![\"moss.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/moss.jpg\")
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White, Red and Black (1949) by Marlow Moss.<\/em><\/p>\n \u2022 British television’s greatest director, Alan Clarke<\/a>, rates on the cult scale here for his work on Penda’s Fen<\/em><\/a> but his career was long, uncompromising and still hasn’t received the full appraisal it deserves. His more violent dramas\u2014Scum<\/em>, Made in Britain<\/em>, The Firm<\/em>, etc\u2014have all appeared on DVD but many of his less notorious films can be hard to find. Paul Duane<\/a> looks back at the remarkable Contact<\/em> (1985), an hour-long study of the conflict in Northern Ireland, and a better film about soldiering than any number of big-budget features.<\/p>\n \u2022 I’ve wondered for years why one of the Daft Punk helmets seemed so familiar. It’s because they swiped the design<\/a> from industrial designer and visual futurist, Syd Mead. Mark Wilson talked to Mead about wearable technology<\/a>; Mr Mead, it seems, isn’t impressed by the French popsters. Related: paintings from Mead’s<\/a> Sentinel<\/em> (1979), and Syd Mead designs at Pinterest<\/a>.<\/p>\n \u2022 Remembering that time in 1982 when Alan Moore interviewed Hawkwind<\/a>. More interviews: Adam Bychawski talks to Jenny Hval<\/a> about “sonic extremity, the violence of voyeurism and inhabiting bodies”, and\u00a0Laurent Fintoni talks to (that man again) Bernard Szajner<\/a> about Visions Of Dune<\/em>, laser shows, and finding his way back to music.<\/p>\n Our attitudes towards work are extremely schizophrenic: we secretly aspire to sloth, while we loudly praise work. There isn\u2019t an election poster that doesn\u2019t promise more jobs. The call for more work is similar to the Stockholm syndrome, in which the victims of hostage-taking eventually develop a positive relationship with their captors.<\/p>\n Patrick Spaet<\/a> on the universal employment fetish<\/em><\/p><\/blockquote>\n \u2022 “Marlow Moss was one of Britain\u2019s most important Constructivist artists…a radical lesbian and Drag King,” says\u00a0Dal Chodha<\/a>. An exhibition of Moss’s work has just opened at Tate Britain<\/a>. Related: Marlow Moss: forgotten art maverick<\/a>.<\/p>\n \u2022 Yuki Koshimoto<\/a> plays the Hang, aka the Spacedrum. Via Metafilter<\/a> where there are more Hang links. The instrument was prominently featured in the score Cliff Martinez<\/a> wrote for Solaris<\/em> (2002).<\/p>\n \u2022 Broadcast’s Trish Keenan would have been 46 last week. James Cargill<\/a> posted two demo songs for her birthday.<\/p>\n \u2022 At the BFI: Exclusive materials from the making of Powell and Pressburger\u2019s The Tales of Hoffmann<\/em><\/a>.<\/p>\n \u2022 Of Tutus and Tortures: Thoughts on the Decadent and the Weird by Christopher Burke<\/a>.<\/p>\n \u2022 Faber<\/a> has launched a Modern Classics imprint with some smart cover designs.<\/p>\n \u2022 At Dangerous Minds: Good to see big scans of the Surrealists’ playing cards<\/a>.<\/p>\n \u2022 Mix of the week: Afrofuturist Flowering by Nigel Rampant<\/a>.<\/p>\n \u2022 Writer and editor Russ Kick<\/a> has a new website.<\/p>\n \u2022 Infographic: Why Readers Still Prefer Paper<\/a>.<\/p>\n \u2022 Superficial Music 1\u20133<\/em><\/a> (1981) by Bernard Szajner | Fahrenheit 451<\/em><\/a> (1982) by Hawkwind | Black Lake<\/em><\/a> (2014) by Jenny Hval & Susanna<\/p>\n","protected":false},"excerpt":{"rendered":" White, Red and Black (1949) by Marlow Moss. \u2022 British television’s greatest director, Alan Clarke, rates on the cult scale here for his work on Penda’s Fen but his career was long, uncompromising and still hasn’t received the full appraisal it deserves. His more violent dramas\u2014Scum, Made in Britain, The Firm, etc\u2014have all appeared on … Continue reading “Weekend links 228”<\/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":[2,42,4,29,7,5,3,44,14,20,18,19],"tags":[6523,1115,103,2900,4158,6529,2975,5856,6527,355,222,2165,6212,6524,6525,6521,354,6530,6526,6522,1117,173,6213,1862,2163,6528],"class_list":["post-15817","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-electronica","category-film","category-gay","category-music","category-painting","category-politics","category-science-fiction","category-surrealism","category-television","tag-adam-bychawski","tag-alan-clarke","tag-alan-moore","tag-bernard-szajner","tag-broadcast-group","tag-christopher-burke","tag-cliff-martinez","tag-daft-punk","tag-dal-chodha","tag-emeric-pressburger","tag-hawkwind","tag-james-cargill","tag-jenny-hval","tag-laurent-fintoni","tag-mark-wilson","tag-marlow-moss","tag-michael-powell","tag-nigel-rampant","tag-patrick-spaet","tag-paul-duane","tag-pendas-fen","tag-russ-kick","tag-susanna-musician","tag-syd-mead","tag-trish-keenan","tag-yuki-koshimoto"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-477","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15817","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=15817"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15817\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15817"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15817"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15817"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}