Chris Morris (born 1965) started his career on radio, the clip above is from his television work, which – so it is said – is a little less powerful than his radiophonic work, but works better on the blog format.
The clip is very disturbing and funny, it appropriates the tropes of reality TV shows.
I’ve long stopped watching television on a regular basis, but I have known periods of serious telephilia. The BBC has always been a haven to the telephile.
Recent British television I did enjoy (on Youtube) have included:
In my previous post I argued for a revisionist approach to art history, favoring discarded art historical movements related to the grotesque and the fantastic. I called for a start of art history with the work of Bosch rather than Da Vinci. I realized when writing it that I sort of short-changed da Vinci since the latter has also made many lesser-known works including several grotesques[1] and caricatures[2]. See the book Leonardo Da Vinci: The Divine and the Grotesque by Martin Clayton.
The reason I short-changed da Vinci is that he is much better known for “mainstream” works such as the Mona Lisa and Vitruvian Man. While researching da Vinci’s relation to the grotesque I came up with Grotesque Head, a powerful caricature which is clearly the inspiration for Quentin Matsys‘s The Ugly Duchess. Enjoy.
The Dice Man is a comedic novel published in 1971 by George Cockcroft under the pen nameLuke Rhinehart and tells the story of a psychiatrist who begins making life decisions based on the casting of dice. The novel is noted for its subversivity, anti-psychiatry sentiments and for reflecting moods of the early 1970s. Due to its subversive nature and chapters concerned with controversial issues such as rape, murder and sexual experimentation, it was banned in several countries. Upon its initial publication, the cover bore the confident subheader, “This book can change your life” and quickly became a modern cult classic.
Les Krims (born August 16, 1942) is a United States conceptual photographer. He is noted for his carefully arranged fabricated photographs (called “fictions”), various candid series, a surrealsatirical edge, dark humor, and long-standing criticism of what he describes as leftist twaddle. Works such as Heavy Feminist with Wedding Cake[1] (1970) has been criticized by anti-pornography feminists and feminist photographers as being fetishistic, objectifying, body despising and a misogynist who uses his photography to humiliate predominantly women. Even though Krims does include men (often himself, nude) in his photos, these critics contend that his primary viciousness is reserved for women.
“I deny baptism and the mass. There is no human act, on the internal erotic level, more pernicious than the descent of the so-called jesus-christ onto the altars.
No one will believe me and I can see the public shrugging its shoulders but the so-called christ is none other than he who in the presence of the crab louse god consented to live without a body…”
…
All this is very well,
but I didn’t know the Americans were such a warlike people.
In order to fight one must get shot at
and although I have seen many Americans at war
they always had huge armies of tanks, airplanes, battleships
that served as their shield.
I have seen machines fighting a lot
but only infinitely far
behind
them have I seen the men who directed them.
Rather than people who feed their horses, cattle, and mules the
last tons of real morphine they have left and replace it with
substitutes made of smoke,–Artaud via [1]
This film only scores 4.9 at IMDb. But judging from the dialogue (Terry Southern), the film can’t be that bad. Enfin, I enjoyed the trailer very much. It’s all I ask for really.
Go on. Look at me. Look at my eyes. I’ll kill you. Sometimes I stand in front of the mirror and my eyes get bigger and bigger. And I’m like a tiger. I like tigers. Rrrrah!
While I am antipathetic to André Breton as a person – his misogyny, his homophobia, his arrogance, his misguided tyranny – I have learned to appreciate his work of tracing the literary and artistic antecedents of surrealism. In this book he successfully delineates a corpus of writers that have shaped the sensibilities central to cult fiction.
![[1]](http://blog3.nadjavilenne.com/krims2.jpg){kind=link}