#31 - Dracula: Pages From A Virgin’s Diary

With the great Lisa Cassidy

"The talkie, with the Depression, cast the world back into the blind hole. Each new film reproduces the effect of Hallelujah, threatens us with depression, with panic and can at best show us nothing more than those who escape from it, the last to have reached climax just before the deluge. The talkie dumped us back into the most sinister part of the Judeo-Christian con-game. It is the end of a fraternity." - Jean-Jacques Abrahams, Fuck The Talkies

Virgins Diary - AKD.avi_snapshot_00.28.33_[2016.10.16_00.03.45].jpg

#29 - Angst

with the great @funkyassdg

It can’t hurt you, so what are you getting excited about? You’re a skeleton; nothing hurts a skeleton. —Jakov Lind, 1962

#28 - White Of The Eye

"The crookedness of the Darkness was lack of perception, namely the illusion that there is no one above him." - Gnostic Scriptures, The Paraphrase of Shem

#27 - Anguish

"You realize that to experience the projected figures on the movie theater screen as life-size involves the reduction of your own body to the size of a doll, while with television, conversely, you must mentally blow yourself up to the size of a giant to account for the minuscule scale of the figures on the small screen" - Mike Kelley

#26 - Pulse

"If, for the first machine age, the preferred metaphor for the house was industrial, a “machine for living in”, the second machine age would perhaps privilege the medical: the house as at once prosthesis and prophylactic. In the Corbusian ‘home of man’ technology took the form of more or less benign ‘object-types’ and perfectly controlled environments… The line between nature and machine, between organic and inorganic, seemed crystal clear… Now, the boundaries between organic and inorganic, blurred by cybernetic and bio-technologies, seem less sharp; the body, itself invaded and reshaped by technology, invades and permeates the space outside, even as this space takes on dimensions that themselves confuse the inner and the outer…" - Anthony Vidler

#25 - #Horror

"To represent is already a murder." —Georges Bataille, 1952

#24 - Possibly In Michigan

with the great Mairead Ryan

"Puppets, mannequins, waxworks, automatons, dolls, painted scenery, plaster casts, dummies, secret clockworks, mimesis and illusion: all form a part of the fetishist’s magic and artful universe. Lying between life and death, animated and mechanic, hybrid creatures and creatures to which hubris gave birth, they all may be liked to fetishes. And, as fetishes, they give us, for a while, the feeling that a world not ruled by our common laws does exist, a marvelous and uncanny world." Janine Chasseguet-Smirgel 

#23 - Body Snatchers

with the great Neil Bahadur 

"The humility of his pain made me feel ashamed. In order to leave him without remorse I insulted him. I was able to do so since he loved me to the point of devotion. He gave me a woebegone look, but it was charged with a poor wretch's hatred" - Jean Genet, Thief's Journal

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#22 - Paperhouse

"Secrecy is as indispensable to human beings as fire, and as greatly feared. Both enhance and protect life, yet both can stifle, lay waste, spread out of all control. Both may be used to guard intimacy or to invade it, to nurture or to consume it." - Sissella Bok, 1982

#21 - They Have Changed Their Face

"There had been blood. Money and blood. All shoptalk, all expertise had a quality of battle about it, of exultation in the escape from danger. Something was always at stake, every moment you lived. No one could ever really afford to tell the truth. Even after hours, when the store was closed. But sometimes the truth was so good you couldn’t keep it to yourself" - Stanely Elkin, A Bad Man

#20 - Ginger Snaps

"... consider how the female body is made to materialize monstrous qualities by systems of power claiming knowledge of its corporeal signs, how these monstrous qualities are marked as secrets, and how these monstrous secrets become a commodity to be dispensed within these same systems of power. " - Sarah Allison Miller, Medieval Monstrosity and The Female

#19 - No Telling

"Pain seems to play a part in the process, and the way in which we gain new knowledge of our organs during painful illnesses is perhaps a model of the way by which in general we arrive at the idea of our own body" - Freud, The Ego And The Id

#18 - Sleepwalker

"...the menace is more stimulating when you're not confronting it up close" - Kathe Kollwitz

#17 - One For The Road

"But seriousness commands us to recognize that it’s the multitude of laws that is responsible for this multitude of crimes." - Marquis de Sade

#16 - The Shout

"Waving his arms about, slowly. The music’s getting hotter. He stares out over his arm, half in the dark, he looks, his look is, incredibly intense. The fire comes back faint, then stronger. He seems to be wavering on the spot, half hunched-up, his arms close in to his chest. It’s like he’s doing some strange dance but he can’t quite balance" - Fionna Banner, The Nam

#15 - The Stone Tape

"Empty hills, no one in sight, 
only the sound of someone talking..." 
- Burton Watson, 1971

#14 - The Appointment

"You know, to a certain extent I think the formula “the end justifies the means” is valid in music". - D. D. Shostakovich (1968)

#13 - The Other Side of the Underneath

"More than ever, some sort of new arrangement seems in order, some dramatic and unknown arrangement – anything to find release from this heartbreaking sadness I suffer every minute of the day (and night), this killing sadness that feels as if it will never leave me no matter where I go or what I do or whom I may ever know" - Thomas Ligotti, The Bungalow House

Jane Arden - (1972) The Other Side of the Underneath.mkv_snapshot_00.42.47_[2016.10.11_23.16.19].jpg

#12 - A Page of Madness

"It is the custom for the barber to shave the deceased, to powder him, whiten his face and rouge his cheeks and lips, and dress him in a frock coat with patent leather shoes and black trousers, as if going to a ball, may God forbid—this shall not happen to Makso." - Testament of Hatji Makso Despic, drawn up in Sarajevo, 29 March 1921