The Decoy (1948) by Edith Rimmington.
• “Among other things, [Dalí’s] storyboards involved [Ingrid] Bergman turning into a statue that would then break up into ants.” Tim Jonze talks to film scholar John Russell Taylor about the storyboards for Alfred Hitchcock’s films, including the ones for Spellbound which Taylor found in a bric-a-brac sale.
• “Of all the pop acts that proliferated in the early 80s, it was Soft Cell who retained punk’s sharp, provocative edges.” Matthew Lindsay on 40 years of Soft Cell’s This Last Night In Sodom.
• Coming soon from White Rabbit books: Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today by Simon Reynolds.
Anathema to many philosophical systems, or perhaps philosophy itself, Lovecraft’s philosophical project fundamentally holds that contemplations of higher reality or the nature of things can never be fully realised. Ultimately, the search for knowledge does not constitute some telos, some purpose, for humankind, but rather leads to the violent dissolution of the self. Higher reality is that which the limited human psyche can never fully comprehend.
Sam Woodward on the cosmic philosophy of HP Lovecraft
• At Public Domain Review: Grotesqueries at Gethsemane: Marcus Gheeraerts’ Passio Verbigenae (c.1580).
• “Here is a remarkable form of popular heraldry.” Mark Valentine on the mystique of old inn signs.
• At Bandcamp: Brad Sanders on where to begin with Lustmord’s cosmic ambient.
• New music: Eleven Fugues For Sodium Pentothal by Adam Wiltzie.
• At Aquarium Drunkard: Jason P. Woodbury talks to Roger Eno.
• Gomorrha (1973) by Can | Sodom (1978) by Can | Spellbound (1981) by Siouxsie And The Banshees