WARREN ELLIS LTD Articles.
Graphic novelist Jeff Lemire returns to the Republic with a weekly newsletter, Tales From The Farm.
Craig Mod’s excellent RIDGELINE hits 12 issues, all nicely archived for you.
(My intent here is to actually try and remember to note down the newsletters I like, building a map of my personal region of the Republic. I also like that “The Republic of Newsletters” seems to have stuck with some people, the way Nabil Maynard’s “Isle of Blogging” stuck with me)
The hashtags mark it as “ritual” and “Indian,” but “ukujula” is a Zulu word for “depth.” It may be somewhere between Muslimgauze and the “Ethnological Forgery Series,” I don’t know. But it’s very much trance music, and very much a nice way to close out the day. It’s three American dollars on Bandcamp. And a good way to test the shortcode function on this WordPress install.
PICTURES OF THE OLD WORLD is brutal.
Honestly, I could have filled this post with nothing but screenshots from this amazing, beautiful, tender and staggeringly bleak film.
Shot in 1972 by Dusan Hanak and banned by the Czech government for its unrelenting documenting of grim rural poverty, this luminous restoration by Second Run DVD is a revelation. Often heartbreaking, sometimes charming – the toothless old man obsessed with the 1969 moon landing, who stuffs his jacket with related clippings, carefully taking them out and reading them with a magnifying glass, telling the camera all the Apollo trivia he knows like a lonely child eager to finally find an audience.
Parts of this film could have been shot in the late Middle Ages. This is what back-to-the-land waiting-for-death uncivilisation looks like. Pain, damage, unmitigated age, a man who’s literally lived on his knees for twenty-five years like an extra from HARD TO BE A GOD, and, over and over again, I repeat, waiting for death.
On French speculative writing in the 1920s:
In a 2009 book called Future Tense, the Canadian historian Roxanne Panchasi describes a curious feeling pervading writing on the future in France from around this time. She calls it “premourning.”
…there persisted, she claims, “a nostalgic longing for French values and cultural phenomena that had not yet disappeared.”
From that same book, more evidence for my thesis that James Bridle is a human superposition:
I had come to see a performance by the Tennessee-born artist Holly Herndon. She was billed as part of a digital arts festival called Némo. I had been intrigued by Herndon ever since her name came up in a Skype conversation I had with the artist and writer James Bridle earlier that same year.