{"id":14845,"date":"2014-02-02T02:24:44","date_gmt":"2014-02-02T02:24:44","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14845"},"modified":"2014-02-02T02:24:44","modified_gmt":"2014-02-02T02:24:44","slug":"weekend-links-197","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/02\/02\/weekend-links-197\/","title":{"rendered":"Weekend links 197"},"content":{"rendered":"

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

Posters by Jay Shaw<\/a> for Ben Wheatley’s A Field in England which receives a US release<\/a> this month.<\/em><\/p>\n

\u2022 Alvin Baltrop’s Gay New York<\/a>: “the clandestine activities taking place under New York piers between 1975 and 1986”. AnOther samples some of the work on display at the Open Eye Gallery<\/a>, Liverpool. Meanwhile, BUTT has some shots from Texas Porno Road Trip<\/em><\/a>, a photo series by Mike McLeod<\/a>. Related: HBO will show you anything but a male erection, says Justin Moyer<\/a>.<\/p>\n

\u2022 “[Robert] Desnos quickly proved himself to be one of the most gifted in these experiments \u2013 eventually known as \u2018the period of sleeping fits\u2019. He was capable of writing, speaking, drawing and composing entire fantastical narratives.” Eugene Thacker<\/a> on the Surrealist s\u00e9ances of the 1920s.<\/p>\n

\u2022 “It’s history, not a viral feed,” says Sarah Werner<\/a>. A complaint about the way the ongoing decontextualisation of images is both pernicious and potentially lucrative.<\/p>\n

His prose is a palimpsest of echoes, ranging from Eliot\u2019s Preludes<\/em> and Rhapsody on a Windy Night<\/em> (lines like \u201cMidnight shakes the memory \/ As a madman shakes a dead geranium\u201d are Burroughsian before the fact) to Raymond Chandler\u2019s marmoreal wisecracks and Herbert Huncke\u2019s jive. I suspect that few readers have made it all the way through the cut-up novels, but anyone dipping into them may come away humming phrases. His palpable influence on JG Ballard, William Gibson, and Kathy Acker is only the most obvious effect of the kind of inspiration that makes a young writer drop a book and grab a pen, wishing to emulate so sensational a sound. It\u2019s a cold thrill.<\/p>\n

Peter Schjeldahl<\/a> reviews Call Me Burroughs by Barry Miles.<\/em><\/p><\/blockquote>\n

\u2022 “Dance music was born in LGBT communities, but has this been forgotten?”\u00a0Luis-Manuel Garcia<\/a> on an alternate history of sexuality in club culture.<\/p>\n

\u2022 Avant-Grade Hallucinogens: the Poetics of Psychedelic Perception in Moving Image Art by Stuart Heaney<\/a>.<\/p>\n

\u2022 No Condition Is Permanent<\/a>: weekly radio shows from Count Reeshard at LuxuriaMusic<\/a> and iTunes.<\/p>\n

\u2022 The Golem<\/em>: where fact and fiction collide. David Barnett<\/a> on 100 years of Gustav Meyrink’s novel.<\/p>\n

\u2022 Don\u2019t Let Harlan Ellison Hear This: Nick Mamatas<\/a> on a great writer.<\/p>\n

\u2022 Mix of the week: the Ela Orleans Mix<\/a> at A Sound Awareness.<\/p>\n

\u2022 Amon D\u00fc\u00fcl II<\/a> playing live on French TV, 1971 & 1973.<\/p>\n

\u2022 A soundmap<\/a> of London canals and minor rivers.<\/p>\n

\u2022 The Peculiar Underworld of Rare-Book Thieves<\/a>.<\/p>\n

\u2022 At Pinterest: William Burroughs<\/a> and Phalluses<\/a>.<\/p>\n

\u2022 Architecture of Doom<\/a><\/p>\n

\u2022 Hallucinations<\/a><\/em> (1967) by Tim Buckley | Phallus Dei<\/a><\/em> (1969) by Amon D\u00fc\u00fcl II | Hallucinations (In Memory of Reinaldo Arenas)<\/a><\/em> (1994) by Paul Sch\u00fctze<\/p>\n","protected":false},"excerpt":{"rendered":"

Posters by Jay Shaw for Ben Wheatley’s A Field in England which receives a US release this month. \u2022 Alvin Baltrop’s Gay New York: “the clandestine activities taking place under New York piers between 1975 and 1986”. AnOther samples some of the work on display at the Open Eye Gallery, Liverpool. Meanwhile, BUTT has some … Continue reading “Weekend links 197”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_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},"jetpack_post_was_ever_published":false},"categories":[8,2,42,28,4,851,29,21,7,5,3,16,12,20,18],"tags":[5718,2169,5674,4936,5726,5727,3025,358,59,5717,137,5721,3001,5724,5720,5469,465,4445,5722,5723,5725,180,1190,1757],"class_list":["post-14845","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-burroughs","category-design","category-drugs","category-electronica","category-fantasy","category-film","category-gay","category-music","category-occult","category-photography","category-science-fiction","category-surrealism","tag-alvin-baltrop","tag-amon-duul-ii","tag-barry-miles","tag-ben-wheatley","tag-david-barnett","tag-ela-orleans","tag-eugene-thacker","tag-gustav-meyrink","tag-harlan-ellison","tag-jay-shaw","tag-jg-ballard","tag-justin-moyer","tag-kathy-acker","tag-luis-manuel-garcia","tag-mike-mcleod","tag-nick-mamatas","tag-paul-schutze","tag-peter-schjeldahl","tag-robert-desnos","tag-sarah-werner","tag-stuart-heaney","tag-tim-buckley","tag-william-burroughs","tag-william-gibson"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Rr","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14845","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=14845"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14845\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14845"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14845"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14845"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}