{"id":15287,"date":"2014-06-15T02:16:47","date_gmt":"2014-06-15T01:16:47","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15287"},"modified":"2023-04-29T13:17:11","modified_gmt":"2023-04-29T12:17:11","slug":"weekend-links-212","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/06\/15\/weekend-links-212\/","title":{"rendered":"Weekend links 212"},"content":{"rendered":"

\"non-format.jpg\"<\/a><\/p>\n

Poster for the recent Ballard-themed Only Connect Festival of Sound in Oslo. Design by Non-Format<\/a>.<\/em><\/p>\n

\u2022 Bulldozer<\/em> by Laird Barron<\/a> was my favourite piece in Lovecraft’s Monsters<\/em>, the recent Tachyon anthology edited by Ellen Datlow that I designed and illustrated<\/a>. So it’s good to hear that Nic Pizzolato, writer of the justly-acclaimed HBO series True Detective<\/em>, is among Barron’s readers<\/a>. True Detective<\/em>, of course, created a stir for referencing Robert Chambers’ weird fiction in a police procedural. The series is out now on DVD and Blu-ray<\/a>, and I can’t recommend it too highly.<\/p>\n

\u2022 Citation-obsessed Wikipedians don’t believe Hauntology<\/a> is a genuine musical genre, a sentiment which will probably surprise some of its practitioners. Whatever the merits of the argument, I rather like the idea of a musical form that resists strict definition.<\/p>\n

\u2022 “This year, in order to do things differently, I will make a conscious effort to separate the man from his writing.” Giovanna Calvino<\/a>, daughter of Italo Calvino, remembers her father.<\/p>\n

With ideology masquerading as pragmatism, profit is now the sole yardstick against which all our institutions must be measured, a policy that comes not from experience but from assumptions \u2013 false assumptions \u2013 about human nature, with greed and self-interest taken to be its only reliable attributes. In pursuit of profit, the state and all that goes with it is sold from under us who are its rightful owners and with a frenzy and dedication that call up memories of an earlier iconoclasm.<\/p>\n

Alan Bennett<\/a> delivers a sermon.<\/em><\/p><\/blockquote>\n

\u2022 Zarina Rimbaud-Kadirbaks<\/a>, aka Dutch Girl In London, reviews the Chris Marker exhibition that’s currently running at the Whitechapel Gallery, London.<\/p>\n

\u2022 Exteriorizing the Inner Realms: Christopher Laursen<\/a> talks to Phantasmaphile <\/a>and Abraxas<\/em> magazine<\/a>‘s Pam Grossman about occult art, past and present.<\/p>\n

\u2022 The Beast is back: Erik Davis talks to Gary Lachman<\/a> about his new book, Aleister Crowley: Magick, Rock and Roll, and the Wickedest Man in the World<\/em><\/a>.<\/p>\n

\u2022 The body as factory: anatomy of a New Scientist<\/em> cover image. Rick Poynor<\/a> on the recurrent use of a familiar visual metaphor.<\/p>\n

\u2022 Mix of the week without a doubt is FACT Mix 445 by Stephen O’Malley<\/a>, a three-hour behemoth.<\/p>\n

\u2022 Jennifer in paradise: Photoshop developer John Knoll<\/a> on the story of the first Photoshopped image.<\/p>\n

\u2022 The trailer for Grandfather of Gay Porn<\/em><\/a>, a documentary about Peter de Rome by Ethan Reid.<\/p>\n

\u2022 Giorgio’s Theme<\/em> is a new piece of electronic music by Giorgio Moroder<\/a>.<\/p>\n

\u2022 Agender<\/em>, a series of androgynous photo-portraits by Chloe Aftel<\/a>.<\/p>\n

\u2022 RIP Little Jimmy Scott<\/a><\/p>\n

\u2022 Evil Spirits<\/a><\/p>\n

\u2022 Chase<\/a><\/em> (1978) by Giorgio Moroder | Call Me<\/em><\/a> (1980) by Blondie | The Apartment<\/a><\/em> (1980) by Giorgio Moroder<\/p>\n","protected":false},"excerpt":{"rendered":"

Poster for the recent Ballard-themed Only Connect Festival of Sound in Oslo. Design by Non-Format. \u2022 Bulldozer by Laird Barron was my favourite piece in Lovecraft’s Monsters, the recent Tachyon anthology edited by Ellen Datlow that I designed and illustrated. So it’s good to hear that Nic Pizzolato, writer of the justly-acclaimed HBO series True … Continue reading “Weekend links 212”<\/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":[2,42,4,29,7,5,22,26,3,16,44,14,15,19,23],"tags":[1012,391,643,1605,6113,88,6110,1440,1686,6112,3104,1399,6108,4664,407,137,6111,5455,2027,6106,980,3552,3503,546,1463,469,1034,6107,6109],"class_list":["post-15287","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-electronica","category-film","category-gay","category-horror","category-lovecraft","category-music","category-occult","category-painting","category-politics","category-technology","category-television","category-work","tag-alan-bennett","tag-aleister-crowley","tag-androgyny","tag-blondie","tag-chloe-aftel","tag-chris-marker","tag-christopher-laursen","tag-ellen-datlow","tag-erik-davis","tag-ethan-reid","tag-gary-lachman","tag-giorgio-moroder","tag-giovanna-calvino","tag-hauntology","tag-italo-calvino","tag-jg-ballard","tag-john-knoll","tag-laird-barron","tag-little-jimmy-scott","tag-nic-pizzolato","tag-non-format","tag-pam-grossman","tag-peter-de-rome","tag-phantasmaphile","tag-rick-poynor","tag-robert-chambers","tag-stephen-omalley","tag-true-detective","tag-zarina-rimbaud-kadirbaks"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Yz","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15287","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=15287"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15287\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15287"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15287"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}