Kali Malone – { feuilleton }

Weekend links 852

Heaviness of Sleep (1938) by John Armstrong.

• Suntup Editions are reprinting two stories by Arthur Machen: The Great God Pan and The White People will be presented together in a single volume, with corrected texts printed in letterpress. The book will also feature eight tipped-in lithographs by Flora McLachlan, and an afterword by Henry Wessells.

• “While it mines much of the same material found throughout the horror genre, The Shout belongs to a parallel cinematic lineage—more art-house than grindhouse.” Leo Goldsmith on Jerzy Skolimowski’s film adaptation of the short story by Robert Graves.

• The week in Borges: “I seeded my dreams and this story emerged”: Poet Will Dowd let Jorge Luis Borges speak to him in his sleep. And Nick James reviews Life of Jorge Luis Borges, a 323-minute documentary directed by Mariano Llínas.

• At Smithsonian Magazine: “Venetian artist Canaletto merged fantasy and architectural detail in this previously unseen sketch”.

• Devil in the detail: 100 years on, FW Murnau’s Faust scrapbook reveals the secrets of his silent masterpiece.

• At Public Domain Review: Rudolf Kalvach’s Wiener Werkstätte postcards (1907).

• At the BFI: Alex Ramon chooses 10 great black-and-white films of the 2020s.

• At Colossal: Winners of the Wildlife Photographer of the Year 2026.

• Mix of the week: A Samhain Mixtape at The Invisible College.

• New music: Sleep Machines by O Yuki Conjugate.

• Kali Malone’s favourite albums.

• ∞ Infinite Jungle

• Ordinary Sleep (1994) by Jessamine | First Sleep (2002) by Cliff Martinez | Black Sleep Part I (2008) by Jasper TX

Weekend links 846

Design by Randoll Coate for the Labirinto Borges, a hedge maze at the Giorgio Cini Foundation, Venice, which was renovated earlier this year.

• “Code was probably our most overtly political record, which is interesting, touring and playing it in these very different but scary political times.” Stephen Mallinder of Cabaret Voltaire talking about the experience of touring America again.

• At The Daily Heller: A look at the work of designer/illustrator George Hardie whose five-decade career is to be celebrated in a retrospective exhibition in London. There’s more George Hardie here.

• “Almost as soon as weird began circulating outside of Macbeth, its meaning broadened too, from ‘eerie’ and ‘uncanny’ to ‘odd’ or ‘unusual’.” Colin Gorrie on the weird history of the word “weird”.

• At The Quietus: Toby Manning on 40 years of Gone To Earth by David Sylvian. A minor nitpick: the album’s art and design was by Russell Mills, not Vaughan Oliver.

• New music: Burning Song by Kali Malone; Obsessive Surrealism by Parallel Worlds.

• At Door Of Perception: The radical architectural designs of Eugene Tssui.

• DJ Food’s latest accumulation of psychedelic graphics from the desktop.

• Old music: When The Music’s Over (Live, 1970) by The Doors.

• Arthur Brown‘s favourite songs.

• Weird Dream (1976) by Harmonia | It’s So Weird (1983) by Bush Tetras | Ballad Of The Weird Sisters (2013) by Blood Ceremony

Weekend links 822

Untitled (2013) by Fred Tomaselli.

• The latest book from A Year In The Country is Ghost Signals: The Shadowlands of British Analogue Television 1968–1995, an exploration of “a shadowland of terrestrial TV hidden in plain sight across the unmediated and unmarketed corners of the internet”.

• New music: After The Rain, Strange Seeds by The Leaf Library; Music For Intersecting Planes by Leila Bordreuil + Kali Malone.

• RIP airbrush artist Philip Castle. Steve Mepstead talked to Castle in 2011 about his work for Stanley Kubrick and others.

Strassman began to see patterns in these encounters and created a typology: aliens; guides and helpers; clowns, jokers and jesters; elves and dwarves; or reptilian or insect-like figures. Variations and outliers notwithstanding, this spectrum remains remarkably consistent with DMT studies today. Strassman also looked into the historical literature and found similar descriptions as far back as Szára, who wrote that one of his subjects reported meeting “dwarfs or something.” Forty years later and a continent away, one of Strassman’s participants put it succinctly: “That was real strange. There were a lot of elves.”

A long read by Joanna Steinhardt on the history and nature of hallucinated spirit guides and “self-transforming machine elves”

• Jet Propulsion Laboratory: Ben Cardew on the pivotal role of Stereolab’s Super-Electric.

• At Colossal: Pejac transforms basic graph paper into detailed, trompe-l’œil tableaux.

• Sixty finalists from the 23rd Annual Smithsonian Magazine Photo Contest.

• At BLDGBLOG: The landscape architecture of auroras on demand.

• Mix of the week: Float V mix by DJ Food.

• We Have Always Been Here (1995) by ELpH vs Coil | 5-Methoxy-N,N-Dimethyl- (5-MeO-DMT) (1998) by Time Machines/Coil | Machine Elves (2024) by Polypores

Weekend links 795

Heksenkeuken I: The Witches’ Sabbath (1916) by Lizzy Ansingh.

• A trailer for The Ice Tower, a new feature film by Lucile Hadžihalilović. Good to see the Hadžihalilović brand of weirdness being supported once again, but then they do things differently in France. Charlie Kaufman was complaining this week that nobody in Hollywood will fund his films. Maybe he should look elsewhere?

• Dreaming of Shadow and Smoke: Jim Rockhill talks to John Kenny about the enduring influence of J. Sheridan Le Fanu’s stories of the supernatural. Rockhill’s latest book is A Mind Turned in Upon Itself, a collection of writings about Le Fanu published by Swan River Press. I designed the exterior of this volume which I’ll be discussing at a later date.

• “Eerie strangeness is abroad, sometimes beautiful, much more often menacing.” Derek Turner reviews Figures Crossing the Field Towards the Group, a novella by Rebecca Gransden. The book is published by Tangerine Press. I recommend it most highly.

• At Public Domain Review: Ivan Aivazovsky’s miniature seascapes (c.1887), which the artist painted into small photographs of himself at work.

• At The Wire: Against The Grain: Mattie Colquhoun on Mark Fisher’s cultural pessimism.

• At the BFI: Miriam Balanescu chooses 10 great mockumentary films.

• Winners and finalists of Astronomy Photographer of the Year 2025.

• At Dennis Cooper’s: Galerie Dennis Cooper presents…Emma Kunz.

• New music: Magnetism by Kali Malone and Drew McDowall.

• Mix of the week: Bleep Mix 308 by DJ Food.

• Daveed Diggs’ favourite albums.

• Magnetic Dwarf Reptile (1977) by Chrome | Magnetic North (1998) by Skyray | Feed Me Magnetic Rain (2018) by Cavern Of Anti-Matter

Weekend links 712

Above and Below (1968) by Wendy Abbott.

• “Thirty-two years after the five Central Asian countries of Uzbekistan, Kazakhstan, Tajikistan, Kyrgyzstan, and Turkmenistan appeared on the world map, little of the region has been portrayed in film. Countries associated with the -stan suffix are perceived as dangerous or sinister.” Komron Ergashev on Central Asia and cinema.

• Old music: Alice Coltrane’s Carnegie Hall concert from 1971 has been available for many years as a high-quality bootleg but never the complete recording. The first official release next month promises to at last present a full performance.

• RIP Damo Suzuki, vocalist for Can during the group’s peak years. The Rockpalast concert from 1970 captured the group in impressive form shortly after Suzuki joined.

• “I’ve always been drawn towards esoteric phenomena: the illogical, the inexpressible, the impossible.” Dorothea Tanning talking to Carlo McCormick in 1990.

• “This film was shot live on the surface of an 8mm² chemical reaction.” As Above by Roman Hill.

• New music: Floating On A Moment by Beth Gibbons, and All Life Long by Kali Malone.

• At Unquiet Things: The art of Kiyoshi Hasegawa.

• Joel Gion’s favourite music.

• Esoteric Circle (1976) by Jan Garbarek | As Above, So Below (1981) by Tom Tom Club | Esoteric Red (1997) by Tao