{"id":1686,"date":"2008-11-21T09:22:48","date_gmt":"2008-11-21T17:22:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2008\/11\/words_of_endearment\/"},"modified":"2008-11-21T09:22:48","modified_gmt":"2008-11-21T17:22:48","slug":"words_of_endearment","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2008\/11\/words_of_endearment.html","title":{"rendered":"Uncle Bill’s Words of Endearment"},"content":{"rendered":"

Have a listen to the sweet nothings William S. Burroughs offers, by way of Philip Hunt’s extraordinary animation short. It was pointed out to me by Supervert<\/a>.<\/p>\n

Ah Pook<\/strong><\/div>\n

<\/param><\/param><\/param><\/object><\/center>
\nI’d say the film is an ideal accompaniment to Malcolm Mc Neil’s “lost art” exhibition<\/a>, which has been extended through January.
\nThat’s Burroughs reading his text, of course. The music is by John Cale, who also performs it. It comes from “Ah Pook The Destroyer \/ Brion Gysin’s All-Purpose Bedtime Story,” the fourth track on the album “Dead City Radio.”<\/a>
\nHunt won the Media Prize for Best Experimental Technique, in 1994, at the Ottawa International Animation Festival. “Ah Pook” was also named “Best Animation Film” at the Dresden Film Festival, in 1995.<\/p>\n","protected":false},"excerpt":{"rendered":"

Have a listen to the sweet nothings William S. Burroughs offers, by way of Philip Hunt’s extraordinary animation short. It was pointed out to me by Supervert. Ah Pook I’d say the film is an ideal accompaniment to Malcolm Mc Neil’s “lost art” exhibition, which has been extended through January. That’s Burroughs reading his text, […]<\/p>\n","protected":false},"author":3,"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":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-1686","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-rc","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1686","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1686"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1686\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1686"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1686"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1686"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}