Olivier de Sagazan (born 1959 in Brazzaville, Congo) is a French artist, painter, sculptor, and performer. De Sagazan’s work typically centers around the artist building layers of clay and paint onto his own face and body. His work was featured in the 2011 documentary film Samsara by Ron Fricke. He has collaborated with the likes of Mylène Farmer inspiring and appearing in her video for À l’ombre and FKA Twigs (567) for her Performance Piece Rooms, he collaborated with Nick Knight and Gareth Pugh on the fashion film presenting Pugh’s S/S 18 collection. (wiki)
Frequencies, also known as OXV: The Manual, is a 2013 independent British science fiction romance film written and directed by Darren Paul Fisher. The film stars Daniel Fraser, Eleanor Wyld, and Owen Pugh. The film takes place in a world where human worth and emotional connections are determined by set “frequencies”. (wiki)
The Adjustment Bureau is a 2011 American romantic science fiction thriller film loosely based on the Philip K. Dick short story “Adjustment Team“. The film was written and directed by George Nolfi, produced by Chris Moore and stars Matt Damonand Emily Blunt. The cast also includes Anthony Mackie, John Slattery, Michael Kelly, and Terence Stamp. The film tells the story of a United States congressman who discovers that what appear to be chance events in his life are controlled by a technologically advanced intelligence network. (wiki)
Pulp-horror, archaic science fiction and the darker aspects of folklore share a preoccupation with exhumation of or confrontation with ancient super-weapons categorised as Inorganic Demons or xenolithic artifacts. These relics or artifacts are generally depicted in the shape of objects made of inorganic materials (stone, metal, bones, souls, ashes, etc.). Autonomous, sentient and independent of human will, their existence is characterised by their forsaken status, their immemorial slumber and their provocatively exquisite forms. […] Inorganic demons are parasitic by nature, they […] generate their effects out of the human host, whether as an individual, an ethnicity, a society or an entire civilisation.
— REZA NEGARESTANI, Cyclonopedia: Complicity with Anonymous Materials
Making Sense of “The Weird and the Eerie” By Roger Luckhurst
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-ŽižekianMarxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old QuatermassTV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; NigelKneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacingand Christopher Nolan’s portentous quantum SF blockbuster Interstellar(which receives a great defense).” (read morehere)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
Dr. Rudolf Steiner‘s fundamental gift to mankind was the creation of the science of spirit known as anthroposophy, from the Greek “anthropos,” or man, and “sophia,” or wisdom.
This one hour television documentary takes us on a fascinating journey into the realms just beyond our five senses. Rudolf Steiner not only found how to experience these areas directly, in a very safe and methodical manner, but he also developed specific techniques which, if utilized in the right way and with the proper intention, enable the individual to have insight into the spiritual realities.
In addition to learning of this extraordinary individuality, we meet some of the men and women who are utilizing the impulses brought by Dr. Steiner to expand and enhance their specific vocations in very practical ways, e.g. education, agriculture, medicine, mathematics, architecture, the arts, +working with retarded children and adults.
Dr. 
TimeSpace Warps 