A new academic network funded by the Arts and Humanities Research Council

This interdisciplinary network uses the radical insights of aesthetic modernism to develop dialogue with medical practice in psychiatry, psychoanalytic psychotherapy, neurology, and the mental healthcare offered at the end of life. The project is dynamically interdisciplinary, fostering collaboration between researchers and clinicians working in Higher Education, the NHS, and international healthcare. It brings literary and arts scholars, philosophers, psychiatrists, psychoanalysts, neuropsychologists, neurologists, research scientists, and doctors in palliative care and general practice into dialogue with theatre practitioners, dancers and artists from across the UK, Europe and the USA, asking them to explore together the resources modernism offers for creatively understanding experiences of body and mind poorly served by realist models of the self. (more…)

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Calling for submissions to a new collection of essays, edited by Rob Reginio, David Houston Jones, and Katherine Weiss
Bram van Velde and Samuel Beckett, Galerie Maeght, Paris, 1975.
Bram van Velde and Samuel Beckett, Galerie Maeght, Paris, 1975.
We are seeking contributions for a volume on Samuel Beckett and contemporary art to be published by Ibidem Press, distributed by Columbia University Press, as part of their new Beckett in Company Series. We aim to collect essays on the intersection of contemporary art and the drama, poetry, and prose of Samuel Beckett as well as interviews with and new documentation by working artists who draw upon or are inspired by Beckett’s work. We are not seeking essays that cover Beckett’s study of painting, his art criticism, nor his connection to modern artists of the first half of the twentieth century. We hope this collection will open new ground in Beckett studies and in the study of contemporary art by tracing Beckett’s influence in the work of artists post-1945 until the present day.

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Some exciting news from Megan Milks over at Weird Sister
d4f1d-djuna-barnes
Djuna Barnes

[Djuna] Barnes’s Ladies Almanack, first published in 1928 (full title: Ladies Almanack: showing their Signs and their Tides; their Moons and their Changes; the Seasons as it is with them; their Eclipses and Equinoxes; as well as a full Record of diurnal and nocturnal Distempers, written & illustrated by a lady of fashion), is a sly roman à clef chronicling Barnes’s (mostly lesbian) circle of friends and lovers, and their HQ in Natalie Clifford Barney’s long-running Parisian salon. In reinventing it as a film, [Daviel] Shy is creating a hybrid Chicago-Paris setting and what she calls a “triple time” zone where three distinct periods collide. The film follows characters based not only on Barney (played by Brie Roland) and other thinly veiled figures in the book, including Mina Loy (Brenna Kail) and Radclyffe Hall (Deborah Bright), anchored by narration from French feminists of a later time: Luce Irigaray (Elesa Rosasco), Monique Wittig (Eileen Myles), and Hélène Cixous (as herself). All of these characters blur into the present as they find form in the bodies of contemporary artists and writers. I spoke with Shy about the genesis of the project, her relationship to the book and the community to which it pays homage, and what it was like to work with the great Cixous. [Read the full interview with Daviel Shy]

John Coltrane. Photograph: Jim Marshall.
John Coltrane. Photograph: Jim Marshall.
Sam Stephenson discusses biographies of the tenor saxophonist in The Paris Review

A few years ago I found a used, first-edition hardcover of Dr. Cuthbert Ormond Simpkins’s 1975 book, Coltrane: A Biography, online for $150. I had long admired its feverish, street-pulpy story about the saxophonist John Coltrane, whose powerful music increasingly seemed capable of altering one’s consciousness before he died in 1967, at age forty. Posthumously, the mythology and exaltation of Coltrane, as well as his musical influence, only grew. But by that point, Simpkins had already researched and written Coltrane’s story, expressing an uncompromising, unapologetic black voice rarely found in the annals of jazz before or since. (more…)

Critics past and present reflect on the legacy of Miles Davis’ landmark jazz-fusion record

From Langdon Winner’s 1970 review in Rolling Stone:

Miles Davis
Miles Davis

Miles’ music continues to grow in its beauty, subtlety and sheer magnificence. Bitches’ Brew is a further extension of the basic idea he investigated in his two previous albums, Filles De Kilimanjaro and In A Silent Way. In a larger sense, however, the record is yet another step in the unceasing process of evolution Miles has undergone since the Forties. The man never stops to rest on his accomplishments. Driven forward by a creative elan unequaled in the history of American music, he incorporates each successive triumph into the next leap forward.

The wonderful thing about Miles’ progress is that he encourages others to grow with him. Within the context of his sound there is more than enough room for both his musicians and his listeners to pursue their own special visions. Looking back on the history of Miles’ ensemble, we find the likes of John Coltrane, Cannonball Adderley, Bill Evans, Tony Williams, Ron Carter, and Wayne Shorter. He always seems to select the best young jazzmen in the country and then gives them the freedom to develop their own unique modes of playing. Miles is known to be a stern disciplinarian, but never a tyrant. When a man has performed with the group long enough to gain a firm footing, he leaves as a recognized giant on his instrument. (more…)