{"id":23503,"date":"2023-09-09T19:00:06","date_gmt":"2023-09-09T18:00:06","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=23503"},"modified":"2023-09-09T19:00:06","modified_gmt":"2023-09-09T18:00:06","slug":"weekend-links-690","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/09\/09\/weekend-links-690\/","title":{"rendered":"Weekend links 690"},"content":{"rendered":"

\"sosnowski.jpg\"<\/a>
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\nThe Voice of St. Teresa (1928) by Oskar Sosnowski.<\/em><\/p>\n

\u2022 The House is the Monster: Roger Corman\u2019s Poe Cycle forms “a body of work not only deeply coherent but uniquely inspired,” says Geoffrey O’Brien<\/a>.<\/p>\n

\u2022 Steven Heller’s font of the month is Amberwood<\/a>, while at The Daily Heller there’s a profile of Otto Bettmann<\/a>, “an unsung visionary of commercial art”.<\/p>\n

\u2022 At Public Domain review: The Works of Mars<\/em><\/a> (1671), plans for military architecture by Allain Manesson Mallet.<\/p>\n

The \u201cunderlying oneness of all things,\u201d the conviction \u201cthat everything is connected\u201d (Gravity’s Rainbow<\/em> 703), is a thesis that appeals to many mystics and even to some scientists, but Fort complains that the latter too quickly dismiss unexplainable coincidences, or feebly explain them away. Scorning \u201cscientific procedure\u201d and inept police investigations, Fort turns for answers to denizens of the occult\u2014poltergeists, invisible people, vampires, werewolves, miracle healers, fakirs, psychic criminals, dowsers\u2014and to such notions as teleportation, human-animal metamorphoses, spontaneous combustion and pyrokinesis, \u201cpsychic bombardment,\u201d telekinesis, animism, \u201csecret rays,\u201d telepathy, spirit-photography, clairvoyance, and modern instances of witchcraft.<\/p>\n

Steven Moore<\/a> in a perceptive essay about the overlooked connections between Thomas Pynchon, William Gaddis and Charles Fort. Having discussed Fort’s preoccupation with coincidences, the author notes that he shares a name with the late Steve Moore, former editor of Fortean Times magazine<\/em><\/p><\/blockquote>\n

\u2022 Pynchonesque headline of the week: The Paradox of the Radioactive Boars<\/a>.<\/p>\n

\u2022 James Balmont<\/a>\u2019s guide to the masterworks of New Taiwanese Cinema.<\/p>\n

\u2022 New music: Solo for Tamburium<\/em><\/a> by Catherine Christer Hennix.<\/p>\n

\u2022 Winners of Bird Photographer of the Year 2023<\/a>.<\/p>\n

\u2022 Idris Ackamoor\u2019s favourite music<\/a>.<\/p>\n

\u2022 Radio-Active <\/em><\/a>(1984) by Steps Ahead | Radioactivity<\/em> (William Orbit Remix)<\/a> (1991) by Kraftwerk | Radioactivity<\/em><\/a> (1998) by Hikasu<\/p>\n","protected":false},"excerpt":{"rendered":"

The Voice of St. Teresa (1928) by Oskar Sosnowski. \u2022 The House is the Monster: Roger Corman\u2019s Poe Cycle forms “a body of work not only deeply coherent but uniquely inspired,” says Geoffrey O’Brien. \u2022 Steven Heller’s font of the month is Amberwood, while at The Daily Heller there’s a profile of Otto Bettmann, “an … Continue reading “Weekend links 690”<\/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_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":[8,2,42,7,22,3,16,13,10],"tags":[13054,13060,11817,93,13052,13059,13057,10609,122,13051,13053,1890,13058,1536,13055,5991,13056,7064],"class_list":["post-23503","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-film","category-horror","category-music","category-occult","category-science","category-typography","tag-allain-manesson-mallet","tag-catherine-christer-hennix","tag-charles-fort","tag-edgar-allan-poe","tag-geoffrey-obrien","tag-hikasu","tag-idris-ackamoor","tag-james-balmont","tag-kraftwerk","tag-oskar-sosnowski","tag-otto-bettmann","tag-roger-corman","tag-steps-ahead","tag-steven-heller","tag-steven-moore","tag-thomas-pynchon","tag-william-gaddis","tag-william-orbit"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-675","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23503","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=23503"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23503\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23503"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23503"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23503"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}