{"id":15000,"date":"2014-03-16T01:36:14","date_gmt":"2014-03-16T01:36:14","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15000"},"modified":"2014-03-16T01:37:43","modified_gmt":"2014-03-16T01:37:43","slug":"weekend-links-203","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/03\/16\/weekend-links-203\/","title":{"rendered":"Weekend links 203"},"content":{"rendered":"

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

A Dune-inspired piece by Joshua Budich<\/a> for In Dreams: an art show tribute to David Lynch<\/a> at Spoke Art.<\/em><\/p>\n

\u2022 “[Montague] Summers was a friend of Aleister Crowley and, like [Jacques d\u2019Adelsw\u00e4rd] Fersen, conducted homoerotic black masses; whatever eldritch divinity received their entreaties was evidently propitiated by nude youths.” Strange Flowers<\/a> goes in search of the Reverend Summers.<\/p>\n

\u2022 More Jarmania: Veronica Horwell<\/a> on the theatrical life of Derek Jarman, Paul Gallagher<\/a> on When Derek Jarman met William Burroughs, and Scott Treleaven<\/a> on Derek Jarman’s Advice to a Young Queer Artist.<\/p>\n

\u2022 Robert Henke<\/a> of Monolake talks to Secret Thirteen about his electronic music. More electronica: analogue-synth group Node have recorded a new album<\/a>, their first since their debut in 1995.<\/p>\n

This hypertrophied response to decay and dilapidation is what drives the “ruin gaze”, a kind of steroidal sublime that enables us to enlarge the past because we cannot enlarge the present. When ruin-meister Giovanni Piranesi introduced human figures into his “Views of Rome”, they were always disproportionately small in relation to his colossal (and colossally inaccurate) wrecks of empire. It’s not that Piranesi, an architect, couldn’t do the maths: he wasn’t trying to document the remains so much as translate them into a grand melancholic view. As Marguerite Yourcenar put it, Piranesi was not only the interpreter but “virtually the inventor of Rome’s tragic beauty”. His “sublime dreams”, Horace Walpole said, had conjured “visions of Rome beyond what it boasted even in the meridian of its splendour”.<\/p>\n

Frances Stonor Saunders<\/a> on How ruins reveal our deepest fears and desires.<\/em><\/p><\/blockquote>\n

\u2022 Gustave Dor\u00e9. L’imaginaire au pouvoir<\/a>: Four short films from the Mus\u00e9e d’Orsay to accompany their current exhibition, Gustave Dor\u00e9 (1832\u20131883): Master of Imagination<\/a>.<\/p>\n

\u2022 At Dangerous Minds: Remembering Cathy Berberian<\/a>, the hippest\u2014and funniest\u2014lady of avant-garde classical music.<\/p>\n

\u2022 \u201cMerely a Man of Letters\u201d: Jorge Luis Borges<\/a> interviewed in 1977 by Denis Dutton & Michael Palencia-Roth.<\/p>\n

\u2022 Luke Epplin<\/a> on Big as Life<\/em> (1966), a science-fiction novel by EL Doctorow which the author has since disowned.<\/p>\n

\u2022 The Psychomagical Realism of Alejandro Jodorowsky<\/a>: Eric Benson talks to the tireless polymath.<\/p>\n

\u2022 A video essay by Matt Zoller Seitz<\/a> for the 10th anniversary of David Milch’s Deadwood<\/em>.<\/p>\n

\u2022 Eugene Brennan<\/a> on Scott Walker’s The Climate of Hunter<\/em> (1984).<\/p>\n

\u2022 Dune<\/a><\/em> at Pinterest.<\/p>\n

\u2022\u00a0Prophecy Theme from Dune<\/a><\/em> (1984) by Brian Eno | Olivine<\/a><\/em> (1995) by Node | Gobi 110 35′ south 45 58′<\/a><\/em> (1999) by Monolake<\/p>\n","protected":false},"excerpt":{"rendered":"

A Dune-inspired piece by Joshua Budich for In Dreams: an art show tribute to David Lynch at Spoke Art. \u2022 “[Montague] Summers was a friend of Aleister Crowley and, like [Jacques d\u2019Adelsw\u00e4rd] Fersen, conducted homoerotic black masses; whatever eldritch divinity received their entreaties was evidently propitiated by nude youths.” Strange Flowers goes in search of … Continue reading “Weekend links 203”<\/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":[8,2,42,29,7,5,48,3,16,20,19],"tags":[391,718,145,3042,265,5889,5890,5885,511,1706,5892,5891,5884,593,3360,2101,1483,5882,5887,1836,5888,5886,880,5842,4592,824,2633,4448,139,144,3103,2274,2419,5883,1190],"class_list":["post-15000","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-electronica","category-film","category-gay","category-illustrators","category-music","category-occult","category-science-fiction","category-television","tag-aleister-crowley","tag-alejandro-jodorowsky","tag-brian-eno","tag-cathy-berberian","tag-david-lynch","tag-david-milch","tag-deadwood","tag-denis-dutton","tag-derek-jarman","tag-el-doctorow","tag-eric-benson","tag-eugene-brennan","tag-frances-stonor-saunders","tag-gustave-dore","tag-horace-walpole","tag-jacques-dadelsward-fersen","tag-jorge-luis-borges","tag-joshua-budich","tag-luke-epplin","tag-marguerite-yourcenar","tag-matt-zoller-seitz","tag-michael-palencia-roth","tag-monolake","tag-monolake-musician","tag-montague-summers","tag-musee-dorsay","tag-node-group","tag-paul-gallagher","tag-piranesi","tag-robert-henke","tag-scott-treleaven","tag-scott-walker","tag-strange-flowers","tag-veronica-horwell","tag-william-burroughs"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3TW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15000","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=15000"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15000\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15000"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15000"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15000"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}