Many words have been devoted to the act of vengeance, the best methods of acquiring it, how best to deliver it, the various flavors of it; all these aspects have been explored in great detail over the course of mankind’s history. Little more shall be written here. Instead we shall present a singular act of very public vengeance.

It should come as no surprise that this particular scenario took place within the realm of politics, that unsavory business which plays host to liars, thieves, and whores and which has shown itself to be a particularly fertile breeding ground for vengeance. Specifically, we are focusing on an event that took place during a discussion of conservative author Jonah Goldberg’s new book Proud To Be Right which was broadcast on CSPAN2.

(Yes, there is more than one CSPAN. There are three in fact. I know this is hard to believe, but it’s true. I blame David Forbes. Moving on.)

The event in question (embedded above, the full video of which can be found here) is a rant by one Todd Seavey regarding fellow panelist and essay contributor Helen Rittelmeyer (who went to Yale, just in case you didn’t know). It turns out that the two dated for two years; a relationship that one could describe as contentious. Seavey’s monologue is a withering indictment of what can only be described as a twisted, right-wing succubus whose only pleasure in life is making those around her suffer. This is, again, according to Mr. Seavey who, in his 2007 screed “Ten Rules for Dating Todd” opens with a questionnaire for potential suitors to determine if they are “sane” having “encountered some ‘mentally special’ women over the years”, something he wishes to avoid in the future. This seems to not have saved him from Miss Rittelmeyer.

The Daily Caller (for whom Rittelmeyer worked for at one time) has further skulduggery, emails, and back-and-forth for those who are interested. For my part, I’m perfectly content with this examination of how Obamacare is destroying this country, as surely as Rittelmeyer destroyed Seavey with her infidelity.

Update: Additional thoughts from Seavey on the episode here.

Comrades! I am shocked, I say. Shocked. To the very marrow of my bones. Not since that degenerate extra of indeterminate sex indulged an urge to oxygenate their crotch fruit on the bleachers during the triumphant final scene of Teen Wolf have I been so taken aback! HOW COULD THIS HAPPEN?! THINK OF THE CHILDREN.

Today’s BTC is brought to you by the letter \m/ and the number 9.

(Cheers, Mil!)

“Clouds are not spheres, order mountains are not cones, order coastlines are not circles, and bark is not smooth, nor does lightning travel in a straight line.”
—Benoit Mandelbrot
The Fractal Geometry of Nature

The visionary, revolutionary mathematician Benoît Mandelbrot has died, aged 85. He was a genius in the truest and most passionate sense of the word. May he rest in peace. Several fractalicious, Mandelbrotastic clips are compiled below for your edification and viewing pleasure:

At 1,300 feet, this structure of iron, glass and steel would have dwarfed the Eiffel Tower. Designed in 1919 by Vladimir Tatlin, the building – officially called The Monument to the Third International – was planned to be erected in St. Petersburg as the headquarters of the Comintern. The tower was designed to contain twin spirals tapering upwards and encasing a cube-shaped lecture hall, a smaller pyramid for executive meetings, and a cylinder housing an information center, delivering bulletins and manifestos via radio, telegraph and loudspeaker.

Each part of the building would rotate at a different speed.  The cube was proposed to rotate and complete 360˚ after 365 days, the pyramid would complete a full 360˚ rotation every month, and the cylinder would complete its rotation within 24 hours. There were also plans to build an open-air screen on the cylinder, and for the cylinder to project messages onto the clouds. The building was never constructed due to financing and structural concerns, though an interesting build effort took place in 2006.

There’s also this short film by Lutz Becker. The first YouTube comment below the video captures it perfectly: it’s “mad, impossible, brutal, audacious and beautiful.”

[image via]

Elegant finger waves, glass domes, cookie-cutter craters, robots and skyscrapers. What does it all mean? Collage artist Le Corbus‘ striking red/grey palettes, obliquely sinister themes and uncanny retro-future juxtapositions feel like a perfectly-blended mix of punk collage artist Winston Smith, anti-Fascist photomontage artist John Heartfield and Soviet propaganda poster master El Lissitzky. More from when the ’20s met the ’60s, after the jump.

A preface for the unfamiliar, potentially aghast reader: the English Victorian taxidermist Walter Potter was, according to all accounts, a gentle and kindhearted man. (Read more about him here, and here.) All the animals Potter used in his work were said to have died of natural causes. Apparently, he never harmed any creature presented in his displays. Rather, he arranged to take carcasses off the hands of a local farm and veterinarian. Additionally, as his reputation grew, the community he lived in began to donate expired critters.

Bride from “Kitten’s Wedding”

Today, many perceive his elaborate anthropomorphic dioramas –featuring various dead animals: kittens, puppies, rabbits, ducks, squirrels, frogs, etc, imitating domestic human life– as grotesque, but bear in mind that at the time they were made, and for many decades following, the creatures in Potter’s vast collection were well-admired as an elegant source of “Victorian whimsy”.

Long after Potter’s death, crowds still came to view his thousands of creatures at the Potter Museum in Bramber, Sussex, England. (Then, later, at Cornwall’s Jamaica Inn.) However, sensibilities change.  By the end of the 20th century, fewer and fewer devotees were making the pilgrimage to see Potter’s body of, well, bodies. The vast collection was finally dismantled and sold off in bits and pieces in 2003, to a wide array of buyers, for roughly £500,000.

“Rabbit and Hen”

“It caused outrage when John and Wendy Watts split up and sold the historic dioramas. […] Artist Damien Hirst, a huge fan of Walter Potter’s work, said he would have paid £1 million to keep the collection together.” Now, eight years later, many of the pieces have been reassembled in an exhibition at the Museum of Everything in Primrose Hill, London. Co-curators James Brett and Peter Blake did their best to retrieve as many of the dioramas back on loan as they could. Opening today, the gallery showing includes several of Potter’s most famous pieces: “The Death of Cock Robin,” The House that Jack Built”, and “Happy Families”.

“A Friend In Need”

Unsqueamish Coilhouse readers in the UK/Europe, don’t miss this rare opportunity to see Potter’s fascinating work in person! (It runs through December.) Please be sure to report back. Several more images after the jump.

Hot on the heels of Mer’s discovery of Jordan Catalan… Oh, the clip below features aerial performers Leo Hedman and Yam Doyev (performing as Leo and Yam) in a steamy duet inspired by 20′s/30s silent films. Hedman’s femme fatale and Doyev’s pinstriped gentleman take on the comic side of sexual traditions while putting on a fluid, athletic, physically rigorous performance. In their own words, the flirtatious exchange “takes a wry, satirical look at the ways we conform to the gender roles assigned to us… and what happens when the mask drops and we find that our identities are a little less straightforward than we imagined.” This November, lucky Coilhouse readers living in London can witness the premiere of Leo and Yam’s first full-length show, titled Panoramic. Check their site for details.

Hedman’s other solo performances – inspired by Nosferatu, Psycho and more – are not to be missed. More images and clips, after the cut.

[via mikest, thanks!]

“I’m a little teapot…” By Charles Krafft. As seen on LAShTAL.

Quiver and quail, Thelemites, for Τὸ Μεγα Θηρίον‘s whelping day is upon us. What better way to acknowledge the degenerate rice-cooker than with one of David Tibet‘s crowning musical/lyrical achievements, a magickal rap ditty called “Crowleymass Unveiled”?

File this one under the ultra specific hybrid category of “Can’t believe this actually exists/Can’t stop laughing.” Along with this. Also, this.

Full “Crowleymass” lyrics posted after the jump.

Yog-Sothoth, from The Haunter of the Dark

Discerning seekers of rare or obscure artists will eventually stumble upon John Coulthart’s Feuilleton at some point in their virtual journeys. An artist himself, and a blogger “of some repute”, his site is a veritable Holy Grail treasure collection of luminous paintings, ornate illustrations & woodcuts, and salty vintage photographs that run the gamut from fin de siecle European art magazines to antique occult bookplates to queer themed eye candy from a bygone era for which to titillate our salacious modern sensibilities. One with an interest in such things could literally lose hours perusing his archives. It is with the striking of a dazed and dreamy midnight hour, head filled with inspiration and amazing discoveries, that one realizes where the time has gone.

John is perhaps best known for his own striking and complex “genre-defying” artistry; working with various styles and media in his singular, chimeric aesthetic, he is a successful graphic designer for a variety of mediums including album covers, book covers comic books and graphic novels.

“As a comic artist John produced the Lord Horror series Reverbstorm with David Britton for Savoy Books, and received the dubious accolade of having an earlier Savoy title, Hard Core Horror 5, declared obscene in a British court of law. … His collection of HP Lovecraft adaptations and illustrations, The Haunter of the Dark and Other Grotesque Visions, was republished in 2006 by Creation Oneiros.

As a book designer and illustrator John continues to work for Savoy Books, and in 2003 designed the acclaimed Thackery T Lambshead Pocket Guide to Eccentric and Discredited Diseases edited by Jeff VanderMeer and Mark Roberts.

John’s work has been showcased via Rapid Eye, Critical Vision, Clive Barker’s A-Z of Horror, EsoTerra, CNN.com and the Channel 4 television series Banned in the UK.”

See below the cut for a Q&A in which John discusses fleeting fascinations, enduring enthusiasms, how the mystical and macabre manifests itself in his projects, and the mercurial nature of design.