Biblio-hauntology

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An invented book cover from the latest post at blissblog. Since I like fakes of this nature, especially when they’re carefully done, I had to go in search of the creator. Rachel Laine is the person responsible, and there’s more along these lines at her Flickr pages, together with many similar items from the universe next door. (I know someone who’ll appreciate all those faded magazine covers combining soft-porn photos with headlines for stories about analogue synths.) Another of the book covers is a guide to “Witches and Witch Craft”, a title whose real-life counterparts included books such as the Hamlyn guide to witchcraft and black magic from 1971. As I’m often saying, the 1970s was the witchiest decade of the 20th century.

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All of which reminded me of a couple of recent inventions of my own. One of the advantages of writing here is that I can retrieve from obscurity some of the things I’d previously cast into the Malebolge formerly known as Twitter. This impromptu creation is something I threw together after Callum J posted the cover of an old I-Spy book dedicated to “The Unusual”. (If you don’t know what the I-Spy books were—and still are—Wikipedia has the history.) The screen-grab from Whistle and I’ll Come to You is a lazy choice but I wanted to surprise Callum by reworking his cover as quickly as possible.

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A little more considered is this proposal for a set of British postage stamps dedicated to Nigel Kneale and his works. This one came about after a comment from Kim Newman that such a thing was overdue from the Royal Mail. Since I agreed I thought I could at least fake them into existence. They’re still a little incomplete—actual stamps would have a mention of Kneale on each one—but they look plausible. The artwork was swiped from a series of Quatermass book covers created by the prolific Karel Thole for Mondadori in the late 1970s. The images for the first Quatermass and Quatermass and the Pit work very well, I think, the fourth one less so. If I was doing these myself I’d try some combination of a radio telescope and a stone circle. Windows into another world; in the universe next door Quatermass is bigger than Star Wars. But we live here, not there.

Previously on { feuilleton }
Disciples of the Scorpion
Ghost Box and The Infinity Box
Llewellyn occult magazine and book catalogue, 1971
Typefaces of the occult revival
The Book of the Lost
Books Borges never wrote
Forbidden volumes

Weekend links 684

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Playing cards designed in 1977 by Taro Okamoto.

• “This practice of looking does not prioritise academic or historical perspectives on art. It is divorced from the artist, the industry and the formal study of the arts. By paying attention to the form, title and other perceptible ‘clues’ in the work, this practice is primarily interested in using the intuitive, sensory, suggestive and aleatory to engage in conversation with a creative work. The point is not to develop an answer, an interpretation that ‘settles’ the ‘question’ of the painting, or to intellectualise the work in terms of form, style, history or the concerns of the artist. Rather, in this practice, a piece of art or writing becomes a test or opportunity for working one’s imagination—an exercise in making associations.” Aparna Chivukula on choosing art over wellness apps.

• “But with the discourse about the limitations of moralizing steadily growing, the question of an alternative naturally arises. The critics of self-righteousness and trauma mongering are for the most part not calling for a return to the amoral ironism that governed the Nineties and early Aughts—the sensibility that surely gave rise, at least in part, to the overgrowth of didacticism that followed. But if not this, then what? Where do we go from here?” Anastasia Berg on “the aesthetic turn”.

• “…by choosing ordinary creatures, the fabulist naturalises the stories in a world that is close to hand, which helps the writer communicate opinions that are often subversive.” Marina Warner on Kalilah wa-Dimnah and the animal fable.

• Coming soon from Strange Attractor: Austin Osman Spare, a revised and expanded edition of Phil Baker’s excellent biography of the artist/occultist.

• At Rarefilmm: The Marat/Sade (1967), Peter Brook’s film (previously) of the 1965 Broadway production of Peter Weiss’s play.

• New music: Hostile Environment by Creation Rebel, and Tone Maps by Field Lines Cartographer.

• Mixes of the week: Isolatedmix 122 by Mary Yalex, and XLR8R Podcast 810 by Zaumne.

• At Dennis Cooper’s: Pierre Clementi Day.

Sade Masoch (1968) by Bobby Callender | On Sadism (1979) by Material | Sadistic (1995) by Stereolab

The art of Henri van der Stok, 1870–1946

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Mercurius.

Work-related research this week turned up these mask and astrological prints by Henri van der Stok, a Dutch artist who specialised in woodcuts and stained glass. The masks represent planetary spirits, reminding me of the designs that Barney Bubbles created in 1973 for concert-going Hawkwind fans. Artvee has more by van der Stok but nowhere displaying his work seems to have a Taurus print to fill out the Zodiac set.

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Venus.

Any time I see something by one of Aubrey Beardsley’s contemporaries (van der Stok was two years older) I wonder how Beardsley’s work might have developed if he’d managed to live past the age of 25. We can only guess, of course, and even then any speculation will be hazardous when everyone who established themselves in the 1890s had to face the challenges of Modernism, either by ignoring it or embracing the possibilities it offered. Van Der Stok’s early years were spent as a naval officer so he didn’t really have to worry about changing with the times. His designs sit easily among the stylisations of the Deco (or Moderne) period.

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De Aarde.

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Mars.

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Jupiter.

Continue reading “The art of Henri van der Stok, 1870–1946”

Weekend links 681

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All Cats are Grey At Night (2009) by Kenny Hunter.

“They found ways to do the impossible”: Hipgnosis, the designers who changed the record sleeve for ever. Lee Campbell talks to Anton Corbijn about Squaring the Circle, Corbijn’s documentary about the Hipgnosis design team. Peter Christopherson is shown in the accompanying photo but Campbell doesn’t mention him at all, despite his having been an equal partner with Storm Thorgerson and Aubrey Powell from the mid-70s on. Many of those famous covers were photographed by Christopherson’s camera.

• A new book by Stephen Prince at A Year In The Country: “Lost Transmissions weaves amongst brambled pathways to take in the haunted soundscapes of electronica, the rise of the occult in the 1970s, cinema and television’s dystopian dreamscapes and hauntological work which creates and gives a glimpse into parallel worlds…”

• New music: Ambient Bass Guitar by John von Seggern, and Sturgeon Moon/Beaver Moon by Missing Scenes.

• How Samuel R. Delany Reimagined Sci-Fi, Sex, and the City.

• Mix of the week: Tranquility by A Strangely Isolated Place.

Galerie Dennis Cooper presents…Snow Globalists.

• The Strange World of…African Head Charge.

• Steven Heller’s font of the month is Baudot.

Nights on Earth.

Transmission (1979) by Joy Division | Clandestine Transmission (1994) by Richard H. Kirk | Transmission (1996) by Low

Weekend links 679

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All this and the best tunes. Via.

• As noted last month, Space Ritual by Hawkwind turned 50 this year so here comes the inevitable reissue which in its most lavish edition will run to 11 discs. This isn’t as immediately attractive for me as the recent Calvert-era collection—I already own four different copies of Space Ritual, including the original vinyl—but I may feel differently a few months from now.

• At Wormwoodiana: Mark Valentine explores The Prophecies of N’Gai, something which sounds like a story from Weird Tales but isn’t.

• “Is function in the eye or mind of the beholder?” Steven Heller on Jacques Carelman’s Catalogue of Impossible Objects.

• At Spoon & Tamago: Yoko Tada began painting in her 80s. At 100 she’s publishing her first book.

• “The Magnificent Ambersons: rebirth for ruined Orson Welles masterpiece that rivalled Citizen Kane.”

At Wyrd Daze: Disco Rd 3: 23 pages 23 minutes. Free PDF, music mix, Discordianism, etc.

• A (brief) conversation with Milena Canonero, Wes Anderson’s costume designer.

• At Public Domain Review: Specimens of Fancy Turning (1869).

• New music: Móatún 7: Tetsu Inoue by Various Artists.

Arik Roper’s favourite album artwork.

• RIP Peter Brötzmann.

Table Turning (1973) by The Upsetters | Forever Turning (1995) by Scorn | Turning Towards Us (2008) by Redshift