Wednesday 27 June 2012

Björk - Biophilia Remix Series VI

Google's Build with Chrome lets you recreate the world in Lego

Kronos Quartet - Sun Rings (Glasgow 15 July 2012)


Kronos Quartet - Sun Rings - Riverside Museum - Sun 15 Jul. A sneak look to whet your appetite: . Tickets 0141 353 8000

'Do you ever think you're incompetent?'


The top five worst political interviews

Anika & Obi bLanche - EURO Music Festival Mixtape


Info

2012 Colorado Wildfires

Need for mature asylum policy, not political point scoring

WeKnowWhatYoureDoing.com: When Trashing Your Boss on Facebook Suddenly Becomes Very Public

This one's for you Spaceboy XXX

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Someone should tell how many characters he could save by using bit.ly. His tweets include his full name twice.

Nora Ephron RIP

When there is nothing else to say, A Few Words on Breasts (Esquire, 1972)

The Battle for the Soul of Occupy Wall Street

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The Rolling Stones' 50th anniversary logo, designed by Shepard Fairey

Jerrod Maruyama: Hipster Mickey

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Commissioner of Sewers (1991)


You almost certainly know the name of William S. Burroughs, and more than likely you know him as the author of the novel Naked Lunch. If the idea of plunging straight into his writing intimidates you, given how drug-saturated, psychologically unconventional, and formally “cut-up” that writing can get, where should you go to get some background on this unstoppably influential member of the Beat Generation? After all, knowledge of Burroughs’ work seems creatively beneficial: so many different kinds of artists found inspiration in his chaotic, fragmented work and even more chaotic, fragmented life that he wound up making collaborative appearances in nearly every medium known in his lifetime: film, music, television, performance art, rock videos.
When German filmmaker Klaus Maeck, for example, needed a star for the dream sequences in Decoder, a low-budget dystopian tale of the government weaponizing emotion-killing muzak, he recruited Burroughs. The two men’s acquaintance proved even more fruitful than that: in 1991, Maeck directed the hour-long documentary William S. Burroughs: Commissioner of Sewers. In it, he takes an in-depth interview with Burroughs, a series of his readings, a collection of his appearances in other movies, and even images of his paintings, then cuts them up (as is the Burroughs sensibility) and reassembles them using all the finest — or at least the strangest — visual effects and video filters the early nineties had to offer. Should documentarians work this way? Burroughs himself, in one of the film’s interview segments, has an answer: “There is no such concept as ‘should’ in art. Or anything.”
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(Thanx Kaggsy!)

William S. Burroughs’ Rare, Experimental Artworks