{"id":3077,"date":"2008-05-01T01:54:11","date_gmt":"2008-05-01T00:54:11","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/2008\/05\/01\/max-eastleys-musical-sculptures\/"},"modified":"2008-05-01T01:54:11","modified_gmt":"2008-05-01T00:54:11","slug":"max-eastleys-musical-sculptures","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/05\/01\/max-eastleys-musical-sculptures\/","title":{"rendered":"Max Eastley’s musical sculptures"},"content":{"rendered":"

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

left: Aeolian Harp; right: Wind Flute.\u00a0<\/em><\/p>\n

The Wire<\/em><\/a> has a selection of Max Eastley<\/a>-related materials among the web exclusives on its site. As well as a photo gallery<\/a> showing many of his musical instrument\/artworks there’s a couple of video clips including part of Simon Reynell’s 1989 film, Clocks of the Midnight Hours<\/em><\/a>. (Title borrowed from a poem by Borges.)<\/p>\n

And as you’d expect there’s Eastley work to be seen and heard at YouTube as well, including an extract<\/a> from Derek Bailey’s excellent documentary series about improvised music, On the Edge<\/em>. For Eastley on record I’d recommend his 1994 CD with David Toop, Buried Dreams<\/em><\/a>, but that seems to be out of print for the time being.<\/p>\n

Previously on { feuilleton }
\n\u2022 The Avant Garde Project<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

left: Aeolian Harp; right: Wind Flute.\u00a0 The Wire has a selection of Max Eastley-related materials among the web exclusives on its site. As well as a photo gallery showing many of his musical instrument\/artworks there’s a couple of video clips including part of Simon Reynell’s 1989 film, Clocks of the Midnight Hours. (Title borrowed from … Continue reading “Max Eastley’s musical sculptures”<\/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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,27,3,41],"tags":[412,140],"class_list":["post-3077","post","type-post","status-publish","format-standard","hentry","category-art","category-borges","category-music","category-sculpture","tag-david-toop","tag-max-eastley"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-ND","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3077","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=3077"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3077\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=3077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=3077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=3077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}