Amber Light, a print by Phil Greenwood.
• “When I heard the term industrial music, I mistook it for techno and soon learned it was not.” Steven Heller talks to Chris Grimley and Alan Rapp about Industrial Music/Graphics: A Visual History of a Movement.
• Halloween approaches, as does Ghosts on the Cam. Editor Robert Lloyd Parry talks to Swan River Press about his latest story collection.
• “There we were, and we could be naked”: Stanley Stellar’s photographs are a record of gay life in New York from the 1970s onwards.
She researched cultures in which dreams delivered prophetic truth-telling messages from a higher plane. Like splashes and blots, dreams emanated from hidden forces, perhaps of the human mind, perhaps not. She had a metaphysical belief in their potential to put her in touch with supernatural beings, not angels or demons in any religious sense, nor the fairies or phantoms of popular belief, but spirits posited by mystical systems such as astrology and alchemy, otherworldly manifestations raised by enchanters and magi who had developed means of contacting them.
Marina Warner in a lengthy appraisal of the occult and Surrealist obsessions of Ithell Colquhoun
• The October catalogue of lots for the After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn, etc.
• At Wormwoodiana: Mark Valentine on the house that vanished, a literal ghost house.
• At Colossal: “Amok Island’s geometric murals teem with vibrant local flora and fauna”.
• At Public Domain Review: The Alchemical Transformations of the Mutus Liber (1677).
• New music: Trinitatis by Deaf Center; Ancient Future by Bana Haffar.
• Old music: Metal & Flesh by Hard Corps receives another reissue.
• Mix of the week: DreamScenes – October 2026 at Ambientblog.
• “My one political film”: Ken Russell on The Devils.
• RIP Matt Howarth and Eva Marie Saint.
• Amber (1980) by The Residents | Amber (1996) by Little Axe | Amber (1996) by Zoviet France
