Saturday, January 23, 2010

The Call of Cthulhu, performed by Metallica!.....awesome !!!!!!

H. P. Lovecraft is one of the best writers of horror fiction and has influenced many other writers such as Stephen King.


The bas-relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for, although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much familiarity with the papers and collections of my uncle, failed in any way to identify this particular species, or even hint at its remotest affiliations.
      Above these apparent hieroglyphics was a figure of evidently pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. Behind the figure was a vague suggestion of a Cyclopean architectural background.

Did I mention I love Dan Flavin's work......check this brief analysis that for sure will enlighten your way.


Outside painting and sculpture, few artists are more identified with a particular medium than Dan Flavin. After 1963, and except for his drawings and prints, Flavin's work was composed almost entirely of light, in the form of commercially available fluorescent tubes in ten colors (blue, green, pink, red, yellow, ultraviolet, and four whites) and five shapes (one circular and four straight fixtures of different lengths).
It was in 1962 that Flavin introduced his first experiments with electric light art: square monochrome paintings with attached fixtures and bulbs, which he deemed "icons." He used the term ironically in relation to its traditional religious context, explaining,