{"id":23351,"date":"2023-07-29T19:00:09","date_gmt":"2023-07-29T18:00:09","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=23351"},"modified":"2023-07-29T19:00:09","modified_gmt":"2023-07-29T18:00:09","slug":"weekend-links-684","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/07\/29\/weekend-links-684\/","title":{"rendered":"Weekend links 684"},"content":{"rendered":"

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

Playing cards designed in 1977 by Taro Okamoto.<\/em><\/p>\n

\u2022 “This practice of looking does not prioritise academic or historical perspectives on art. It is divorced from the artist, the industry and the formal study of the arts. By paying attention to the form, title and other perceptible \u2018clues\u2019 in the work, this practice is primarily interested in using the intuitive, sensory, suggestive and aleatory to engage in conversation with a creative work. The point is not to develop an answer, an interpretation that \u2018settles\u2019 the \u2018question\u2019 of the painting, or to intellectualise the work in terms of form, style, history or the concerns of the artist. Rather, in this practice, a piece of art or writing becomes a test or opportunity for working one\u2019s imagination\u2014an exercise in making associations.” Aparna Chivukula<\/a> on choosing art over wellness apps.<\/p>\n

\u2022 “But with the discourse about the limitations of moralizing steadily growing, the question of an alternative naturally arises. The critics of self-righteousness and trauma mongering are for the most part not calling for a return to the amoral ironism that governed the Nineties and early Aughts\u2014the sensibility that surely gave rise, at least in part, to the overgrowth of didacticism that followed. But if not this, then what? Where do we go from here?” Anastasia Berg<\/a> on “the aesthetic turn”.<\/p>\n

\u2022 “…by choosing ordinary creatures, the fabulist naturalises the stories in a world that is close to hand, which helps the writer communicate opinions that are often subversive.” Marina Warner<\/a> on Kalilah wa-Dimnah<\/em> and the animal fable.<\/p>\n

\u2022 Coming soon from Strange Attractor: Austin Osman Spare<\/em><\/a>, a revised and expanded edition of Phil Baker’s excellent biography of the artist\/occultist.<\/p>\n

\u2022 At Rarefilmm: The Marat\/Sade<\/em><\/a> (1967), Peter Brook’s film (previously<\/a>) of the 1965 Broadway production of Peter Weiss’s play.<\/p>\n

\u2022 New music: Hostile Environment<\/em><\/a> by Creation Rebel, and Tone Maps<\/em><\/a> by Field Lines Cartographer.<\/p>\n

\u2022 Mixes of the week: Isolatedmix 122<\/a> by Mary Yalex, and XLR8R Podcast 810<\/a> by Zaumne.<\/p>\n

\u2022 At Dennis Cooper’s: Pierre Clementi<\/a> Day.<\/p>\n

\u2022 Sade Masoch<\/em><\/a> (1968) by Bobby Callender | On Sadism<\/em><\/a> (1979) by Material | Sadistic<\/em><\/a> (1995) by Stereolab<\/p>\n","protected":false},"excerpt":{"rendered":"

Playing cards designed in 1977 by Taro Okamoto. \u2022 “This practice of looking does not prioritise academic or historical perspectives on art. It is divorced from the artist, the industry and the formal study of the arts. By paying attention to the form, title and other perceptible \u2018clues\u2019 in the work, this practice is primarily … Continue reading “Weekend links 684”<\/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":[2,42,4,29,21,7,3,16,44,14,46],"tags":[12993,12992,2469,8516,12994,8824,532,12995,2595,2601,3026,2470,12997,2407,8813,9392,12996],"class_list":["post-23351","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-electronica","category-fantasy","category-film","category-music","category-occult","category-painting","category-politics","category-theatre","tag-anastasia-berg","tag-aparna-chivukula","tag-austin-osman-spare","tag-bobby-callender","tag-creation-rebel","tag-field-lines-cartographer","tag-marina-warner","tag-mary-yalex","tag-material-group","tag-peter-brook","tag-peter-weiss","tag-phil-baker","tag-pierre-clementi","tag-stereolab","tag-strange-attractor-press","tag-taro-okamoto","tag-zaumne"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-64D","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23351","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=23351"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23351\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23351"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23351"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23351"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}