Living In One Room

Sculptor-designer Michael Kalil's studio measures twelve by twenty-three feet and is dominated by a three-by-fourteen-and-a-half-foot black vinyl-covered table running down the middle of the room. This table, which is strongly constructed, is used for working, eating, displaying artworks and books, and sleeping ( on a mat). Underneath is a library and storage unit. In a niche on the right is a mirror which extends the space and in effect doubles the window area. p. 16

We

The Walrus Was Paul

Walt Disney: Hollywood's Dark Prince

Cinefex Number 10

Oblagon

Amazing Stories Volume 24 Number 5

Fantastic Adventures Volume 14 Number 11

Fantasy

I Am Alive and You Are Dead

A serious mistake, of course. Soon strange things start to happen. A Bruno Walter recording of a Mozart symphony becomes a hideous jangle of sound; the bodies of other people seem to split open as if in an accelerated process of organic decay. The entire objective universe in which the characters move about becomes progressively invaded by that of Manfred, who sucks them into his nightmarish reality, a place of absolute entropy, a land of death. The concept of the "tomb world" has fascinated Phil ever since he first came across it in essays by the Swiss psychiatrist Ludwig Binswanger. The schizophrenic, Binswanger believed, lives ( if one can call it living) in a world of eternal death in which everything has happened and at the same time is still happening, in which nothing more can ever happen. This "tomb" swallows up anyone who approaches it; it is waiting there to engulf everything and everyone. p. 83

Since The World Began

Building A Dream

Hermenaut #15 - The Fake Authenticity Issue

Russia and The Big Red Lie

Earth Shelters

Underground Interiors

The Hippie Ghetto: The naural history of a subculture

Far Out West

Fellini's Satyricon

FELLINI: The Satyricon is mysterious first and foremost because it is fragmentary. But its fragmentariness is, in a certain sense, symbolic - of the general fragmentariness of the ancient world as it appears to us today. This is the real mystery of the book and of the world represented in it. Like an unknown landscape wrapped in a thick mist that clears now here, now there, and always only for a short time. p. 25


FELLINI: .... The atmosphere, too, will be the atmosphere of dreams. A great deal of darkness, of night, with shadowy , ill-lit surroundings. Or countrysides like limbos, steeped in an unreal, watery, dreaming sun. Lots of corridors, rooms, courtyards, alleys, stairways, and other such narrow, frightening passages. Nothing luminous, white, or shining. The clothes all of dingy, opaque colors, suggesting stone, dust, mud. Colors like black, yellow, or red, but all clouded as if by a constant rain of ashes. In the figurative sense, I shall try to effect a conglomeration of the Pompeian with the psychedelic, of Byzantine art with Pop art, of Mondrian and Klee with barbaric art. p. 28

Automation