list":["post-14566","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-electronica","category-film","category-horror","category-music","category-painting","category-politics","category-sculpture","category-technology","tag-abel-gance","tag-alfred-hitchcock","tag-antonie-van-leeuwenhoek","tag-arthur-machen","tag-carl-davis","tag-daphne-du-maurier","tag-david-hockney","tag-emilie-simon","tag-emptyset","tag-evan-j-peterson","tag-frank-baker","tag-johannes-vermeer","tag-ken-mogg","tag-kevin-brownlow","tag-kurt-andersen","tag-lee-gamble","tag-mahavishnu-orchestra","tag-matthew-robare","tag-mazzy-star","tag-michael-dirda","tag-noam-chomsky","tag-pingmag","tag-scarfolk","tag-six-organs-of-admittance","tag-su-blackwell","tag-tim-jenison","tag-william-friedkin"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3MW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14566","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=14566"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14566\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}