Weekend links 684

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Playing cards designed in 1977 by Taro Okamoto.

• “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 ‘clues’ 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 ‘settles’ the ‘question’ 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’s imagination—an exercise in making associations.” Aparna Chivukula on choosing art over wellness apps.

• “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—the 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 on “the aesthetic turn”.

• “…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 on Kalilah wa-Dimnah and the animal fable.

• Coming soon from Strange Attractor: Austin Osman Spare, a revised and expanded edition of Phil Baker’s excellent biography of the artist/occultist.

• At Rarefilmm: The Marat/Sade (1967), Peter Brook’s film (previously) of the 1965 Broadway production of Peter Weiss’s play.

• New music: Hostile Environment by Creation Rebel, and Tone Maps by Field Lines Cartographer.

• Mixes of the week: Isolatedmix 122 by Mary Yalex, and XLR8R Podcast 810 by Zaumne.

• At Dennis Cooper’s: Pierre Clementi Day.

Sade Masoch (1968) by Bobby Callender | On Sadism (1979) by Material | Sadistic (1995) by Stereolab

Weekend links 683

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She Did Not Turn (1974) by David Inshaw.

• “Pauline Kael compared Bruce Lee to Fred Astaire; I think the comparison works better with Rudolf Nureyev. Astaire had a besuited, playful grace, while Nureyev was shirtless, dramatic, and muscular. Astaire moved with athletic modesty, while Lee’s bravura dominated the screen.” Micah Nathan on 50 years of Enter the Dragon.

• New music: This Stolen Country Of Mine by Alva Noto, and Denshi Ongaku No Bigaku (The Aesthetics of Japanese Electronic Music) Vol.1 by Cosmocities Records.

• At Cartoon Brew: A profile of Sally Cruikshank. The spooky psychedelia of Face Like a Frog has long been a favourite round here.

• “My Life in a Hop, Skip and a Jump!” Clive Hicks-Jenkins answers a few questions about his art.

• At Public Domain Review: Hokusai’s Illustrated Warrior Vanguard of Japan and China (1836).

• More martial arts: Tom Wilmot on Bruce Lee’s greatest fight scenes at Golden Harvest.

• Submissions to the Astronomy Photographer of the Year Awards.

• At Dennis Cooper’s: Lucrecia Martel Day.

• RIP Jane Birkin.

Enter The Dragon (1974) by The Upsetters | Dragon Power (A Tribute To Bruce Lee) (1978) by JKD Band | Edit The Dragon (1985) by Colourbox

Weekend links 682

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La Voie Lactée (1921) by George Barbier.

• Fun news of the week: “The Taylor Swift vinyl haunted by Britain’s weirdest musicians.” The “weirdness” is tracks from Happy Land: A Compendium of Electronic Music from the British Isles 1992–1996 which have been mispressed onto Swift’s latest, the re-recorded Speak Now. One of the offending pieces is Soul Vine (70 Billion People) by Cabaret Voltaire, a relatively understated instrumental from the Plasticity album which features samples from the Demon with a Glass Hand episode of The Outer Limits. “It’s possibly the most subversive thing we’ve ever done,” says Stephen Mallinder. Adventurous Swifties looking to broaden their horizons are advised to try The Crackdown next.

• “For McCarthy, violence is the signature of God: God, who cannot be seen, who is only indicated by an absence, who no amount of experimenting or observing will reveal, but whose existence is in evidence all around us, every day, through the apocalyptic and apophatic violence that makes up the very stuff of the world.” JC Scharl on the violent faith of Cormac McCarthy.

• Strange news of the week: Reclusive guitarist Master Wilburn Burchette (age 84) was found dead in a house with the body of his younger brother (age 76) after decades spent avoiding anyone showing an interest in his music. Numero Group, the label behind the recent reissues of Burchette’s albums, posted an interview from 2018.

Takrar by Waref Abu Quba is “an experimental film that celebrates the timeless and intricate beauty of ancient craftsmanship. Filmed in Istanbul, the film takes us on a mesmerizing journey into the past, paying homage to Islamic, Ottoman, Greek, and Byzantine art forms.”

• “Could an industrial civilization have predated humans on Earth?” Probably not, but if it was in the deep past how would we know? Joel Froelich investigates.

• At Dennis Cooper’s: Visual evidence from almost every museum devoted to prestidigitation in the world (for Derek McCormack).

• At Spoon & Tamago: Osaka celebrates Star Festival with river of 40,000 LED lights evoking the Milky Way.

• At Unquiet Things: Even more sneak peeks from The Art of Fantasy.

• Mix of the week is DreamScenes – July 2023 at Ambientblog.

• At The Daily Heller: Sign writing and glass engraving.

Out Of Limits (1963) by The Marketts | Trip Through The Milky Way–An Electronic Panorama (1969) by Raymond Moore | Milky Way (1971) by Weather Report

Weekend links 680

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15 Miles into the Earth (1944) by Hendrik Wijdeveld.

• “He realized that there were individuals around him who had never appeared in the great altarpieces and frescoes, individuals who had been marginalized by the cultural ideology of the previous two centuries. And there were hours of the day—transient, yet unequivocal in their lighting—which had never been reproduced, and which were pushed so far from habit and use that they had become scandalous, and therefore repressed.” Pasolini on Caravaggio.

• “Reading Albert Camus and Mikhail Bulgakov by day, by night, crucially, they were listening to Chic, Kraftwerk, Donna Summer, Michael Rother and Grace Jones in the clubs.” Graeme Thomson on the atmosphere and influences that helped create my favourite album by Simple Minds, Empires And Dance. Borges was also a minor influence, apparently, which wasn’t something I knew until this week. I like it when your favourite things join up this way.

• “This being England, a ‘tea shop’ is not a shop that sells tea. That would be a tea merchant. A tea shop serves tea.” Mark Valentine on the perennial connections between rambling and tea-drinking.

Talking about generations as if they really existed and had sway over people is much more respectable and widespread than the belief that events and personalities are governed by the movements of the planets. But is there really much more substance and reality to “generations”? If not “a bunch of bullshit”, the discourse of generations is certainly generative of bullshit: tenuously grounded overviews and opinion pieces, specious analysis and analogies, platitudes and truisms. And yet, like astrology, it is a fun game to play along with. And far more than astrology, it’s a mode of talk that partially constitutes its object: generalizing about a generation actually brings it into semi-existence, shaping how people perceive themselves and how they are perceived by earlier or later generations. What may just be an illusion, a shaky set of alleged affinities, becomes a social fact.

Simon Reynolds analyses the generation game

• More Milton Glaser: PDFs of the Glaser Gazette, a memorial publication in three parts: Vol 1 | Vol 2 | Vol 3

• New music: Tractatus Lyra-Organismus by Lyonel Bauchet, and Grounded Rectangle by Ambidextrous.

• “A digital archive of graphic design related items that are available on the Internet Archives.”

• DJ Food found a handful of psychedelic posters by Nicole Claveloux.

• “Rights to Jorge Luis Borges’s work go to his wife’s nephews.”

• “Is this the earliest known phallic art?

Young Generation Dub (1976) by Augustus Pablo | Chile Of The Bass Generation (1990) by Mental Cube | Invisible Generation (1992) by Cabaret Voltaire

Weekend links 679

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All this and the best tunes. Via.

• As noted last month, Space Ritual by Hawkwind turned 50 this year so here comes the inevitable reissue which in its most lavish edition will run to 11 discs. This isn’t as immediately attractive for me as the recent Calvert-era collection—I already own four different copies of Space Ritual, including the original vinyl—but I may feel differently a few months from now.

• At Wormwoodiana: Mark Valentine explores The Prophecies of N’Gai, something which sounds like a story from Weird Tales but isn’t.

• “Is function in the eye or mind of the beholder?” Steven Heller on Jacques Carelman’s Catalogue of Impossible Objects.

• At Spoon & Tamago: Yoko Tada began painting in her 80s. At 100 she’s publishing her first book.

• “The Magnificent Ambersons: rebirth for ruined Orson Welles masterpiece that rivalled Citizen Kane.”

At Wyrd Daze: Disco Rd 3: 23 pages 23 minutes. Free PDF, music mix, Discordianism, etc.

• A (brief) conversation with Milena Canonero, Wes Anderson’s costume designer.

• At Public Domain Review: Specimens of Fancy Turning (1869).

• New music: Móatún 7: Tetsu Inoue by Various Artists.

Arik Roper’s favourite album artwork.

• RIP Peter Brötzmann.

Table Turning (1973) by The Upsetters | Forever Turning (1995) by Scorn | Turning Towards Us (2008) by Redshift