:: Buzzwords Archive: November 2011. Click here for the latest posts.

The Missing Links (published 13/11/2011)

offbeatchacha

Humbrol enamel wizard and Turner prize contender George Shaw (video interview) * Roberto Bolaño‘s “Exiles“. * Mark E Smith interviewed in The Independent. * In the L.A. Review of Books, Jonathan Lethem on being reviewed by James Wood. * A 1956 discussion between Theodor Adorno and Max Horkheimer. * Peelplayer. * Shorties!, a free eComic featuring the best of the Cape/Observer/Comica graphic short story prize. * R. Crumb‘s album covers (via @filmdrblog). * Rick Poynor on Continuum’s 33 1/3 series. * Ned Vizzini on the Negropedia. * Occupy the Plutocracy says Brian Leiter. * Lorrie Moore on Werner Herzog‘s Into the Abyss. * Klaus Kinski is bored. * Lumière & Company (1995), David Lynch & Wim Wenders‘ short films using the Lumière brothers’ Cinématographe camera. * Les Avortés by Jorge Amat (1970, with a Captain Beefheart soundtrack). * Kenneth Anger exhibition at MOCA (LA). * Andrew Logan and The British Art of Showing Off. More show-offs here. * The hunt for Blue Velvet‘s lost footage. * Punk and Beyond exhibition (in London) curated by Gaye Advert. * Brain Pickings on Saul Bass: A Life in Film & Design. * Autism’s early child. * New issue of Five Dials includes pieces on Huysmans, Virginia Woolf in bomb-scarred London plus Raymond Chandler [PDF] * Debbie Harry jeans commercials from 1980. * “There was to be no Dada movement in the UK. Instead we had the comparatively timid experiments of the Sitwells and the Bloomsbury Group — and the Woolfs complaining about their servants! And it’s not so different today. The literary scene in the UK is overwhelmingly dominated by ‘Eng-Lit’ graduates from Oxbridge.” Interview with Alastair Brotchie, the author of a new critical biography of Alfred Jarry. * Blokes of Britain: Kevin Rowland. * A woman’s opinion is the miniskirt of the internet. * A film about original Beats Herbert Huncke and Gregory Corso. * The devilishness of idleness (see also, 3:AM‘s interview with Idler editor Tom Hodgkinson). * Sid Vicious the painter. * OWS and the war on the poor. * Noam Chomsky’s address to OWS. * Bartleby reading at OWS. * Oligarchy, American style. * Are rereadings better than readings? * Geoff Dyer is not impressed with Richard Bradford‘s biography on Martin Amis (but then, nor was Amis). * A Graham Greene cover gallery. * A brief history of books & booze. * The Smiths‘ John Lewis Christmas advert controversy. * Elizabeth Bachner on Rimbaud (see also, Darran Anderson on A Season in Hell). * In The White Review, Lars Iyer on the death of literature. * And Scott Esposito‘s response. * Quadrophenia exhibition (London). * “When someone as smart as [Martin] Amis maintains such a position, it becomes less surprising that this country still considers one of its greatest authors to be JRR Tolkien”: Nicholas Lezard on Gabriel Josipovici‘s What Ever Happened to Modernism? * Asian pop record covers from the 60s & 70s (pictured). * Roxy Music’s album covers. * Craig Taylor‘s Londoners reviewed. * How to be bored in Paris. * Fake books by TV characters. * Gerhard Richter‘s creative process. * Publishing coup of the year. * Les Enfants du paradis. * Writers and their book-collecting habits.

It’s a Sin (published 12/11/2011)

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Total Sin: What Makes London Interesting?
Thursday 17 November, 7pm
Bethnal Green Library, Cambridge Heath Road, London E2 0HL

Panel discussion with Catharine Arnold, Paul Willetts and Jonathan Kemp.

Hollow Men (published 11/11/2011)

Marlon Brando reads T.S. Eliot’s ‘The Hollow Men’, from Apocalypse Now Redux (via Darran Anderson).

Alle Apparate Auschalten (published 10/11/2011)

tommccarthy

Tom McCarthy on the late Friedrich Kittler in the LRB:

[...] Kittler’s aura seemed to hover over the whole city; by the end of my stay there I wondered whether taxi drivers and Imbiss-stand operators might be protégés or associates as well. He seemed to lurk, invisible, beneath the intersection-points between the worlds of art, philosophy and politics, his bodily presence transmuted into riffs that multiplied like echoes across exhibition catalogue essays and club fliers and general public banter. Whenever I heard someone mention Ovid and feedback loops or Hölderlin and binary code in the same sentence, I knew that I was listening to the master’s voice piped down a hotline from the inner sanctuary at Humboldt where, like Hegel two centuries before him, he’d established his HQ.

[...] While I was writing C, friends kept telling me I had to check out Gramophone, Film, Typewriter. But I held off, not wanting to cloud my primary research on technology and melancholia with academic ‘takes’ on the subject. I read it as soon as I’d finished though, and boy was it good:

What remains of people is what media can store and communicate. What counts are not the messages or the content with which they equip so-called souls for the duration of a technological era, but rather… their circuits, the very schematism of perceptibility.

This was not just the new Hegel: even better, it was the anti-Hegel, deliriously following through on his avowal to chase Spirit (Geist) out of the Humanities (Geistliche Wissenschaften), to celebrate the poetry of materiality and the materiality of poetry. Here was someone who — at last! — had charted the genealogy, or transmission lines, of writing’s interface with bodies, from Sade to Kafka, Marinetti to Pynchon. Most exciting of all, he lucidly and irrefutably articulated something I’d been trying ineptly to persuade people of for years: that Dracula is a book about the Dictaphone. [...]

[Pic: Tom McCarthy by Andrew Gallix.]