{"id":16029,"date":"2014-11-23T02:42:57","date_gmt":"2014-11-23T01:42:57","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16029"},"modified":"2021-12-10T15:16:53","modified_gmt":"2021-12-10T15:16:53","slug":"weekend-links-235","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/11\/23\/weekend-links-235\/","title":{"rendered":"Weekend links 235"},"content":{"rendered":"

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

Shadows<\/a> (1974) by Pawel Nolbert & Lukasz Murgrabia, one of three images recreating Francis Bacon’s Triptych\u2013August 1972.<\/em><\/p>\n

\u2022 Breaking the Code<\/em><\/a> (1996), a BBC film by Herbert Wise based on\u00a0Hugh Whitemore’s stage play about Alan Turing. Wise’s film has been linked here before but it’s relevant again thanks to the release of The Imitation Game<\/em>. Derek Jacobi played Turing on stage and screen, and\u00a0Whitemore’s script managed to deal with Turing’s life and work without insulting the man<\/a> or the intelligence of its audience.<\/p>\n

\u2022 “…if you listen to A Beacon From Mars<\/em> by Kaleidoscope or if you listen to some Turkish taxim<\/em> then something starts happening.” Robert Plant<\/a> talking to Julian Marszalek about the music that excites him.<\/p>\n

\u2022 “CGI has become wearingly dull and clich\u00e9d. Can its deep weirdness be recovered and filmgoers\u2019 minds stretched again?” asks Jonathan Romney<\/a>.<\/p>\n

The cult of the Thirty-Seven Nats is unique to Burma. […] The junta\u2019s attempts to subdue nat worship had an unintended effect: the role of the nat wife was embraced by an already marginalized group. Homosexuality is illegal in Burma and has been since its British colonizers instituted a late-nineteenth-century ban on \u201cintercourse against the order of nature”. Government restrictions opened a professional vacuum, says scholar Tamara C. Ho. Becoming a nat kadaw offered the achauk<\/em>\u2014a Burmese term for gay and transgender men\u2014both “a vocation and queer visibility”.<\/p>\n

After the Green Death by Will Boast<\/a><\/em><\/p><\/blockquote>\n

\u2022 “Cat memes and other frivolities aren\u2019t the work of an Internet<\/em> culture. They\u2019re the work of an American<\/em> one, ” says Caitlin Dewey<\/a>.<\/p>\n

\u2022 Hear the cavernous reverb of Berlin’s Kraftwerk captured by Emptyset’s James Ginzburg and Yair Elazar Glotman<\/a>.<\/p>\n

\u2022 Take part in the first #psychedelicpride photoshoot<\/a> in central London on Saturday, December 13th.<\/p>\n

\u2022 Mix of the week: FACT Mix 470 by Jonny Trunk<\/a> who also appears in the list of vinyl hoarders below.<\/p>\n

\u2022 Queer Noise: Abigail Ward<\/a> on the history of LGB music and club culture in Manchester.<\/p>\n

\u2022 More photos<\/a> of the steampunk exhibition at 751 D-Park, Beijing, China.<\/p>\n

\u2022 A chronological list of synth scores & soundtracks<\/a>.<\/p>\n

\u2022 Animated photography by Julien Douvier<\/a>.<\/p>\n

\u2022 A Third Ear Band<\/a> archive at SoundCloud.<\/p>\n

\u2022 The secret lives of vinyl hoarders<\/a>.<\/p>\n

\u2022 Taxim<\/a><\/em> (1968) by Kaleidoscope | Water<\/a><\/em> (1970) by Third Ear Band | Love Is The Devil<\/a><\/em> (1998) by Ryuichi Sakamoto<\/p>\n","protected":false},"excerpt":{"rendered":"

Shadows (1974) by Pawel Nolbert & Lukasz Murgrabia, one of three images recreating Francis Bacon’s Triptych\u2013August 1972. \u2022 Breaking the Code (1996), a BBC film by Herbert Wise based on\u00a0Hugh Whitemore’s stage play about Alan Turing. Wise’s film has been linked here before but it’s relevant again thanks to the release of The Imitation Game. … Continue reading “Weekend links 235”<\/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":[8,2,851,29,7,5,3,12,17,31,20,15,19],"tags":[6711,706,6710,3579,3188,433,5517,6706,4130,6708,1060,6707,6712,574,5938,122,6705,6704,1887,1412,249,4435,6709,6689],"class_list":["post-16029","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-drugs","category-electronica","category-film","category-gay","category-music","category-photography","category-psychedelia","category-religion","category-science-fiction","category-technology","category-television","tag-abigail-ward","tag-alan-turing","tag-caitlin-dewey","tag-derek-jacobi","tag-emptyset","tag-francis-bacon-artist","tag-herbert-wise","tag-hugh-whitemore","tag-james-ginzburg","tag-jonathan-romney","tag-jonny-trunk","tag-julian-marszalek","tag-julien-douvier","tag-kaleidoscope","tag-kaleidoscope-us-group","tag-kraftwerk","tag-lukasz-murgrabia","tag-pawel-nolbert","tag-robert-plant","tag-ryuichi-sakamoto","tag-steampunk","tag-third-ear-band","tag-will-boast","tag-yair-elazar-glotman"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4ax","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16029","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=16029"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16029\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16029"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16029"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16029"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}