Ex libris...Josef Vchal

Austin Osman Spare...Portrait of Sigmund Freud

“Words, words, words, however used – whatever they symbolise, request, or tell – say

more! – showing in between, the antics of all motives! Yes, word rendering offers the quickest of deaths to flabby ideas, and also the most poignant, suggestive, contagious substitutive, and lasting means known to convey anything. Most deadly virus! most potent abcreation, and magic subtley... even your erasure has you believing... We are overstuffed with words – now a veritable systole and diastole of mind: whether or not we correctly articulate, we suffer post-prandial torpor.”

Austin Osman Spare, ‘Micrologus’, (Number 7) c.1952

AOS 1955

"Words and magic were in the beginning one and the same thing, and even today words retain much of their magical power. By words one of us can give another the greatest happiness or bring about utter despair; by words the teacher imparts his knowledge to the student; by words the orator sweeps his audience with him and determines its judgments and decisions. Words call forth emotions and are universally the means by which we influence our fellow-creatures."

Sigmund Freud

Satty... Terrestrial Esoteric

Terrestrial Esoteric

Soft, features come together

particles of air splint just the other side of light

rhomboid wave lengths stopped at square

your rhythm, my bones

emotional stumblebum gestures brave

unwaivering, you beguile

you, sweet passion fruit calamity

mercurial, unwise, but your love burns no less than mine

obscure before the looking glass

shoals, etherial, fine

you are, voyager, mine

you are the first thought that comes to me

as I arc above our world

your tender, blue-flecked abstraction

drifting through curved space

through a subdivision of stars

etheral, fine

you, voyager, mine.

Justin Lee Brown 2009

Wilfred Satty

Satty... Alone...Edgar Allan Poe

Alone

From childhood's hour I have not been

As others were — I have not seen

As others saw — I could not bring

My passions from a common spring —

From the same source I have not taken

My sorrow — I could not awaken

My heart to joy at the same tone —

And all I lov'd — I lov'd alone —

Then — in my childhood — in the dawn

Of a most stormy life — was drawn

From ev'ry depth of good and ill

The mystery which binds me still —

From the torrent, or the fountain —

From the red cliff of the mountain —

From the sun that 'round me roll'd

In its autumn tint of gold —

From the lightning in the sky

As it pass'd me flying by —

From the thunder, and the storm —

And the cloud that took the form

(When the rest of Heaven was blue)

Of a demon in my view —

Edgar Allan Poe 1829

Satty from the Illustrated Edgar Allan Poe 1976

TA-TA TOSY TiT... animation

a film by yoshihiro haku and sachiko hiraoka.
a sound by silence outside(yoshihiro haku).
this short film is collage animation.
2009

Austin Osman Spare...drawing

from The Book Of Ugly Ecstasy circa 1924

Ex libris...

Sublime images...Part 1

These amazingly sublime images where taken from this very good blog

hiroyasu-tangerine

I dont know anything about them, please get in touch if you have any information i would be very grateful.

Satyr..

Giovanni Bellini or Andrea Previtali... Temperance or Nemesis?

PARAPHILIA MAGAZINE... issue 4

PARAPHILIA

Greek Meaning:

παρά --para: beside, near, past, beyond, above, contrary, resembling, apart from, irregular and abnormal.

φιλία --philia: a love that designates friendship, love between friends, a desire or enjoyment of an activity, as well as between lovers, family and community.

Medical Psychology Meaning: Sexual Fetishes.

Metaphysical Meaning: Friendship from Beyond.





New issue containing work by the following;


JOHN COULTHART, ARNAUD LOUMEAU, JIM LOPEZ, MICHAEL K, MICHAEL ROTH, CHRIS
BRANDRICK, CLARE GODDEN-ROWLAND, MALCOLM ALCALA, SALENA GODDEN, THOMAS
EVANS, GENE GREGORITS, DOLOROSA, A.D. HITCHEN, CHRISTOPHER NOSNIBOR,
MAX REEVES, IAN MILLER, RICH FOLLETT, NICK TOSCHES, CHARLES CHRISTIAN,
ROBERT AGASUCCI, ELE-BETH LITTLE, ALFRED MURO, DAVID CONWAY, DARIUS
JAMES, DESTINY MCKEEVER, STEWART HOME, PATRICK WRIGHT, CRICKET
CORLEONE, RICHARD A. MEADE, RICK GRIMES, LITTLE SHIVA, HANK KIRTON,
CRAIG WOODS, JAD FAIR, CLAUDIA BELLOCQ, TOM GARRETSON, ANGELA SUZZANNE,
RON GARMON, DAVID GIONFRIDDO, KATE MACDONALD, MARY LEARY, CHRIS MORRIS




Enter PARAPHILIA, an unlicensed, underground enterprise that renounces rules, regulations, guidelines, genres, categories, and all other manmade shackles. Paraphilia recognizes that expression is a fundamental function of the human organism, and within these walls, it will only be presented in the purest, rawest, most unfettered form. The sole requirement for admission is an open mind, so do come in, we embrace your presence.


http://www.myspace.com/paraphiliamagazine


ISSUE 4

Hannah Cullwick... Mad Love ...

'I kissed you when you asked me. I wanted to see what your mouth was like. It was hot and warm. I knowed you was good and soft by the feel of your mouth.'

Hannah Cullwick as Mary Magdalen by James Stodart in 1864

directed by Kim Wood 2003

Hannah Cullwick is a fascinating figure, a working class woman who kept a diary and pursued a class-defying relationship which encompassed S/M role-playing, cross-dressing and muscle fetishism.

Refusing to be constrained by notions of gender, class or race,she revelled in her physical toil and embraced her identity as a maid of all work, building up musculature and strength which delighted the victorian barrister Arthur Munby.

Victorian English gentlemen were notorious collectors. In the interests of scientific investigation and sociological progress, they amassed butterflies, antiquities and colonial territories on a breathtaking scale. Arthur Munby – minor poet, man of letters, Church Commissioner and barrister – collected working women. For over 50 years he sought out shop-girls, milliners, fruit and flower sellers, prostituterag-pickers, flither-lasses, pitbrow and gypsy girls, a cquiring their photographs and making detailed notes about their physical appearance and working lives.

Munby first spoke to Hannah on her 21st birthday. She was enjoying her second visit to London, having been brought from her native Shropshire by her employers for the season. On her first visit, the year before, Hannah had seen Charles Kean in Sardanapalus, Byron's tragedy about the King of Assyria who falls madly in love with one of his many slaves, Myrrah.

The play so fired her romantic imagination that when Munby approached her, she immediately identified him as a Master to whom she could become lovingly enslaved. His interest in female drudgery perfectly matched her desire to abase herself.

She practised her letter-writing in order to send her lover the kind of detailed descriptions he revelled in, telling him that "the blacker I get with work, the more ardent I feel towards you", and incidentally ensuring that her side of the unusual relationship is amply recorded.

Both documented their relationship, though it remained secret from their peers and Cullwick even took the bold step of changing jobs when staff became suspicious of the chain she wore round her neck as a symbol of her "belonging" to Munby. In her diaries she records submissive acts such as washing his feet and licking his boots.

However,Cullwick was probably in the driving seat in the relationship and refused his attempts to turn her into a lady. While Munby's diaries are full of his admiration for her physicality and muscularity, it is less clear what drew her to him,and indeed kept them locked together for decades in a relationship she described as "the same to us as marriage is to other folks",much of it spent living apart.

 

Arthur Munby

“For freedom & true lowliness, there's nothing like being a maid of all work...” Hannah Cullwick, 1872