{"id":15365,"date":"2014-07-06T02:19:48","date_gmt":"2014-07-06T01:19:48","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15365"},"modified":"2019-03-31T00:09:15","modified_gmt":"2019-03-31T00:09:15","slug":"weekend-links-215","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/07\/06\/weekend-links-215\/","title":{"rendered":"Weekend links 215"},"content":{"rendered":"

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

Julian House artwork for Other Voices, a new singles series on the Ghost Box label. Other Voices 01<\/a> is a collaboration between Sean O’Hagan of the High Llamas and Jon Brooks of The Advisory Circle.<\/em><\/p>\n

Last week I linked to a copy Zadie Smith’s new introduction for Crash<\/em> by JG Ballard. That piece could only be read in full by NYRB subscribers but this week the Guardian<\/em> has the full text<\/a>:<\/p>\n

I was in college when the Daily Mail<\/em> went to war with [David Cronenberg’s] movie, and found myself unpleasantly aligned with the censors, my own faux-feminism existing in a Venn diagram with their righteous indignation. We were both wrong: Crash<\/em> is not about humiliating the disabled or debasing women, and in fact the Mail<\/em>‘s campaign is a chilling lesson in how a superficial manipulation of liberal identity politics can be used to silence a genuinely protesting voice, one that is trying to speak for us all.<\/p><\/blockquote>\n

Related: Thomas Jones<\/a> in 2008 reviewing Miracles of Life<\/em>:<\/p>\n

Despite all the bodily fluids spurted and smeared onto wrecked dashboards, the problem isn\u2019t that it\u2019s too pornographic but that it isn\u2019t pornographic enough: the novel is too conscious of the deeper meaning of the sex and violence for the sex and violence to work as elements in themselves.<\/p><\/blockquote>\n

The fetishisation of Ballard’s novel (and Ballard’s fetishes) show no signs of abating: B-Movie (Ballardian Video Neuronica)<\/em><\/a>, is a short film by John Foxx, Karborn and Jonathan Barnbrook.<\/p>\n

\u2022 Last Thursday I was watching a live performance by Pye Corner Audio and Not Waving, so it’s good to find this mix<\/a> by the pair surfacing in the same week. Kudos to the latter for choosing something by Chrome. More mixes: FACT mix 468 by Throwing Snow<\/a>, and Secret Thirteen mix 120 by Dr\u00f8p<\/a>.<\/p>\n

\u2022 Ellen Datlow’s horror anthology, Lovecraft’s Monsters<\/em>, continues to gather plaudits. Among recent reviews there’s Matt Barone<\/a> at Complex who included the book in his Year’s Best Genre Fiction Books (So Far) list, and also praised my illustrations.<\/p>\n

In recent years, many of the people on book covers have been women without faces. So prevalent is this visual clich\u00e9 that the publishing industry has cycled through at least two well-documented iterations. The first, the Headless Woman, features some poor thing cut off above the neck, like the swimsuit-clad beachgoer on Alice Munro\u2019s story collection \u201cThe View from Castle Rock.\u201d The website Goodreads\u2019s Headless Women<\/a> page has 416 entries. Last year, the Headless Woman was supplanted by the Sexy Back, in which a woman is shown from behind, often gazing out over a vista.<\/p>\n

Eugenia Williamson<\/a> on the packaging of books for a female readership.<\/em><\/p><\/blockquote>\n

\u2022 The latest Taschen volume from Dian Hanson, editor of (among other titles) The Big Penis Book<\/em>, is My Buddy. World War II Laid Bare<\/a><\/em>, featuring photos from the archives of\u00a0Michael Stokes. World of Wonder<\/a> has pages from the interior.<\/p>\n

\u2022 I Have Walked This Body<\/em> by Jenny Hval and Susanna<\/a> is a track from a forthcoming album inspired by Maya Deren and Alexander Hammid’s Meshes of the Afternoon<\/em><\/a>. It sounds fantastic so I’m looking forward to hearing more.<\/p>\n

\u2022 If you have a spare half-million dollars, and don’t mind the possibility of possession by murderous supernatural entities, the Palmer house from Twin Peaks<\/em> <\/a>is for sale.<\/p>\n

\u2022 Read an extract from Season of the Witch: How the Occult Saved Rock and Roll<\/em> by Peter Bebergal<\/a>.<\/p>\n

\u2022 The Stars and Their Courses<\/a>: over six hours of the Nevada night sky in 4k definition.<\/p>\n

\u2022 Lee Siegel<\/a> on the fraught friendship of TS Eliot and Groucho Marx.<\/p>\n

\u2022 Harmony Korine talked to Kenneth Anger<\/a> for Interview Magazine<\/em>.<\/p>\n

\u2022 New Scientist<\/a><\/em>: How magic mushrooms induce a dream-like state.<\/p>\n

\u2022 3D-print your own Marcel Duchamp chess set<\/a>.<\/p>\n

\u2022 Scott O)))<\/a><\/p>\n

\u2022 Crash<\/a><\/em> (1980) by Tuxedomoon | Burning Car<\/em><\/a> (1980) by John Foxx | A Crash At Every Speed<\/a><\/em> (1994) by Disco Inferno | Burning Car<\/em><\/a> (Dubterror Remix, 2008) by John Foxx<\/p>\n","protected":false},"excerpt":{"rendered":"

Julian House artwork for Other Voices, a new singles series on the Ghost Box label. Other Voices 01 is a collaboration between Sean O’Hagan of the High Llamas and Jon Brooks of The Advisory Circle. Last week I linked to a copy Zadie Smith’s new introduction for Crash by JG Ballard. That piece could only … Continue reading “Weekend links 215”<\/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":[8,2,42,4,851,29,7,5,22,3,16,12,13,19,23],"tags":[6214,3534,2207,1971,6217,6208,6218,1440,6210,172,6216,5029,6212,137,1295,1017,982,954,6205,401,6215,1200,6209,192,6211,6206,1018,4222,2274,9997,2147,9396,6213,1253,6204,2912,6207,468,1611,2021,5371],"class_list":["post-15365","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-design","category-drugs","category-electronica","category-film","category-gay","category-horror","category-music","category-occult","category-photography","category-science","category-television","category-work","tag-alexander-hammid","tag-chrome-group","tag-david-cronenberg","tag-dian-hanson","tag-disco-inferno","tag-drop","tag-dubterror","tag-ellen-datlow","tag-eugenia-williamson","tag-ghost-box","tag-groucho-marx","tag-harmony-korine","tag-jenny-hval","tag-jg-ballard","tag-john-foxx","tag-jon-brooks","tag-jonathan-barnbrook","tag-julian-house","tag-karborn","tag-kenneth-anger","tag-lee-siegel","tag-marcel-duchamp","tag-matt-barone","tag-maya-deren","tag-michael-stokes","tag-not-waving","tag-peter-bebergal","tag-pye-corner-audio","tag-scott-walker","tag-sean-ohagan-musician","tag-sunn-o","tag-susanna","tag-susanna-musician","tag-the-advisory-circle","tag-the-high-llamas","tag-thomas-jones","tag-throwing-snow","tag-ts-eliot","tag-tuxedomoon","tag-twin-peaks","tag-zadie-smith"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3ZP","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15365","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=15365"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15365\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}