Weekend links 33

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Blue Sky Noise (2010) by Esao Andrews.

Franz Xaver Messerschmidt is the first exhibition in the United States devoted exclusively to the 18th-century sculptor. Related: an earlier post about the artist’s work.

• How are the team behind War Horse planning to follow up their smash hit? With a gay love story performed by puppets. Related: Achilles (1995) by Barry JC Purves.

• More great posts at A Journey Round My Skull: Czechoslovakian Expose VI and Black Cradle of Bright Life, fifteen works by the Macedonian artist Vangel Naumovski (1924–2006).

Top 10 Anti-Gay Activists Caught Being Gay. Related: “Fuck your feelings,” in which columnist Dan Savage gets righteously impatient when a correspondent complains. As Savage says, people who use their faith as a stick to beat gay people contribute to an atmosphere of intolerance in which kids are bullied for being gay (or appearing to be), or transgender, or merely different, and kill themselves as a result. Over the past couple of weeks there’s been an upsurge of US media attention to the most recent suicides; Savage inaugurated the It Gets Better project in order to help. Also related: God Loves Poetry.

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Meigh (2010) by Esao Andrews.

Antony Hegarty enthuses about Shoot Yer Load, one of the scurrilous 12″ singles released by my Savoy colleagues in the 1980s. Antony and the Johnsons have a new album out, Swanlights, on Secretly Canadian.

When the future of music was a rainbow hued parabola: book designer John Gall collects old synthesizer manuals.

Fantastic Memories (1944) by Maurice Sandoz, illustrated by Salvador Dalí.

Urban optometry: life as a London crane operator at BLDGBLOG.

• Today is 10/10/10 which means it’s Powers of Ten Day.

These New Puritans: a band like no other.

Art Nouveau: a virtual exhibition.

Diaghilev: Lord of the dance.

Flaming Telepaths (1974) by Blue Öyster Cult; Flaming Telepaths (2005) by Espers.

Haschisch Hallucinations by HE Gowers

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The Spirit of “Haschisch” by Sidney Sime.

Once upon a time, the discussion of drugs in British society wasn’t characterised by hysteria, paranoia and the repetition of falsehoods, but could encompass an open-minded curiosity. This is easier to do, of course, when the narcotics in question haven’t been subject to prohibition; it also helps if some of those narcotics have medicinal uses, as was frequently the case. The following article by HE Gowers, with illustrations by Sidney Sime, was published in The Strand Magazine for December 1905, a periodical famous for giving the world the adventures of the cocaine-using Sherlock Holmes. Also in issue 180 was an extract from Arthur Conan Doyle’s Sir Nigel (a turgid historical drama which the author bizarrely considered to be his masterpiece), The Adventure of the Snowing Globe by illustrator Warwick Goble, and Empire of the Ants, a chilling tale by HG Wells.

I was reminded of the Gowers piece earlier this week when Golden Age Comic Book Stories posted a selection of Sidney Sime’s Lord Dunsany illustrations. As well as working as a book illustrator, Sime was a regular contributor to magazines like Pall Mall and The Idler, and I’m fortunate to have a number of those otherwise unreprinted works in a scarce small-press collection which appeared in the 1970s. Sime’s illustrations here are taken from that volume which also included the partial text of the Gowers piece. With some searching around I was able to find the rest of the article and stitch the whole thing together. What’s nice about this essay is that the writing is for once as interesting as the illustrations; with Victorian and Edwardian magazines this isn’t always the case. Sime spent much of his life drawing unusual scenes but here he has a tough job to match the outré descriptions of what we’d have to class as episodes of Edwardian psychedelia. With the exception of Maurice Richardson’s Engelbrecht stories, this kind of outright weirdness wouldn’t be found in a British magazine for another sixty years.

*   *   *

HASCHISCH HALLUCINATIONS by HE Gowers

Illustrations by SH Sime

IN the eleventh century lived a fanatical Syrian sect who, under the intoxicating influence of haschisch, a native preparation of a plant called Indian hemp, committed many secret murders and fought recklessly against the Crusaders.

To-day many natives of Eastern lands fortify themselves with some form or the other—haschisch, bhang, gunjah, or churrus—of this drug. It has been repeatedly used in modern European medical practice, without, however, very consistent or satisfactory results.

A small dose of Indian hemp produces a feeling of cheerfulness and gives an increase of appetite; an overdose gives rise to strange errors of perception as to time and place, the patient’s heart-beats are much accelerated, intense thirst is generated, and often hallucinations of a most strange nature follow.

Mr. Bayard Taylor, in “Lands of the Saracen,” gives a graphic description of the effects produced on his travelling companion, Mr. Carter Harrison, and himself by a teaspoonful of paste made from a mixture of the dried leaves of cannabis indica (Indian hemp), sugar, and spices. About four hours after the haschisch was taken Mr. Harrison suddenly shrieked with laughter, and exclaimed excitedly:—

“Oh, ye gods! I am a locomotive!”

And then for over two hours he continued to pace to and fro the room in measured strides, exhaling his breath in violent jets, and when he spoke dividing his words into syllables, each of which he brought out with a jerk, at the same time turning his hands at his sides, as if they were the cranks of imaginary wheels.

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“He was moving over the desert in a barque of mother-of-pearl.

Mr Taylor’s hallucination was of a far more varied nature. He fancied himself at the foot of the pyramid of Cheops. He wished to ascend it, and was immediately at the top. Looking down, it seemed to be built out of plugs of Cavendish tobacco. Then other and stranger illusions followed. He was moving over the desert in a barque of mother-of-pearl, studded with jewels of surpassing size and lustre, and soon reached a waterless land of green and flowery lawns, where honey was drawn up in dripping pitchers. Later, when the drug began to make itself more powerfully felt, the visions were more grotesque and of less agreeable nature. His body seemed twisted into various shapes, and yet he had to laugh; his mouth and throat were as dry as if made of brass; his tongue seemed a bar of rusty iron. The excited blood rushed through his frame with a sound like the roaring of mighty waters; it was projected into his eyes so that he could not see, and beat thickly in his ears. His heart seemed bursting. He tore open his vest and tried to count the pulsations; but there were two hearts beating, one at the rate of one thousand beats per minute, the other with a slow, dull motion. Finally, he slept for thirty hours.

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“All the menageries of monstrous dreams, trotted, jumped, flew or glided through the room.”

Another great traveller in the East, according to Théophile Gautier, says that after a large dose of haschisch, two images of each object were reflected on each retina and produced a perfect symmetry. Then all kinds of Pantagruelic dreams passed through his fancy. Goatsuckers, storks, striped geese, unicorns, griffins, nightmares, all the menageries of monstrous dreams, trotted, jumped, flew or glided through the room. He saw horns terminating in foliage; webbed hands; whimsical beings, with the feet of his armchair for legs and dial-plates for eyeballs; enormous noses, dancing the cachuca while mounted on chicken legs. He imagined he was the parakeet of the Queen of Sheba, and imitated, to the best of his ability, the voice and cries of that bird. Then, with inconceivable rapidity he sketched these gruesome creatures on the backs of letters, cards or any handy piece of paper. He found, when the effects of the drug were past, that one of his frantically-drawn sketches bore the inscription: “An animal of the Future.” It represented a living locomotive with a swan’s neck terminating in the jaws of a serpent, whence issued jets of smoke, with two monstrous jaws composed of wheels and pulleys; each pair of jaws had a pair of wings, and on the tail of this fearsome creature was seated the Mercury of the ancients.

“Take care; you’re spilling me!” emphatically exclaimed another experimenter, Mr. S.A. Jones, a few hours after taking ten grains of haschisch.

“What’s the matter, old man?” asked the friend who was with him in his bedroom.

“Stupid, you’ll spill me! Can’t you see I’m an inkstand, and that you’ll have the ink all over the white counterpane?”

And for an hour, in the person of an inkstand, he opened and shut his brass cover—it had a hinge—shook himself, and both saw and felt the ink splash against his glass sides.

One of the most common effects of haschisch, previously mentioned, is to make everything appear a great way off, and a few seconds seem so many hours, or even weeks. Among the many strange illusions experienced by Mr. Shirley Hibbard, these distorted ideas of time and distance play a prominent part. He says that his room became larger and larger, and the skulls of animals that ornamented his study walls became colossal, and seemed monsters of the oolitic age. He seemed to have been staring at them for years, but after looking at his watch and finding that he had been under the influence of the drug but twenty minutes, the illusion was temporarily dispelled… Then suddenly the watch began to expand, and ticked like the pulsations of a world. He seized a pencil with the intention of taking notes, but his limbs became convulsed, his toes shrank within his slippers, his fingers became the long legs of a convulsed spider, and the pencil dropped with a thunder-like crash. He looked out of the window and beheld a sublime spectacle. The horizon was infinitely removed; the sunset had marked it out with myriads of fiery circles, revolving, mingling together, expanding, and then changing into an aurora which shot up into the zenith and fell down in sparks and splashes among some trees, which became brilliantly illuminated. The landscape continued to expand. The trees shot higher and higher until their mingled branches o’erspread the gradually-darkening sky. With a mighty effort of will, he managed to look at the watch again, and discovered that only twenty-five minutes had passed.

He screamed: “Twenty-five minutes, twenty-five days, twenty-five months, twenty-five years, twenty-five centuries, twenty-five aeons. Now I know it all. I have discovered the elixir of life; I shall live for ever.”

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“The cup seemed a huge tankard, beautifully chased all over with dragons.”

As his heart was beating very fast he tried to count his pulse. The throbs were like the heaving of mountains; as he counted “One, two, three,” they became “One, two, three centuries,” and he shrieked at the thought of having lived from all eternity and of going to live to all eternity in a palace of coloured stalactites, supported by shafts of emerald resting on a sea of gold… A servant brought him a cup of coffee. He says the cup seemed a huge tankard, beautifully chased all over with dragons that extended all round the world. The girl appeared to stand for an hour smiling and hesitating where to place the cup, as the table was strewn with papers. He then removed a few papers, and heaved a sigh that dissipated the dragons and made odours fall in showers of rain; the servant put down the cup with a crash that made every bone in his body vibrate as if struck by ten thousand hammers. The maid stood aghast, and her rosy face expanded to the size of a balloon, and away she went like lightning while he stood applauding in the midst of thousands of fairy lamps, which he noticed were glow-worms. He drank the coffee, which caused sensations of insupportable heat, and found that forty minutes had gone by since he took the haschisch. He then went to bed—a difficult undertaking, as his legs seemed so very long. On undressing, his clothes flew away into space. As he got into bed it extended, and his body covered the whole earth. Then followed a sense of indescribable pain all over his body; his skin seemed to move to and fro upon his flesh, his head swelled to an awful size, and, finally, his body parted in two from head to foot… Unlike most persons Mr. Hibberd felt in his usual good health the next morning.

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“He distinctly saw within himself the drug he had chewed.”

As will have been noticed from the last experience the intoxicating effect of haschisch is not continual; but, like madness, has its short lucid intervals. The doctor whose sensations are described below says that his attack was easily divisible into three stages, each increasing in strength and weirdness, and that there was a brief period of comparative sanity between each.

He distinctly saw within himself the drug he had chewed: it looked like an emerald, from which thousands of sparks were emitted. His eyelashes grew rapidly, and when about two feet long twisted themselves like golden threads around little ivory wheels, which whirled rapidly. Half animals and half plants his friends appeared; and a pensive ibis standing on one leg addressed a discourse on music in Italian, which the haschisch delivered in Spanish. Later, after a clear interval, his hearing was wonderfully developed. He could hear the sound of colour—green, red, blue, and yellow sounds struck his ear with perfect distinctness. For fear of razing the walls and bursting like a bomb he dared not speak. More than five hundred clocks (in reality, one) chimed the hour. He swam in an ocean of sound, wherein beautiful passages from the operas floated like islets of light. He felt as a sponge in the midst of the sea; every instant waves of happiness washed over him, entering and departing through his pores, for he had become permeable, and even to the smallest capillary vessel his whole being was filled with the colour of the fantastic medium in which he was plunged… According to his calculations this stage must have lasted three hundred years, for the sensations succeeded each other so rapidly and potently that the real appreciation of time was impossible. When the attack was over he found that it had lasted just a quarter of an hour! •

The Strand Magazine, 1905.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Demon rum leads to heroin
Sidney Sime and Lord Dunsany
HP Lovecraft’s favourite artists
German opium smokers, 1900

The Art Nouveau dance goes on forever

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Catalogue for Art Nouveau Revival 1900 . 1933 . 1966 . 1974. Peacock feather not included.

Regular readers may recall my mention of the Musée d’Orsay exhibition Art Nouveau Revival which was launched late last year. I didn’t get to see the exhibition, unfortunately, but this week I finally ordered a copy of the catalogue, an expensive cloth-bound volume with essays (in French) by Philippe Thiébaut, Stephen Calloway, Irene de Guttry, Thierry Taittinger and Philippe Thieryre. Despite the ruinous postal charges incurred by the book’s weight this was worth every euro, it being the kind of polymorphous production which in solipsistic moments one can choose to believe was created solely for your own benefit.

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Aubrey again, album covers from 1974.

Much of the subject matter has been explored here in various small ways, with the curators following the influence of Art Nouveau through Surrealism (mainly Dalí) to the psychedelic art of the 1960s and on into the Pop Nouveau (for want of a better term) which flourished in the first half of the 1970s. Among the familiar Aubrey Beardsley graphics and psychedelic posters there are also some pleasantly surprising inclusions, including illustrations by Philippe Jullian (yes, I’m still intending on writing about him at some point), yet more Beardsley album covers, film posters, and even some of the sillier films of the late-60s such as Casino Royale. Being a French exhibition there’s a section devoted to comic strips which includes work by Moebius, Philippe Druillet and Guido Crepax.

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Sex and LSD, a spread from Playboy, 1967.

It’s common to see parallels drawn between the 1890s and the 1960s but the strange blooms of vulgarised fin de siècle style which burgeoned in the wake of psychedelia are seldom given much attention. One of the great things about this catalogue is the amount of ephemera the curators chose to include such as magazine ads and trend-chasing album sleeves. It was precisely this blend of 1890s + 1960s + 1970s I sought to capture in my recent cover for Dodgem Logic. As I said, it’s an expensive book but for anyone drawn to this aesthetic hothouse it’s also an essential purchase. Art Nouveau Revival can be ordered direct from the museum shop. Further samples follow.

Continue reading “The Art Nouveau dance goes on forever”

Weekend links 26

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The interior of the Public Library of Cincinnati and Hamilton County “Old Main” Building, 1874. Reblogged over the past few days on numerous Tumblr postings, none of whom had bothered to find out any details about the picture. I’m with Silent Porn Star on the contextless reblogging issue.

Keith Richards et Mick Jagger à Londres, TV interviews with the Glimmer Twins from 1968 with some remarkable footage in the second half of Jagger filming the penultimate shot of Performance. That French video site requires further exploration. Also there is a short film from 1961 with Jacques Lasry demonstrating the Cristal Baschet. Related: Jacques Doyen & Jacques Lasry play their Cristals while Arlette Thomas and others read French poetry. I wrote something about the mystery of the Cristal two years ago this week.

• Two great album cover blogs from Jive Time Records: Project Thirty-Three is “a shrine to circles, dots, squares, rectangles and triangles, and the designers that make them come to life on album covers” while Groove Is In The Art “celebrates the era when psychedelic graphics and pop art met the mainstream”.

• At A Journey Round My Skull: Night Hallucinations: illustrations by Jaroslav Šerých for Tales of the Uncanny (Prague, 1976); Snark, Strangeness and Charm, Mahendra Singh’s illustrations for Lewis Carroll and others.

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Laurence Chaves illustrates De Quincey’s Confessions of an English Opium-Eater at Golden Age Comic Book Stories.

Austin Osman Spare: Fallen Visionary at the Cuming Museum, Southwark, London in September, “will be the largest showcase of [Spare’s] work in a public museum since his death in 1956.” Jerusalem Press are publishing an expensive monograph to accompany the exhibition.

Freeing “Pale Fire” From Pale Fire; “the next big Nabokov controversy”. Probably not but the thesis is an interesting one.

Quintessential ‘topiary’ in Gandalf’s Garden: Barney Bubbles, head shops and Op Art graphic design.

• Monster Brains discovered some more paintings by Thomas Häfner.

• Spaceweather’s Northern Lights gallery.

The passion of Krzysztof Penderecki.

• More Bookshelf porn.

White peacocks.

Sussan Deyhim: Daylaman | Desert Equations (for Brion Gysin) (with Richard Horowitz) | An interview at WorldStreams.

Several links this week via Adrian Shaughnessy’s Twitter feed. Thanks!

Weekend links 23

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“The Go-Go wonder of Paris — That’s space girl. Transistors never wear down, they just go on and on — Even her heart is made of vinyl — It’s a marvy life — With nothing else to do but dance — Why not? – Love? — Forget it, baby — Not for her —” From Mod Love (1967) by Michael Lutin and Michel Quarez.

• “Gay people are not advancing themselves in the (publishing) industry, they’re just regurgitating familiar territory. Of course, artists are always ahead of gatekeepers. That’s the way it works—artists innovate. But in order to fulfill your promise as an editor, agent, publisher or reviewer, you have to be a person who’s embracing the new and looking to elevate what is not yet known. And unfortunately, there’s not a discussion among publishing professionals about enhancing this aspect of people’s responsibilities. In fact, it goes the other way. So there needs to be a psychological revolution on behalf of the people who are controlling what information is allowed to be seen.” From an interview with Sarah Schulman at Lambda Literary.

Jonathan Ross meets Jim Steranko. Also at the Guardian: Unearthing the truth about Alan Moore.

• Photographing an abandoned Art Deco skyscraper. From the people who photographed Neverland at night.

Powers: “aural sculptures” by Andy Partridge inspired by the strange science fiction art of Richard M Powers.

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La Paresse (Laziness) (1924) by George Barbier.

Lautréamont’s poison-drenched pages. Roger Cardinal reviews a new edition of Les Chants de Maldoror and Poésies.

The Wire‘s Top 50 Rhythms of All Time, a list from 1992. Some great recommendations but it’s impossible to imagine that being written now without a mention of Klaus Dinger. And where’s Fela Kuti?

• The Wire Salon at Cafe Oto, London, on August 5th presents Rob Young discussing his forthcoming book, Electric Eden: Unearthing Britain’s Visionary Music.

American Pictorial Photography, 1912–1955. Another astonishing picture set at Golden Age Comic Book Stories.

The Beats: Pictures of a Legend. Edmund White on a new exhibition of Allen Ginsberg’s photographs. Related: the trailer for Howl.

The Dream Machine is a point-and-click adventure game made using hand-crafted animation.

Fuck yeah Francisco Lachowski: Brazilian model cutie has many Tumblr fans.

Polly Morgan’s wings of desire. The taxidermy artist interviewed.

Thomas Dolby’s solar-powered boat studio.

Rückstoss Gondoliere (1971) by Kraftwerk: pt. 1 | pt. 2