July 7, 2011 – 3:AM Magazine

I am a camera

Virginia Woolf, 1931. T.S. Eliot & Vivienne, 1932. Virginia Woolf‘s Monk’s House photo albums digitised [via @PD_Smith]

Tandeta: Borges, Chekhov, Twain, Peake, Camus, experimental lit

Borges & Texas [via @maudnewton] / Memories of Chekhov, a documentary / Mark Twain‘s patent for the elastic-clasp brassiere strap / Albert Camus‘ The Outsider illustrated [via A Piece of Monologue] / A celebration of the writing & art of Mervyn Peake / Christopher Higgs rethinks experimental literature (the avant-garde/what Henry Miller calls “the inhuman […]

Three Poems

Ventriloquism is the bottling of demons, they lynched polyphonists in their time from hanging trees in market towns. You are talking to the walls again. Projectorless, images gallop full circle in endless repetition, planes taking off, artillery rolling in for the Vivian girls,
the sequence of pi continuing so far it starts to become letters, the words that appeared, on the scorched basement wall of the Ipatiev House where the last of the Tsars and his family died, jewels sown into their corsets, ‘Belsatzar ward in selbiger Nacht Von seinen Knechten umgebracht’ The images still come when you close your eyes. This sick spinning earth accelerates.

By Darran Anderson.

Keiller and Hatherley in Ruins

Modern Ruins with Owen Hatherley and Patrick Keiller 14 July 2011 Institute of Contemporary Arts The Mall, London SW1Y 5AH £12, £11 concessions, £10 members

Pulp.net reading

Tomorrow in London, join Pulp.net and readers Sara Crowley, Saleem Vaillancourt, Lane Ashfeldt and Alan McCormick (who’ll read from his new book Dogsbodies and Scumsters). Pulp.net Reading, Friday 8 July 7-9 p.m Piccadilly Community Centre, 196a Piccadilly, London W1 Entry free [Video: Raimar Oestreich’s animation for Alan McCormick’s ‘Cancer Bob and the YoYo’]

Free, in chains

For the author of Europeana, the journey is also an opportunity to examine different European nationalities close up, and this time it is far more entertaining (perhaps the moment was, indeed, more opportune for meeting them back in 1855). Here OuÅ™ednÃk’s picture is somewhat reminiscent of that presented in his fellow countryman’s Entropa, the 2009 installation by Czech artist David ÄŒernÃ½, which the EU was not amused with. The book, set a century and a half before ÄŒernÃ½’s joke, has its own stereotypes, of course: the Germans, for example, are portrayed as the poorest among the settlers, constantly asking for support from others. Certain countries, however, are shown in a similar, if updated for the 21st century, light.