![\"peterloo.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2010\/12\/peterloo.jpg\")
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Manchester, August, 1819<\/a>: yeomanry on horseback charge a crowd of demonstrators; London, November, 2010<\/a>: Mounted police charge <\/em>demonstrators<\/em>; London, December, 2010<\/a>: “…police horses have charged the crowd once and appear to be about to do so again.”<\/em><\/p>\n Rise like lions after slumber Percy Shelley, The Masque of Anarchy<\/em><\/a> (1819).<\/p><\/blockquote>\n \u2022 Amid the rest of the week’s tumult, discussion and activity around the censoring of David Wojnarowicz’s A Fire in My Belly<\/em> film at the National Portrait Gallery, Washington DC, continues to rumble on. I’d missed this appraisal of the exhibition<\/a> at The Smart Set. Hide\/Seek<\/em>: Too shocking for America<\/a> features an interview with Jonathan Katz, co-creator of the exhibition in the eye of the storm:<\/p>\n “When,” Katz asks, “will the decent majority of Americans stand against a fringe that sees censorship as a replacement for debate?” Hide\/Seek<\/em> sought to conquer what Katz calls “the last acceptable prejudice in American political life” \u2013 but the conservative right, rampant after last month’s midterm elections, won’t relinquish their prejudices without a fight. And so, “an exhibition explicitly intended to break a 21-year blacklist against the representation of same-sex desire,” says a dispirited Katz, “now finds itself in the same boat.”<\/p><\/blockquote>\n Related: Q&A with Hide\/Seek<\/em> curators Jonathan Katz and David C. Ward<\/a>. The Smithsonian Institution issued a fatuous statement<\/a> saying they stand by the exhibition despite having forced the removal of one of its works. One of the NPG commissioners resigned<\/a> in protest at the gallery’s capitulation to political pressure. Other protestors were banned from the Smithsonian<\/a> after playing a video of the work on an iPad. There’s video of the iPad protest here<\/a> and the protestors have their own blog<\/a>. In my earlier post on the subject<\/a> I noted that the actions of censorious Catholics have given Wojnarowicz’s work far more public exposure than it would otherwise receive. The LATimes<\/em> has details of some of the galleries<\/a> throughout the US showing the video as a result of its removal in Washington.<\/p>\n \u2022 Related to the above, Bruce Sargeant and His Circle: Figure and Form<\/em><\/a>, a book by artist Mark Beard<\/a> about the work of his “Bruce Sargeant” alter ego. Homotography has a preview<\/a>.<\/p>\n \u2022 “We focus most strongly at the margins, on the music that others may be blind to. We don\u2019t care whether it is electronic, metal, jazz, folk, classical, noise, world music or whatever. We are as excited by the experimental, as we are exhausted by the ephemeral. We listen. We mosh. We think. We dance. We write words. We capture images. We hope to do justice to the art which inspires us. We are The Liminal<\/a>\u201d.<\/p>\n Rotary Signal Emitter<\/a>, a vinyl zoetrope by audiovisual duo Sculpture<\/a>.<\/em><\/p>\n \u2022 Rest Easy Sleazy<\/a>, a small mix dedicated to Peter Christopherson. Related: A Peter Christopherson tribute mix<\/a>. Another mix: Mixhead<\/em><\/a> was a 1997 promo CD by Portishead.<\/p>\n \u2022 Related to the above: What if we could touch our music again?<\/a> (Hello? Some of us still play\u2014and create\u2014CDs and vinyl…) Is the mix tape as object-of-seduction a dead concept in a virtual world? “We traded connection for convenience,” says I Miss My Pencil<\/a>. Their proposed solution, C60 Redux<\/em><\/a>, is an RFID reader plus speakers, packaged in a smart 12-inch case.<\/p>\n \u2022 Iannis Xenakis: How an architect took music back to mathematical roots<\/a>. Related: the Xenakis exhibition<\/a> at MOCA, Los Angeles.<\/p>\n \u2022 The Body Electric<\/em><\/a> at Ikon, Birmingham, is the first retrospective exhibition in the UK of work by New Zealand artist Len Lye.<\/p>\n \u2022 Hayley Campbell has a blog<\/a>. This week you can read about her contribution to Jamie McCartney<\/a>‘s Great Wall of Vagina<\/a>.<\/p>\n \u2022 More David Lynch<\/a>: he really does love cherry pie but isn’t 100% sure how magnets work. I sympathise on both counts.<\/p>\n \u2022 2019: A Future Imagined<\/a>. Visual Futurist Syd Mead reflects on the nature of creativity and how it drives the future.<\/p>\n \u2022 Quashed Quotatoes<\/a> by Michael Wood, reviewing a new edition of Finnegans Wake<\/em>.<\/p>\n \u2022 New Weird Australia<\/a>.<\/p>\n \u2022 Portishead’s 2008 performance for the Canal+ show Concert Priv\u00e9<\/em> is one of their best filmed concerts. YouTube has the whole thing.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Manchester, August, 1819: yeomanry on horseback charge a crowd of demonstrators; London, November, 2010: Mounted police charge demonstrators; London, December, 2010: “…police horses have charged the crowd once and appear to be about to do so again.” Rise like lions after slumber In unvanquishable NUMBER! Shake your chains to earth, like dew Which in sleep … Continue reading “Weekend links 40”<\/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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[49,52,2,42,4,29,7,5,3,44,14,31,41,15],"tags":[2032,265,2010,2659,2034,1580,2033,135,2035,2031,850,517,1872,2036,7308,1449,615,1862],"class_list":["post-8411","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-animation","category-art","category-books","category-design","category-electronica","category-film","category-gay","category-music","category-painting","category-politics","category-religion","category-sculpture","category-technology","tag-david-c-ward","tag-david-lynch","tag-david-wojnarowicz","tag-finnegans-wake","tag-hayley-campbell","tag-homotography","tag-iannis-xenakis","tag-james-joyce","tag-jamie-mccartney","tag-jonathan-katz","tag-len-lye","tag-manchester","tag-mark-beard","tag-michael-wood","tag-percy-bysshe-shelley","tag-peter-christopherson","tag-portishead","tag-syd-mead"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2bF","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8411","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=8411"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8411\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=8411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=8411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=8411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nIn unvanquishable NUMBER!
\nShake your chains to earth, like dew
\nWhich in sleep had fall’n on you:
\nYE ARE MANY\u2013THEY ARE FEW.<\/p>\n![\"rotary.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2010\/12\/rotary.jpg\")
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