Sunday 27 October 2013


Illustration: Maximillian Bode via The New Yorker

What if the poetic has left the poem in the same way that Elvis has left the building? Long after the limo pulled away, the audience was still in the arena screaming for more, but poetry escaped out the backdoor and onto the Internet, where it is taking on new forms that look nothing like poetry." That is the beginning of Kenneth Goldsmith's article in The New Yorker titled: The Writer as a Meme Machine, about the interesting reflections on art, poetry, memes and "conceptualism in the wild" made by Canadian Media Scholar Darren Wershler. Read full article here. E.T.P. 5'

Photo via The New Yorker.
If like me you were waiting to see 'Blue is the Warmest Color' the movie that won the Palm d'Or this year in Cannes, this article will leave you very much surprised. "The 2013 Cannes jury, presided over by Steven Spielberg, awarded the top prize not only to the director, Abdellatif Kechiche, but to the lead actresses, too. “Three artists,” Spielberg said that May day. . . the red carpet was witness to a symphony of happy symmetry as the established Léa Seydoux, twenty-eight, and the newcomer Adèle Exarchopoulos, nineteen, flanked their director and kissed him. Then, later in summer, Seydoux and Exarchopoulos said that the shooting had been unbearable and they would never again work with Kechiche". Emily Greenhouse share the details of this story in her article Did a Director Push Too Far? in The New Yorker. E.T.P. 4'30''

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