{"id":20437,"date":"2021-03-13T20:13:37","date_gmt":"2021-03-13T20:13:37","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20437"},"modified":"2021-03-13T20:13:37","modified_gmt":"2021-03-13T20:13:37","slug":"weekend-links-560","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/03\/13\/weekend-links-560\/","title":{"rendered":"Weekend links 560"},"content":{"rendered":"

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

The Fallen Angels Entering Pandemonium, from \u2018Paradise Lost\u2019, Book 1 (c.1841) by John Martin.<\/em><\/p>\n

\u2022 “Herg\u00e9’s heirs sue artist over his Tintin\/Edward Hopper mashups.<\/a>” The complaint is that the paintings of Xavier Marabout<\/a> besmirch Tintin’s character by making him seem\u2026human? Silly. I’d sooner complain that Herg\u00e9’s ligne claire<\/em> drawing style is an awkward match for Hopper’s realism. And besides which, isn’t Tintin gay?<\/a> There’s a lot<\/em> of wish-fulfilling slash art showing Tintin and Captain Haddock in a closer relationship than Herg\u00e9 ever would have wanted. This Canadian magazine cover<\/a> by Normand Bastien dates from 1987.<\/p>\n

\u2022 “Everyone wanted to make products that looked fast and angry and maybe wanted to lay eggs in your brain.” Alexis Berger<\/a> tells S. Elizabeth how she avoided years stuck in a design office by becoming a jeweller instead.<\/p>\n

\u2022 New music: Chiaroscuro<\/em><\/a> by Alessandro Cortini, and Frequencies For Leaving Earth Vol. 4<\/em><\/a> (One-Hour Loop) by Kevin Richard Martin & Pedro Maia.<\/p>\n

The Willows<\/em> is less a flight of fancy and more an attempt to articulate the ways in which what we dubiously still call \u201cnature\u201d is at once an object of human systems of knowledge and yet also something that undermines those same systems. Thus if The Willows<\/em> is indeed a classic of \u201csupernatural horror\u201d (as HP Lovecraft would famously note), we might also be justified in calling it \u201cnatural horror\u201d as well. In Blackwood\u2019s wonderfully slow, patiently constructed scenes of atmospheric suspense, there is the sense of an impersonal sublime, a lyricism of the unhuman that shores up the limitations of anthropocentric thinking, as well as evoking the attendant smallness of human beings against the backdrop of this deep time perspective.<\/p>\n

Eugene Thacker<\/a> on how Algernon Blackwood turned nature into sublime horror<\/em><\/p><\/blockquote>\n

\u2022 Women of Letters: John Boardley<\/a> talks to Lynne Yun, Deb Pang Davis, Coleen Baik and Duong Nguyen about their typographic designs.<\/p>\n

\u2022 At Google Arts & Culture: Music, Makers & Machines: A brief history of electronic music<\/a>.<\/p>\n

\u2022 At The Public Domain Review: The Universe as Pictured in Milton\u2019s Paradise Lost<\/em><\/a> (1915).<\/p>\n

\u2022 Beyond the Perseverance drone: Chloe Lula<\/a> on the sounds of space.<\/p>\n

\u2022 At Wormwoodiana: Colour<\/em> magazine (1914\u20131932)<\/a>.<\/p>\n

\u2022 Wyrd Daze<\/em> Lvl.4 FOUR STAR is here<\/a>.<\/p>\n

\u2022 At Dennis Cooper’s: Hell<\/a>.<\/p>\n

\u2022 O Willow Waly<\/a><\/em> (1961) by Isla Cameron And The Raymonde Singers | Cool Iron<\/a><\/em> (1972) by The Willows | The Willows<\/a><\/em> (2005) by Belbury Poly<\/p>\n","protected":false},"excerpt":{"rendered":"

The Fallen Angels Entering Pandemonium, from \u2018Paradise Lost\u2019, Book 1 (c.1841) by John Martin. \u2022 “Herg\u00e9’s heirs sue artist over his Tintin\/Edward Hopper mashups.” The complaint is that the paintings of Xavier Marabout besmirch Tintin’s character by making him seem\u2026human? Silly. I’d sooner complain that Herg\u00e9’s ligne claire drawing style is an awkward match for … Continue reading “Weekend links 560”<\/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":"New blog post: Weekend links 560","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":[2,42,9,4,29,5,22,43,3,44,31,13,10],"tags":[11270,11269,182,3319,11277,11275,11274,3109,11276,3025,11266,1687,11278,7423,2342,9036,11271,11273,11268,11272,1852,11279,9067,5379,11267],"class_list":["post-20437","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-comics","category-design","category-electronica","category-gay","category-horror","category-magazines","category-music","category-painting","category-religion","category-science","category-typography","tag-alessandro-cortini","tag-alexis-berger","tag-algernon-blackwood","tag-belbury-poly","tag-chloe-lula","tag-coleen-baik","tag-deb-pang-davis","tag-dennis-cooper","tag-duong-nguyen","tag-eugene-thacker","tag-herge","tag-hp-lovecraft","tag-isla-cameron-and-the-raymonde-singers","tag-john-boardley","tag-john-martin","tag-john-milton","tag-kevin-richard-martin","tag-lynne-yun","tag-normand-bastien","tag-pedro-maia","tag-s-elizabeth","tag-the-willows-group","tag-wormwoodiana","tag-wyrd-daze","tag-xavier-marabout"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5jD","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20437","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=20437"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20437\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}