N-SPHERE

a world behind curtains | october 2011

Featuring

Santiago caruso

william blake

Valerie a týden divů

Dylan XVX

Occulta Philosophia

Westblock
 N-SPHERE
october 2011
EDITORIAL
TRANQUILIZERS

Knowledge, by its defining features, is the tion is not made lightly, as the exuberance
representation of reality into perceived of youth laughs in the face of reminiscing
static and dynamic entities. The factual old figures that point our lack of such free-
apprehension turning into information doms not so long ago. In Valerie, Jaromil
turning into knowledge turning into ac- Jireš taps into the distortions of perceiv-
tions lays at the roots of evolution. How- ing freedom, and therefore the lack of it.
ever, the predicament globalization has
thrown civilization into is the flight from Dare to know the origins of thought. Un-
knowing and the embrace of being be- like other societies along the ages, the 3M
stowed upon with easy to comprehend, (third millennium) generations currently
sticky data. If the dark ages suffered from populating the cities have infinite and un-
mass induced paranoia against heresy, the restricted access to history, mostly to the
third millennium is bent over for the sake ideologies built by predecessors. More
if mass induced »tasty« crap. importantly, the freedom of choice exists,
as one might embrace whatever they want
Dare to know the origins of truth. Some- to, in lines of philosophies. The question
time long ago, at the dawn of civilizations, that arises, though, is whether or not the
art was born. There is no mental progress 3M minds are open enough and curious
without art. Even science embraces it, in enough to reach and gather knowledge of
various forms. The most abstruse truths the past. In Iván Elvira's De Occulta Phi-
still lie inside its realms, brought forth losophia a small portal into the origins of
by Santiago Caruso's dreams of surreal some thoughts is opened.
realities and Dylan XVX's incursions into
myths. Dare to know. Dare to evolve. »The reason
why the universe is eternal is that it does
Dare to know the origins of freedom. The not live for itself; it gives life to others as
nowadays' ability of making one's choices it transforms.«
regarding one's life is the most taken for
vel Thora granted thing in the world. The observa- Quote | Lao Tzu

|2
 INDEX
2 34 80
october Nox Chains &
2011 Showcase Scissors

Editorial Dylan XVX Ab Aeterno

Tranquilizers United States Others

4 48 84
glass Abuse eYE
showcase Showcase teaser

Santiago Caruso Westblock E-book Collections

Argentina Tape Sonata
Gig Review

20 66
stone CLOCKWORK
showcase Showcase

William Blake De Occulta Philosophia

England Literature & Occultism
in the Victorian Era

26 76
moving Hanging
showcase Cages

Valerie and String

Her Week of Wonders Desire

3|
 Santia
|4
 GLASS
SHOWCASE
go caruso
5|
 Synthesis
Atmospheres
fatalities

Name: Currently favourite artists:

Santiago Caruso Gustave Moreau, Odilon Redon,
Location: Alfred Kubin, Alphonse Mucha,
Quilmes City, Buenos Aires, Argentina Gustav Klimt, Goya, Giuseppe Ribera
Occupation: and many others.
Artist, illustrator Tools of trade:
Definition of personal sphere: 4B Pencil, ink and cutter, watercolors
I am dark, ironic and dramatic. and brushes, sponge, paper, patience,
Luminous, sensitive and humorous. constancy, time. Scanner.
Artwork in 4 words: Current obsessions:
Decadent, speaking silently poetry. Synthesis, Atmospheres, Different
What is inspirational for you: compositions, less details.
My inspiration is the occult, the Personal temptation:
mystery of life, the fatalities, the To have my own Press title and to pub-
oppression of the world system, the lish what I want without deal with mar-
grotesque, the marginalized people. ket limitations or publisher´s limitation.

|6
photo | Santiago Caruso. Sembraron Futuro. Courtesy of the artist
photo | Santiago Caruso. Innsmouth 1. Courtesy of the artist

|8
photo | Santiago Caruso. Five of Cups. Courtesy of the artist

9|
photo | Santiago Caruso. Sembraron Futuro. Courtesy of the artist

photo
| 10 | Martin Bladh. DES - The Scrapbook
photo | Santiago Caruso. Cordobazo. Courtesy of the artist

photo | Martin Bladh. DES - The Scrapbook

11 |
photo | Santiago Caruso. Retrato del Delito. Courtesy of the artist

photo
| 12 | Martin Bladh. DES - The Scrapbook
photo | Santiago Caruso. La Voz del Amo. Courtesy of the artist

photo | Martin Bladh. DES - The Scrapbook

13 |
photo | Santiago Caruso. La Gota.
Courtesy of the artist

photo
| 14 | Martin Bladh. DES - The Scrapbook
 photo | Santiago Caruso. Conduccion.
Courtesy of the artist

photo | Martin Bladh. DES - The Scrapbook

15 |
photo | Santiago Caruso. Olvidado. Courtesy of the artist

photo
| 16 | Martin Bladh. DES - The Scrapbook
photo | Santiago Caruso. Lvna. Courtesy of the artist

photo | Martin Bladh. DES - The Scrapbook

17 |
photo
| 18 | Martin Bladh. DES - The Scrapbook
photo | Santiago Caruso. Resurreccion. Courtesy of the artist

photo | Martin Bladh. DES - The Scrapbook

19 |
 will
| 20
 STONE
SHOWCASE
lliam blake
21 |
 »Hold
infinity in
the palms of
your hand«

Name: print, pre-colored plates for printing,

William Blake intaglio engraving
Lived: Interests:
28th November 1757 – 12th August 1827 Metaphorical themes, fantastic
Location: creatures, complex mythological
England symbolism, rejection of dogmatic
Occupation: religion, merging of body and soul
Artist, Mystic, Poet, Painter, Printmaker Influenced:
Influences: Dante Gabriel Rossetti, Algernon
The French and American revolutions, Charles Swinburne, S. Foster Damon,
Jakob Böhme, Emanuel Swedenborg, Geoffrey Keynes, Northrop Frye,
Raphael, Michelangelo, Marten David V. Erdman, G. E. Bentley Jr, Paul
Heemskerk, Albrecht Dürer Nash, Graham Sutherland, Benjamin
Associated with: Britten, Ralph Vaughan Williams, John
Romantic and Pre-Romantic Tavener, Allen Ginsberg, Bob Dylan,
Movements, Mary Wollstonecraft Jim Morrison, Aldous Huxley, Phillip
Shelley, Percy Bysshe Shelley, Thomas Pullman.
Paine, Joseph Priestley, Richard Obsessions:
Price, John Henry Fuseli, William Perception, sexual and racial equality,
Wordsworth, William Godwin justice
Technique:
Relief etching or illuminated printing, Quote | William Blake. Fragment from
vel Thora decorative margins, hand-coloured Auguries of Innocence

| 22
 photo | William Blake. 1824-1827. The Lovers' Whirlwind,
Francesca da Rimini and Paolo Malatesta, Inferno, Canto V, 37-138. Courtesy of the artist

23 |
photo | William Blake. 1824-1827. Dante and Virgil enter Hell, Inferno, Canto III, 1-10. Courtesy of the artist

| 24
photo | William Blake. c.1800. Jacob's Ladder. Courtesy of the artist

25 |
 Valerie
week of
| 26
 MOVING
SHOWCASE
Valerie and her
f wonders
27 |
 »it's
nothing,
just a
hanged
man.«

I. The Czechoslovak New Wave

The Czechoslovak New Wave was an When the Communist regime has tak-
artistic movement in cinema that pret- en over in Czechoslovakia in 1948, stu-
ty much covered the early 60s and dents of FAMU (Film and TV School
was represented, among others by of the Academy of Performing Arts In
directors such as: Miloš Forman, Jirí Prague) took notice of the unwelcom-
Menzel, Vera Chytilová, Jaromil Jireš ing changes that this regime brought
and Juraj Herz. However, its roots go and wanted to make people aware
four decades back when Devetsil – an that »they were participants in a sys-
association of Czech Avantgardists tem of oppression and incompetence
S H A D E was formed (Prague, 1920). which had brutalized them all«.

| 28
Having said that, it is easy to hint that ganic approach, relying on what we
some its trademarks were long un- know and have experienced, Valerie
scripted dialogues, dark and absurd and her week of wonders devoids its
humour and topics that regard the eroticism of nearly every carnal as-
misguided youths of their society, pect and while flesh is still present,
or the misguided ethic which leads it is undermined by emotion. The film
people to blindly condemn what oth- barely looks erotic, but feels erotic.
ers are born with (and I am not talking There are some scenes that may stir
about rage, violence, greed, or other anger in those who feel strong about
things that one should overcome). old-fashioned ethical values, but be-
cause they are born out of the purest
II. Valerie imaginings, they cannot really be held
as an affront to... anything. Besides,
Valerie and her week of wonders is those very scenes, form a reaction
one falling mostly in the latter catego- to a system that is overly concerned
ry. On the surface, the film is a surreal with numbers and empty standards
fantasy revolving around a young girl's instead of human beings (I figure that
maturation into womanhood. Beyond the New Wave Of Czechoslovak Film
that, the film can also be seen as a vio- members were aware of it, and were
lent and cheerful reaction against the pretty much against it.)
way some systems may deprive peo-
ple of what they really are. And while Indeed, one can argue that the film
this is not depicted in a traditional suffers from submitting to a strug-
fashion, there are enough scenes/ gle that ended too long ago, for the
pieces of dialogue clearly suggesting viewer to relate to it. After all, these
that. days, in the majority of countries, the
old-fashioned moral concerns are no
For example: longer upheld in such an oppressive
manner, so one is free to choose liv-
Grandmother: Hedvika is marrying ing his life the way he or she wants as
Valerie: Poor Hedvika long as he/she is not harming others
(‘course, if you decide to go on a kill-
The marriage here is not seen as an ing spree to have some fun, you'll still
act that is consented by both parties, have to suffer the consequences).
but as something that is enforced, as And, in this favor, it is the no-small-
a form of mutilation inflicted upon a aspect that the film plays more like a
woman so that she, in turn, can inflict »dream tale«, so there is not a strong
it on others. A form of sustained and relationship between all characters
organized disease, if you may. One and not a very well-developed plot
can think of arranged marriages of either. However, if there was one
enforced submission or other related thing to learn from the evident failure
things. of totalitarian systems, is that there
are not many things that can be ap- Cinema is not a big popularity con-
As many may expect, church figures plied to everyone and sometimes test, but a form of communication, in
are not left out of the equation either. even some things, apply to very few the end. If you wanna appear on TV,
Priests here, and men generally, are people. And as long as they are not you will definitely need a certain type
either barbaric figures, either hypo- harmful in a relevant way (I am pretty of speech (sadly, in some of the cases,
critical ones with an edge for incest. sure that a child won't end up being one you won't be quite fond of), but
traumatized by this film and he won't regardless of how much money this
Also, another aspect that is not to start killing priests because he'll as- speech brings you, it doesn't mean
be neglected is the erotic one. But sume all of them are pedophiles), I that it holds some depths or truth
where other movies, use a more or- don't see any problem. and it definitely doesn't make it better

| 30
(sometimes not worse either) that the I said all these things, because they are or to prove that the system »is wrong«,
one some country teacher is holding surprisingly related to the movement, but to prove that others are equally
to his pupils. because if we are to look beyond that, deserving of what feels right to them
it is not Communism itself, but the (again, as long as it is not firebombing,
Art doesn't offer guarantees, you are forced marriage between an individual businesses that sell drugs to children
not better or worse if you read a criti- and a foreign set of conventions he ei- or encourage people to blindly rage
cally acclaimed novel, or went to some ther does not understand, or does not against others and so forth).
opera or watched a more »special« believe in. When something like this
movie. Artists are not responsible for happens, one is entitled to backfire in There is also a constant sense of men-
your well-being, you are. some fashion, not for his pride's sake, ace in this film, but it never unravels

31 |
a real horror, it is also seen through
a child's eyes – a child playing. There
are no real dangers here, because
there is a distance between the pro-
tagonist and the world unraveling be-
fore her eyes. She can always escape
every peril.

III Other Notes

Valerie's faithful companion is Orlík

»Eagle«, In translation. He is the one
who stole her earrings, only to give
them back to her (the earrings made
Valerie see the world as it is) and also,
he is the one who gives her the pearls
that protected her from... death.

There are no physically elder women

in this film. It is only the appearance,
that pale face which gives old age
a specific meaning – that of being
drained out of energy, of life.

There is also the presence of the

vampire, as the one who drains, and
makes others drain. These two com-
bined give the idea that this oldness is
in fact the marriage with the material,
the artificial, with the blind desire to
consume and make others consume
(in the »incest scene«, the reverend's
face is pale as well.).

***

All in all, the film appeals mostly to

those with a sweet eye for avant-
garde stuff (Sedmikrásky, anyone) or
for those who like to have a fantasy
story told in an eerie way. For the rest,
it may be a challenge, it may be a bore,
or anything else in between.

Sweet Valeries, children.

Photos | Valerie and her Week of

Wonders. 1970. Jaromil Jireš. Filmstills

| 32
33 |
 D
| 34
 NOX
SHOWCASE
Dylan XVX
35 |
 Name:
Dylan XVX
Location:
Bethlehem, PA. United States
OCCUPATION:
Artist/printmaker
WEBSITE:
dylanxvx.com
| 36
photo | Dylan XVX. Belial. Courtesy of the artist

37 |
photo | Dylan XVX. The Pope. Courtesy of the artist

| 38
photo | Dylan XVX. Savages. Etching. Courtesy of the artist

39 |
photo | Dylan XVX. Anti-Sweden. Courtesy of the artist

| 40
photo | Dylan XVX. Skull Feather Black. Courtesy of the artist

41 |
photo | Dylan XVX. Dhegem. Courtesy of the artist

| 42
photo | Dylan XVX. The Eyes of Man are Never Satisfied. Courtesy of the artist

43 |
photo | Dylan XVX. Best Friend Shot Dead. Courtesy of the artist

| 44
photo | Dylan XVX. Extinct. Courtesy of the artist

45 |
photo | Dylan XVX. Ram Skull Palm. Courtesy of the artist

| 46
photo | Dylan XVX. Fingers. Etching. Courtesy of the artist

47 |
 w
ta
| 48
 ABUSE
SHOWCASE
e st b lo c k
pe sonata
49 |
 Kennst Du
Den Weg
Nach
heiligenstadt

WHO
westblock
tape sonata
BY
future echo
WHERE
Fluc. wien, austria
WHEN
20th of August 2011
| 50
photo | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo
| 52 | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo
| 56 | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Westblock@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Tape Sonata@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Tape Sonata@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Tape Sonata@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Tape Sonata@Fluc, Wien. By Diana Daia. Courtesy of the artist
photo | Tape Sonata@Fluc, Wien. By Diana Daia. Courtesy of the artist
 CLOCK

D
pHILOSOP
| 66
CLOCKWORK
SHOWCASE
e OCCULTA
PHIA part I
67 |
 Literature
and
Occultism
in the
Victorian Era

Editor's Note. The following is a

two-part feature, spanning over the
October 2011 and November 2011
Clockwork Showcases.

In this brief essay about the problem- or Modern uses of that term. Regard-
atic and striking relationship between less of this fact, obviously it has not
the particular and curious philoso- been significant changes within hu-
phy often called occultisme and the man inner condition from the Ancient
literature inscribed in this dilated Mediterranean World to our current
period of English History (1837-1901), days, and their preoccupations and
normally associated to her most pow- weaknesses are in great part similar to
erful sovereign, the Queen Victoria, ours, which implies that the astonish-
firstly we should take account of the ing references on occult phenomena
complexity and depth of such relation including, verbi gratia, in the Ancient
through the ages. Certainly, it’s rather »novel« Metamorphoses of Apuleius
known that our contemporary sense and the nineteenth ghost stories by E.
i v Á n of the concept of »occult« necessar- F. Benson, are more closer in essence
elv i ra ily has no relation with the Ancient than we are willing to affirm as histo-

| 68
Photo | Author Unknown. Rebis Figure. Androgyne with Goats’ Heads.
15th century. Codex germanicus Monacensis. Germany
Photo | Ebenezer Sibly. Edward Kelley and John Dee performing a magic ritual.
1806. Astrology
 »Or let my
rians. Surely we can conceive those cases. In short, the Occultism is an ob-
similarities almost as an exercise of scure philosophy which claims to be a
Anthropology, but it’s more than this: »new« way to face the physical reality
something in our hidden nature claims and a resource capable to unveil the
for emerge and give sense to the non-
sense using »irrational« or »magical«
methods and arguments, and some-
lamp at spiritual dimension. In some cases, this
new approach was positioned against
the Christian churches and the mod-
times the writers’ speech is directed
with the intention of explain or unveil
those mysteries, but most times their
midnight ern parameters of the society and the
positive science, but it does not work
in the same manner in all cases, as we

hour
purpose is to veil or hide those sup- will see. Anyway, it’s suggestive the
posed symbols which lies beneath the opinion of Nelly Emont when she al-
written pages. luded to une crise [z] performed dur-
ing the latter years of the nineteenth
Obviously, the common and scientific
conceptions of »supernatural« or »ir-
rational« have suffered many changes
Be seen in century to explain the apparition in
stage of these occultist currents.

through its long journey across the

centuries and the authors, but un-
doubtedly the psychological mecha-
some high At first glance, we can observe in the
occultist literature of the period, some
tendencies at the time to tackle the

lonely
nism which encourages them stills esoteric phenomena, and surely will
intact, at least in our Western Civili- be useful the accurate appreciation of
zation. On the other hand, we have the erudite and Victorian writer M. R.
chosen the nineteenth century’s ap- James, who warned us about the risk
proach on the matter precisely be-
cause of the fine and inquisitive per-
spective supported by the wide range
tower, of ruin a good ghost story using the
technical jargon constructed by the
occultists; in other words, if our pur-
of writers, occultists, philosophers
and scientists who dealt with the Eso-
teric matter in that period.
Where pose is to perform an optimal climax
for the terror, we should occult the
mechanism which support the fiction,
trying to avoid any sort of murky and
And first of all, we’re obeying to de-
fine what we understand when we
I may oft esoteric lucubration. Certainly, we
agree with Dr. James in regards to the
apply the term »Occultism« to these horror genre, but during our period we
nineteenth currents of thought and
literary masterpieces, because its
definition is in most cases vague and
outwatch can identify many other incursions in
the esoteric phenomenon, and aimed
by different mottos. Fully inscribed

the Bear
mistakenly assimilable to related con- in the nineteenth occult currents of
cepts such esoterism and hermetism. thought, we find the work and philo-
In fact, we ought to delimit this term sophical backgrounds of some writ-
to those opuses inspired in a pristine ers like A. Blackwood, G. Meyrink, H.
hermetic tradition, which appeared
for the first time in our century, and With thrice Jennings, C. Flammarion, A. Machen,
C. Maturin, Bulwer-Lytton, A. Conan
invariably based in a confuse joint of Doyle, H. de Balzac or B. Stoker. Like-
philosophies mainly inherited from
the eighteenth theosophists. Natural-
ly, our »occultists« tried hard to sup-
great wise, those personalities found egre-
gious precedents in German quills like
Goethe and Novalis, or in the mag-

Hermes.«
port their authority in more noble and nificent visionary creation of William
ancient sources, but honestly their Blake. In addition, there’s a large list
approach to the previous authors nor- of writers integrated in the supernatu-
mally involved in the so called West- ral horror tales, gothic, symbolist and
ern Esotericism was derisory in most Quote | John Milton. Il Penseroso ghost stories, and other related fiction

71 |
genres which merely catch a glimpse
of the occult, with no other intention
but to create an atmosphere of hor-
ror, mystery or restlessness. Finally we
will mention some writers inscribed in
non-related literary genres who deal
with the occult obliquely.

But before to achieve a recount of

those occult writers inscribed in this
passionate era, we should come a
halt and highlight which are the main
features attached to the literature in-
scribed in our century, some of them
parallel to the Faivre’s mainstream
considerations affirmed in his re-
nowned Accès de l’ésotérisme occi-
dental, but in this case exclusively con-
cerned to our period. In other words,
we do consider this lavish amount or
scientific literature as gifted by the
following characteristics: Firstly, the
exaltation of the so called »living na-
ture«; secondly, the reconstruction of
a holistic and esoteric conception of
the religious experience; thirdly, the
nostalgic attempt to recover a pre-
scientific visions of the universe; and
finally and fourthly, the rise of the Oc-
cultism as an established current of
thought, along with other related cur-
rents such Spiritualism or Mesmerism.
Certainly, and through the vision of
these nineteenth hermetists, the mod-
ern science has failed at the time to
comprehend the veritable essence of
the cosmos, since it was considered
as a dead, hazardous and nonsensi-
cal mechanism. And precisely was
the astronomer Camille Flammarion
(1842-1925) the champion of this beau-
tiful consideration in the philosophi-
cal part of his opus Les Merveilles cé-
lestes: lectures du soir [y]:

»La philosophie doit aller plus loin.

Elle ne doit pas se borner à voir sous
une forme plus ou moins distincte
le grand corps de la nature; mais,
étendant la main, il doit sentir sous
l’enveloppe matérielle la vie qui cir-
cule à grands flots. L’empire de Dieu

| 72
Photo | -Léon Spilliaert. 1908. Self portrait at mirror . Copyright of the artist

73 |
Photo | Unknown Author. 1831. Frankenstein , Book Illustration
n’est pas l’empire de la mort: c’est Gottfried Wolfgang (The adventure [w] Azogue Journal
l’empire de la vie«. of the German student), and even in Resources at www.revistaazogue.com
the out of period Harry Haller (Der
And that’s the reason why a universe Steppenwolf, 1927); and precisely such
ruled by spiritual forces and beings evocative, lonely and bizarre human
was so attractive for those nineteenth conditions was extremely useful for
minds, linking in this sense directly Edgar Allan Poe to recreate the dis-
with the so called »magical thought«. tinctive awe atmosphere which lies
In addition to this important feature, in great part of his masterpieces, and
we easily identify a tendency of those certainly in the very remote entrails of
new esoteric speculators to reinter- modern men.
pret the religious experience using
heterodox and romantic terminology, Nevertheless, and accordingly with
and the exaltation of the artistic and the clever perspective supported by
spiritual dimension of Christian reli- W. Hanegraaff [w], we must try to
gion supported by Chateubriand, or avoid the wide-spread tendency of
the mystical experience constructed devaluate those occultist elements,
in Novalis or Blake’s opuses, or vague- focusing our attention on the irratio-
ly in the case of Sade, Baudelaire, nal and conservative objectives and
Lautréamont or Rimbaud’s pagan tenets which hypothetically aim these
and savage dimension in the pursuit heterodox currents of thought. On
of épater le bourgeois, bear out such the contrary, in many ways these eso-
theory. Even recent works have tried teric conceptions have encouraged
to elucidate the esoteric elements the birth of modern world in scientific
which inspired the background of terms. As a literary paradigm of such
writers like Balzac, inscribed a priori assumption, we can find in the im-
in the Realism [x]. mortal opus Frankenstein (1818) some
references to the youthful flirtings
Whatsoever, we should reevaluate of our Dr. Frankenstein with the old
the importance of the occult and mys- and dusty books written by Agrippa
tical fashions which crawling in our von Nettesheim (1486-1535), Albertus
period, and great Spanish novels such Magnus (ca.1200-1280) and Paracel-
La Regenta (1884-85) and Fortunata y sus (ca.1493-1541), which bear witness
Jacinta (1886-87), by L. A. Clarín and to the inclination of modern scientists
B. P. Galdós respectively, bear tes- to the so called »natural philosophers«
timony of that peculiar intellectual from the Renaissance, in their pursuit
milieu which wandered in Europe. to conceive a panvitalist vision of the
Moreover, the well-known philosophi- whole universe and the rise of a sci-
cal assimilation between God and His enza nuova.
Creation, frequently named with the
terms of immanentism, pantheism or Further reading:
deism, found important defenders in [z] EMONT, N., Thèmes du fantas-
literary lost characters and antiheroes tique et de l'occultisme en France à
like Fernando Ossorio (Camino de la fin du XIXe siècle, in La littérature
perfección, 1902), obviously against fantastique: colloque de Cérisy, Paris:
the catholic dogmas. On the other A. Michel, 1991, pp. 137-156.
hand, is notorious the case of Jakob [y] FLAMMARION, C., Les merveilles
Böhme (ca.1575-1624) and Emanuel célestes: lectures du soir, Paris: Ha-
Swedenborg (1688-1772), and their lit- chette, 1872, p. 346.
erary influence in gloomy, thoughtful [x] LOZANO SAMPEDRO, M. T., dis-
and tortured characters like Roderick sertation: El esoterismo en la obra de
Usher (The Fall of House Usher, 1839), Balzac, Salamanca, 1990.

75 |
 STR
| 76
 HANGING
CAGES
ING DESIRE
77 |
 »for the
senses
of the
comatose«

It suddenly occurred to me that my the mirrors slowly turn away, bathing

new kingdom may be more than the in the ash of haunting visions, paying
untameable creature I took it for. I respects to the time when the pen
realized the mixture lying behind the glided away on the unseen paper in
closed doors, tired grins and silenced a perfect metamorphosis of unlucky
whispers, and the basement of my beings.
consciousness started oozing poison-
ous fumes warning me of times ahead. A dire lack of everything eats away
mercilessly at the whole, and the non-
It gradually occurred to my new king- believers wait patiently in the shad-
dom that I may be more than the ows the happy hour of the crumbling
fabled landlord it took me for. And of minds and bodies. But those who
as such it prepared endless barren still have words of meaning to speak,
discourses with which I’m supposed things to ask forgiveness for, sins to
to be brought down to my knees and shape and atone for, will always be
submit to a will I neither acknowledge admired and looked up to. The old
nor condone. puppeteer will once more be brought
back to life, to reveal lost secrets of
Hence, Hence, beneath the cheap leading the inane and disoriented.
gloss of an idealistic future, the frus- The daily show will set itself in mo-
tration of a not thought through deal tion without remorse, no matter how
is smouldering, and the fury of a bad ragged the stage and the curtains may
business decision is piling up, as the be. A true feast for the senses of the
blanks get harder and harder to fill; comatose… the place all are headed
bahak b and, as the pressure grows, uneasy for. Is this seat taken?...

| 78
photo | Bahak B. Courtesy of the artist

79 |
 CHAI
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ZCISSORS
N
81 |
Vel Thora | Ab Aeterno. Courtesy of the artist
Diana Daia | Others. Courtesy of the artist
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Sfere.ro © 2007-2011 all rights reserved. The reproduction of all material presented in the N-Sphere is restricted.
The reproduction of all material presented in the N-Sphere is restricted. The photographs and portfolios are property of the
respective artists. For editorial matters, please contact the gallery.
graphics & layout: Diana Daia | www.in-circles.org
words: Vel Thora, Bahak B, Adrien Seelebruder, Diana Daia
contact: [email protected]