Phinuit and Subrobo

Because Ello keeps insisting that I join, and I tend to use different browsers, I have a growing collection of Ello presences, just to keep those individual browsers free of the recruiting messages that Ello pushes. I usually just ignore Ello solicitations, but lately they have started to annoy me, so I made it work for me.

The most recent one is all visual art:

https://ello.co/subrobo

This next one is for more risky text experiments, not that most of my text is not risky. Phinuit is a name I found in some spiritualist literature, the name of a spirit. I first used that name in one of my first werewolf stories, and it has appeared in other projects since then.

https://ello.co/phinuit

And then there were three, I just now added this one

https://ello.co/dah2ex

Chance begins again

Beings called eidolons appear in the series Book of the New Sun by Gene Wolfe.

In The Wanderers by Meg Howrey, the astronaut-training simulation is named Eidolon.

In the short story “The White Ship” by H. P. Lovecraft the city of Thalarion in the Dreamlands is ruled by an eidolon named Lathi.

In ancient Greek literature, an eidolon (plural: eidola or eidolons; Greek εἴδωλον: “image, idol, double, apparition, phantom, ghost”) is a spirit-image of a living or dead person; a shade or phantom look-alike of the human form. The concept of Helen of Troy’s eidolon was explored both by Homer and Euripides. However, where Homer uses the concept as a free-standing idea that gives Helen life after death, Euripides entangles it with the idea of kleos, one being the product of the other.

Vardøger, also known as vardyvle or vardyger, is a spirit predecessor in Scandinavian folklore. Stories typically include instances that are nearly déjà vu in substance, but in reverse, where a spirit with the subject’s footsteps, voice, scent, or appearance and overall demeanor precedes them in a location or activity, resulting in witnesses believing they’ve seen or heard the actual person before the person physically arrives. This bears a subtle difference from a doppelgänger, with a less sinister connotation. It has been likened to being a phantom double, or form of bilocation. In Finnish folklore, the concept is known as etiäinen.

Vardøgr is a Norwegian word defined as ‘‘premonitory sound or sight of a person before he arrives’’. The word vardøger is probably from Old Norse varðhygi, consisting of the elements vǫrð, “guard, watchman” (akin to “warden”) and hugr, “mind” or “soul”. Originally, vardøger was considered a fylgja, a sort of guardian spirit.

Deeperish:

https://www.llewellyn.com/encyclopedia/article/206

Weird Goes As She Willeth

Weird Goes As He Willeth (rlyehsgrail.blogspot.com)

For this plunder I have shamelessly gathered words from the myth of Beowulf (author unknown, one translation by Ernest J.  B. Kirtlan), Dalton Trumbo, Rheta Louise Childe Dorr, and Stephen Crane. I had a good time doing so.

It is sometimes said that there is nothing new under the sun, that there is nothing left for the modern singer to sing about, and that the realm of possible musical production is fast vanishing out of view. Certainly this is not true of poetry.

And in the end of the poem it is said of Beowulf that he was ‘most gentle to his folk.’ The King was king only ‘for his folk.’ The interest of his folk, their physical and moral well-being, was his chief solicitude.

Man must hope. He must believe that his fight is a winning fight or he must give up in despair. This sight also filled him with wonder. The brigade was hurrying briskly to be gulped into the infernal mouths of the war god. What manner of men were they, anyhow? Ah, it was some wondrous breed! Or else they didn’t comprehend—the fools.

The youth went on, moderating his pace since he had left the place of noises, he awakens in a hospital bed after being caught in the blast of an exploding artillery shell. He gradually realizes that he has lost his arms, legs, and all of his face (including his eyes, ears, nose, teeth, and tongue), but that his mind functions perfectly, leaving him a prisoner in his own body.

CROWELL PARK

Originally published in the Morning Star, July 25, 2021, pg. 10 ALBION HISTORICAL NOTEBOOK By Frank Passic

First, a moment of downtown, showing the water tower on the urban horizon:

One of Albion’s tallest structures is our 1961-erected water tower, located in Crowell Park. This Park dates back to Albion’s original 1836 plat map, when it was known as Washington Square, named after U.S. President George Washington. President Washington is featured on our U.S. quarter, you know. In 1912 there was a local effort to recognize “Albion’s Greatest Benefactor,” Jesse Crowell (1797-1872) who helped form the Albion Company which laid the plat for our village in the 1836, brought the Post Office here, gave land for Albion College and Riverside Cemetery, and other endeavors.

The Albion Recorder reported in its weekly edition dated August 1, 1912: “Washington Park is now Crowell Park. The Park on Baptist Hill surrounding the city water tower, which has been known as Washington Park for a number of years past, will in the future to be known as Crowell Park, the common council passing a resolution to that effect at their meeting last evening. This is only one of a number of things being consummated of late to perpetuate the name of Jesse Crowell, Albion’s revered pioneer and one-time leading citizen whose memory cannot be kept too fresh in the minds of Albion citizens on account of the great number of acts he performed for the public good, in this community, the performance of some of which caused him to die almost in poverty. He presented the land at present included in the park which will in the future bear his name.”

From our Historical Notebook this week we present a World War II-era postcard photo of Crowell Park. In the distance is the water standpipe which stood there from 1889 until it was dismantled on February 26, 1962 after our present water tower was erected and began operating. On the left is a circular flower bed which used to be much more elaborate. In the early 20th century this was a goldfish pond with flowing water, and surrounded by rocks. The “Albion Mills 1845” marker was in front of that pond. A drinking fountain was located in the center of the park.

 

The Mental Health Association of Portland

Here are the four enduring projects of the Mental Health Association of Portland:

Law & Mental Health Conference
The 2021 Law & Mental Health Conference was July 19 & 20 – on the Impact of Alcohol on State and Local Governments

Home

Public Housing Conference: COVID 19 and Homelessness
The Public Housing Conference was virtual and online during the month of December 2020, tightly focused on Homelessness and COVID with five municipal case studies – Phoenix, Las Vegas, Portland, Los Angeles. The Conference in 2020 included four municipal case studies on COVID 19 and Homelessness within the Ninth Circuit Court. Municipalities studied were Phoenix, Las Vegas, Los Angeles, and Portland. Each city is within the Ninth Circuit Court’s ruling Martin v. Boise. The audience for the 2020 Oregon Housing Conference are national, knowledgeable, and keenly interested in what’s going right with COVID 19 – and what went wrong. We estimate the conference will be attended by 500 persons – clinicians and healthcare directors, housing developers and administrators, policy-makers, community leaders, law enforcement, and funders.

COVID 19 and Homelessness

Mental Health Alliance
Organizations and individuals who represent the interests of people with mental illness and have long participated in efforts to reduce police use of force used against people with mental illness joined together as a friend of the court in US DOJ v. City of Portland. Organizational members of the Alliance include Portland Interfaith Clergy Resistance, Disability Rights Oregon, the Mental Health Association of Portland, and the Oregon Justice Resource Center. Supporters of the Mental Health Alliance meet regularly to hear from invited guests, discuss the organization’s advocacy and legal agenda, and prepare testimony for city, county, state, and Federal venues.

About Us

Alternative Mobile Services Association
Supporting Street-Level Alternatives to Police and Hospitalization

us-amsa.org

The Alternative Mobile Services Association is an emerging group of professionals and peers with the purpose of researching, assessing, and identifying best practice models of mobile response services that support or are alternatives to traditional 911 emergency response, police services, and unnecessary hospitalization. Additionally, the association seeks to promote networking and cooperation among providers, jurisdictions and allied stakeholders interested in alternatives to conventional policing.

The Alternative Mobile Services Association supports street-level alternatives to police.

What are Alternative Mobile Services?

Mobile services encompass a variety of responses to the immediate needs and crisis situations in the community. Mobile services can include street outreach vans that provide supplies and support to the homeless, mental health agencies that provide in-person mobile response to clients in suicidal crisis (either immediately or within 24 hours), police programs that pair a clinician with a police officer to respond to mental health related calls, and hospital-based outreach programs which provide services in their community. A mobile service is simply any service that works with high-needs populations and meets them where they’re at, in their own space, to get them the help they need in a moment of need or distress.

Quiet normal day

My Facts

A map to the present time

These stories are experiments in text buccaneering. The guilty editor claims to be innocently performing word puzzles using text furnished by the playmate “google” gathering vast quantities of alphabetical flotsam and jetsam, some deliberate and others more questionable in intention, creating a stew in a vessel the size of several large swimming pools, the Olympic kind, and then using a teaspoon to extract and arrange whimsy, mimsy and floppers, sniping and snapping, creating thus:

Piracy of the Mythos Afterlife – The remaining puzzle (supercp.com)

 

Graphic Arts Collection Synergies

Why do certain images belong together as a collection?

Over the years I have been considering the dynamics of collections of images.

In 1980, with my partner LMT, we created a series of collections of images we called IMAGINATION DECKS.

This particular collection, depicted here, we called a Story Deck.  I had an idea for making up stories using elements that can be arranged variously. This idea was further developed by LMT to create prompts for improvising narrative adventures. The basic concept is that these images can be assembled or sequenced in various ways, and can inspire different people in different ways. We also included them in some of our performance art, our ensemble was called The Theatre of Transformations and we were active from 1979 through 1984.

We tried to market the picture decks as “games” and proceeded to develop “rules” for playing these games. That turned out to be less productive.

Today I am still interested in collections of small images that naturally assemble themselves. The core idea is a love of pictures and considering what might draw them together into groups. Each image is a unique unit of meaning. What belongs together and what is an incidental or accidental juxtaposition? How does that combination create or alter the image’s meanings? These are the questions that interest me.

Rendezvous with Husmus

 

An unofficial soundtrack to the sci-fi novel RENDEZVOUS WITH RAMA by Arthur C. Clark, a musical homage by Johan Agebjörn and Mikael Ögren with Between Interval, Le Prix, and Martina Björk. Kilian Eng created all of the visual artwork used as the album cover illustrations.

It is dark in deep space, the feeling is ethereal and layered and there is just no need for words. Each song has special synthesizer qualities and all of them flow into a beautiful mix, there is a story here. This music is for the hidden colors, bespangled bright and brilliant, celestial, glittering, with soaring echoes, pulsing and beating patterns. You are headed into the future, there is no turning back. Moving forward is the best description of the nature of the electronic music made by Johan Agebjörn, who has an amazing career. In his own words, “I live in Lund, Sweden. I study psychology. I’m a father. I make music from time to time. I have two main projects. At times they cross over into each other, but OK, let’s be simple:

“My ambient music. It could be described as “ambient electro” or “arctic ambient,” not too far away from the sounds of Krister Linder (Sweden) and early Biosphere (Norway). I’ve played live a few times and released my two albums Mossebo (2008) and The Mountain Lake (2011) on Lotuspike / Spotted Peccary.” (Followed by his 2017 collaboration with Mikael Ögren We Never Came to the White Sea.)

“My disco music, especially as part of the project Sally Shapiro. Sally Shapiro is mainly a ”neo-italo disco” project consisting of a female singer (whose real name remains a secret) with me as a composer and producer. We have released three albums Disco Romance (2007), My Guilty Pleasures (2009) and Somewhere Else (2013) as well as a few EPs and remix collections…”

Agebjörn has his own microlabel, Husmus.

https://www.johanagebjorn.info/

https://www.youtube.com/user/husmusmedia/featured

Political statement: “I care about animals, global justice and the environment. I am a vegan and I try to purchase ecological and fair trade products as much as I can. I don’t like capitalism and I think the welfare state is worth defending.”

In 2017 Agebjörn and his friend/collaborator/neighbor Mikael Ögren released an ambient album on Spotted Peccary Music called We Never Came To The White Sea, a soundtrack to an unedited roadmovie through Russian Karelia, where Agebjörn’s grandfather was born, way back when it belonged to Finland.

A priest by profession, Mikael Ögren has been active as a musician mostly as a hobby. He is heavily influenced by electronic pioneers Kraftwerk and Jean Michel Jarre, as well as ’90s trance innovators such as Jam & Spoon. During the mid-2010s he began collaborating with his neighbor, Johan Agebjörn, when the two remixed “Aurora” by synthwave producer Tommy ’86 in 2015. Ögren’s remix of Agebjörn’s song “The Leftovers” (featuring Loney Dear) was released later in the year, and in 2016, Ögren and Agebjörn reworked Jam & Spoon’s 1992 remix of the genre-defining eponymous single by the Age of Love.

Agebjörn and Ögren have recently created their second collaborative release, Artefact, and it is also on the Spotted Peccary Music label. Employing vintage synthesizers (Gear: Access Virus Indigo II, Alesis Micron, Clavia Nord Lead 2, Kurzweil K2000, Novation Supernova, Propellerheads Reason 11 with Korg MonoPoly, Roland DJ-70, Roland JD-800, Roland JP-8000, Thoraiz AS-1, Waldorf Blofeld, Yamaha AN1x) which blend into the ethereal atmospherics and electronic sounds of a classic sci-fi soundtrack, enjoying styles ranging from ambient to trance. Artefact features collaborations with fellow electronic musicians Between Interval and Le Prix, as well as ethereal soprano vocals from Martina Björk. Kilian Eng created the otherworldly illustrations, and the exquisite graphic design is by Daniel Pipitone.

The Review

« Older posts