Sam Kinchin-Smith

A Wound with Teeth, the first half of the choreographer Holly Blakey’s recent double bill at the Southbank Centre, reminded me of some of Paula Rego’s busiest paintings. It seems to come from the same dreamscape: deconstructed fairy tale costumes, densely arrayed symbolism, a certain shagginess of expression, animal heads, predatory gender relations (going both ways), triumphant victims, grotesque sexuality, maximalism, a powerful sense of mischief, an elaborate, multi-perspectival choreography of confrontations, subplots and cursed couplings.

Time-specific art extends the principles of site-specificity into the fourth dimension, by integrating circadian rhythms or extreme duration, say, into its performance language, or by staging a work to coincide precisely with when it’s set. There seems to be a lot of it about, at the moment, perhaps because it offers a live corrective to the always on, ever present homogeneity of digital culture. ‘The ephemerality and transitory nature is its power,’ as Séan Doran puts it. ‘You either got to it or you didn’t.’ Doran is the creative director of Arts Over Borders, who have just announced two new programming strands.

Mnemonic (at the National Theatre until 10 August) isn’t really a play about memory, or memory aids or triggers, though it’s quite insistent that it is. And its main narrative threads do function a little like memories, in that they assemble coherent stories from fragmentary records and resonant objects.

The coincidence of the centenary of Kafka’s death, on 3 June, and the publication of the first complete, uncensored English translation of his diaries a month before, is less straightforward than it seems. There are more obvious texts through which to tell the story of his last days.

The chance meetings, narrow escapes and spooky coincidences that fill Shakespeare’s romances are also a feature of the histories and provenances of the 235 surviving copies of the First Folio.

The bay of Elefsina, the modern name for ancient Eleusis, is a graveyard for ships named after gods and nymphs. 

What happens when you accidentally write a perfect song? You get a measly slice of the pie, is one answer – but also, possibly, the last laugh. That seems to be what’s happened to the Walkmen: the authors, though not exactly the beneficiaries, of the New York garage rock revival’s best song.

Earlier this year, two ice cores 125 metres long were drilled out of the Holtedahlfonna icefield and flown to the Ice Memory Sanctuary in Antarctica, so that climatic history can still be traced through Svalbard’s glaciers even after they’ve disappeared completely.

A pulsating display of white lights combines with a warmly manipulative techno soundscape and the natural rhythms of your brain to create a psychedelic, hypnagogic vision of patterns and colours that is truly subjective: ‘It’s almost as if the brain is looking at itself,’ according to the neuroscientist Anil Seth, a collaborator on the project.

A Hitch in Time, a new collection of Christopher Hitchens’s previously unanthologised pieces for the LRB, will be published by Atlantic Books on Thursday (you can order it from the London Review Bookshop now). He kept an eye on his most ghoulish compatriots – Diana Mosley was the ‘worst and not the least bright of the “Bright Young Things”: with a vile mind and a gorgeous carapace, and with a maddening class confidence allied to a tiny, repetitive tic of fanaticism’ – but the sharpest spikes in the index come after four American names: Clinton, William ‘Bill’; Kissinger, Henry; Nixon, Richard; and, out in front if you count Joe, Bobby and Jackie O. too, Kennedy.