{"id":363,"date":"2010-12-04T14:52:40","date_gmt":"2010-12-04T14:52:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/gap\/wp\/?p=363"},"modified":"2010-12-04T14:52:40","modified_gmt":"2010-12-04T14:52:40","slug":"the_threat_of_ordinary_objects","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/gap\/2010\/12\/the_threat_of_ordinary_objects\/","title":{"rendered":"The Threat of Ordinary Objects"},"content":{"rendered":"<p> David Lynch is now <a href=\"http:\/\/gawker.com\/5701838\/david-lynch-is-now-writing-electro+pop-songs\">writing electro-pop<\/a>, yet considering the twisted paths his films have led us down, I hope at some point he decides to make a similarly distinct statement with his music. <\/p>\n<p>Meanwhile, the film studio that is our living room produced a concert trailer for Mobtown Modern&#8217;s upcoming Ken Ueno portrait concert. The resulting teaser is not even close to <a href=\"http:\/\/www.youtube.com\/watch?v=PxRzWv9TeTc\">Lynch-level creepy<\/a>, but still, what a difference context makes.<\/p>\n<p><center><object height=\"306\" width=\"500\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/sbgFHhJLkhA?fs=1&amp;hl=en_US&amp;rel=0&amp;color1=0x5d1719&amp;color2=0xcd311b\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><embed src=\"http:\/\/www.youtube.com\/v\/sbgFHhJLkhA?fs=1&amp;hl=en_US&amp;rel=0&amp;color1=0x5d1719&amp;color2=0xcd311b\" type=\"application\/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" height=\"306\" width=\"500\"><\/object><\/p>\n<p><\/center><\/p>\n","protected":false},"excerpt":{"rendered":"<p>David Lynch is now writing electro-pop, yet considering the twisted paths his films have led us down, I hope at some point he decides to make a similarly distinct statement with his music. Meanwhile, the film studio that is our living room produced a concert trailer for Mobtown Modern&#8217;s upcoming Ken Ueno portrait concert. The [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-363","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/comments?post=363"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/363\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/media?parent=363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/categories?post=363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/tags?post=363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}