{"id":18965,"date":"2018-12-16T01:07:03","date_gmt":"2018-12-16T01:07:03","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18965"},"modified":"2018-12-16T01:07:03","modified_gmt":"2018-12-16T01:07:03","slug":"weekend-links-443","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2018\/12\/16\/weekend-links-443\/","title":{"rendered":"Weekend links 443"},"content":{"rendered":"

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

\u2022 Yet more Gorey: Mark Dery’s biography of the artist prompted The New Yorker<\/em> to unearth a piece of cover art<\/a> that Edward Gorey submitted 25 years ago. In the same magazine Joan Acocella<\/a> reviews Dery’s book and examines Gorey’s life and art. At Expanding Mind<\/a>, Erik Davis talks with Mark Dery about Surrealism, the gay voice, Penny Dreadfuls, and the occult and Taoist influences in Gorey’s work.<\/p>\n

\u2022 Moving Through Old Daylight<\/a>: Mark Fisher, Jim Jupp & Julian House of Ghost Box Recordings, and Iain Sinclair in conversation at the Roundhouse, Camden, London, 5 June 2010. Topics under discussion included Nigel Kneale, TC Lethbridge, John Foxx, BBC Radiophonic Workshop, alchemies of sound, the homogenisation of culture, imagining space and the impersistence of memory.<\/p>\n

\u2022 “A radical retelling of our relationship with the cosmos, reinventing the history of astronomy as a new form of astrological calendar.” The Space Oracle<\/a><\/em> by Ken Hollings.<\/p>\n

There was a deliberate, almost prickly quality to Fisher\u2019s writing and thinking that is rare nowadays, when criticism is more likely to involve open-minded rationalizing than steadfast refusal. He was not one to frolic in ambiguity or irony. \u201cJust because something is current doesn\u2019t mean it is new,\u201d he writes in K-Punk<\/em>, as he wonders if a time traveller from the nineties would find any contemporary music as radical as post-punk or jungle had once seemed to him. When everything is cheerfully \u201cretro,\u201d Fisher argued, we lose our grasp on history\u2014and, without a sense of why the past happened the way it did, our anything-goes embrace of \u201chappy hybridities\u201d is an empty gesture. \u201cWhat pop lacks now is the capacity for\u00a0nihilation<\/em>, for producing new potentials through the negation of what already exists,\u201d he writes.<\/p>\n

Hua Hsu on Mark Fisher’s K-Punk<\/a><\/em><\/p><\/blockquote>\n

\u2022 At Wormwoodiana: Mark Valentine<\/a> on The Wind Protect You<\/em> (1946), a novel by Pat Murphy which Mark describes as a forgotten precursor of Watership Down<\/em>.<\/p>\n

\u2022 “At once tiny and huge: what is this feeling we call ‘sublime’?” Sandra Shapshay<\/a> explores the Romantic aesthetic.<\/p>\n

\u2022 Dennis Cooper<\/a>‘s favourite fiction, poetry, non-fiction, film, art, and internet of 2018. Thanks again for the link here!<\/p>\n

\u2022 Mixes of the week: XLR8R Podcast 572 by Nastia<\/a>, and FACT Mix 683 by Casino Versus Japan<\/a>.<\/p>\n

\u2022 A Child’s Voice<\/a><\/em> (1978) by David Thomson, an overlooked ghost story starring TP McKenna.<\/p>\n

\u2022 Jean Cocteau’s Orph\u00e9e<\/em><\/a> returns from the underworld via BFI blu-ray next month.<\/p>\n

\u2022 Rated SAVX: The Savage Pencil Scratchbook<\/a><\/em><\/p>\n

\u2022 Orpheus<\/a><\/em> (1967) by The Walker Brothers | Orpheus<\/a><\/em> (1987) by David Sylvian | Overture To Orpheus<\/a><\/em> (2003) by Colin Booth<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022 Yet more Gorey: Mark Dery’s biography of the artist prompted The New Yorker to unearth a piece of cover art that Edward Gorey submitted 25 years ago. In the same magazine Joan Acocella reviews Dery’s book and examines Gorey’s life and art. At Expanding Mind, Erik Davis talks with Mark Dery about Surrealism, the … Continue reading “Weekend links 443”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_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},"jetpack_post_was_ever_published":false},"categories":[2,42,29,7,5,22,48,43,3,44,14,13,19],"tags":[3517,9842,9843,411,486,3109,2313,1686,172,9519,218,132,1016,9837,1295,954,1615,953,2389,1405,2903,9841,263,9838,194,9839,1427,1406,2309,9840],"class_list":["post-18965","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-electronica","category-film","category-gay","category-horror","category-illustrators","category-magazines","category-music","category-painting","category-politics","category-science","category-television","tag-bfi","tag-casino-versus-japan","tag-colin-booth","tag-david-sylvian","tag-david-thomson","tag-dennis-cooper","tag-edward-gorey","tag-erik-davis","tag-ghost-box","tag-hua-hsu","tag-iain-sinclair","tag-jean-cocteau","tag-jim-jupp","tag-joan-acocella","tag-john-foxx","tag-julian-house","tag-k-punk","tag-ken-hollings","tag-mark-dery","tag-mark-fisher","tag-mark-valentine","tag-nastia","tag-nigel-kneale","tag-pat-murphy","tag-radiophonic-workshop","tag-sandra-shapshay","tag-savage-pencil","tag-tc-lethbridge","tag-the-walker-brothers","tag-tp-mckenna"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4VT","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18965","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=18965"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18965\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18965"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18965"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18965"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}