{"id":20632,"date":"2021-06-05T20:19:29","date_gmt":"2021-06-05T19:19:29","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20632"},"modified":"2021-06-05T20:19:29","modified_gmt":"2021-06-05T19:19:29","slug":"weekend-links-572","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2021\/06\/05\/weekend-links-572\/","title":{"rendered":"Weekend links 572"},"content":{"rendered":"

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

L’Insolite (1980) by Jean-Marie Poumeyrol.<\/em><\/p>\n

\u2022 “As we move down the ladder of prestige into the world of unvetted tweets, we observe an increasing difficulty, among people with very strong opinions, in exercising that basic critical competence of distinguishing between the authorial creation of a character, and the author\u2019s affirmation of that character\u2019s every moral trait and political view.” Justin EH Smith<\/a> on the HR managers of the human soul.<\/p>\n

\u2022 “When is a Didone not a Didone? How far must an exemplar Didone, like a Didot or a Bodoni, be altered before it loses its \u2018Didoneness\u2019?” John Boardley<\/a> on the vexed question of font classification, and the need for an alternative to the present system.<\/p>\n

\u2022 “Birds with Human Faces<\/em> and Birds with Human Souls<\/em> share shelf space with The Book of Owls<\/em> and Expert Obedience Training for Dogs<\/em>…” Joanna Moorhead<\/a> visits the Casa Estudio Leonora Carrington in Mexico City.<\/p>\n

“Indolent” is a funny way to characterize her natural state, which seems more like “incisive” to me, but I also have the unshakable sense\u2014for myself\u2014that writing can\u2019t or shouldn\u2019t look like staring into space or feel like not wanting to move from the couch. \u201cA fraud is being perpetrated: writing is not work, it\u2019s doing nothing,\u201d she states in that first essay, from 1992. But she immediately counters with, \u201cIt\u2019s not a fraud: doing nothing is what I have to do to live.\u201d Listing a few more pertinent existential options, Diski ends with, \u201cOr: writing is what I have to do to be my melancholy self.\u201d The protoplasmic, chattering, melancholic \u201cI\u201d of these essays is, of course, the collection\u2019s constant, its true subject. I can commiserate with her on every page even if emulation is out of reach.<\/p>\n

Johanna Fateman<\/a> on the incisive long-form criticism of Jenny Diski<\/em><\/p><\/blockquote>\n

\u2022 At Spine: Vyki Hendy<\/a> identifies sunburst as a new trend in book cover design. I often think I overuse these things in my own cover designs which means I may be inadvertently (and fleetingly) trendy.<\/p>\n

\u2022 At the Magnum Gallery, London: Metamorphoses<\/em>, photographic studies by Herbert List<\/a> of male bodies and Greek statuary.<\/p>\n

\u2022 At Spoon & Tamago: A butterfly sipping moisture from puddles, sculpted entirely in wood by Toru Fukuda<\/a>.<\/p>\n

\u2022 At Dangerous Minds: Joseph Lanza<\/a> on the easy listening side of psychedelic pop.<\/p>\n

\u2022 At CounterPunch: Louis Proyect<\/a> on thinking like an octopus.<\/p>\n

\u2022 Mix of the week: Fact Mix 510 by Britton Powell<\/a>.<\/p>\n

\u2022 Bye Bye Butterfly<\/a><\/em> (1965) by Pauline Oliveros | Butterfly Mornings<\/a><\/em> (2001) by Hope Sandoval & The Warm Inventions | Butterfly Caught<\/a><\/em> (2003) by Massive Attack<\/p>\n","protected":false},"excerpt":{"rendered":"

L’Insolite (1980) by Jean-Marie Poumeyrol. \u2022 “As we move down the ladder of prestige into the world of unvetted tweets, we observe an increasing difficulty, among people with very strong opinions, in exercising that basic critical competence of distinguishing between the authorial creation of a character, and the author\u2019s affirmation of that character\u2019s every moral … Continue reading “Weekend links 572”<\/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 572","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":[2,42,4,5,3,44,12,14,17,13,41,18,10],"tags":[11530,1952,11526,8553,5114,4543,2576,11525,7423,11528,6921,731,11529,812,7464,11527,11084],"class_list":["post-20632","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-gay","category-music","category-painting","category-photography","category-politics","category-psychedelia","category-science","category-sculpture","category-surrealism","category-typography","tag-britton-powell","tag-cephalopods","tag-herbert-list","tag-hope-sandoval-the-warm-inventions","tag-jean-marie-poumeyrol","tag-jenny-diski","tag-joanna-moorhead","tag-johanna-fateman","tag-john-boardley","tag-joseph-lanza","tag-justin-eh-smith","tag-leonora-carrington","tag-louis-proyect","tag-massive-attack","tag-pauline-oliveros","tag-toru-fukuda","tag-vyki-hendy"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5mM","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20632","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=20632"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20632\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20632"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20632"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}