(excerpts from SEX WITHOUT THREAT, a diary for the film The Stars Down To Earth):

• Adorno — in his purposeful, justified and pragmatic critique of astrology (myopia as tactic to scorn) — did not conduct evident field research.

• The film The Stars Down to Earth is named after his 1952/53 essay, and acts as its somatic secretary.

• Shot in early 2015, the 24 minute film performs as part sci-fi thriller, part documentary, part idealist anti-secrecy forecast.

• Astrologers from the Carroll Righter Astrological Foundation Trust (CRAFT) divine events for 2015 and 2016 — including, reading the star charts for America (Cancer), Paris (Virgo), Russia (Libra), Snowden (Gemini) and Chelsea Manning (Sagittarius). Coupled with their predictions is the reincarnation of mythological prophetess Kassandra (Henry Hopper, Virgo) and god Apollo (Afia Fields, Pisces) in 2015 Los Angeles (Virgo) and 2015 Athens (???)­.

• In The Oresteia, Kassandra names Apollo's violent rape more bearable than the denial of her truth — this disavowal sparks for Kassandra a kind of hysteric anarchy, where she attempts to fool fate and create a dimensional transparency and chaos in defiance of Apollo and those around her (the world).

• In the film, Kassandra’s divinations and access to past/present/future information see her momentarily and perhaps mistakenly identify with the whistle-blowers the astrologers chart in their predictions. Both live in multi-temporality (extreme knowing). And both are threatened with not only imprisonment, physical harm or rape, but worse: erasure.

X-Filles (2012-2014) is an accessory line that targets the post-human consumer. Made to accompany the film COCO, X-Filles is a nod to the cyborg who is not so much decorated by an accessory, but rather structured, interfaced, and integrated with it. Coco, like a commercial film, is the reference for accessories in X-Filles, which adopt the role of promotional material for the film. Playing on the movie tie-in, film stills, credits, and props circulate throughout the accessory line, while also defining a subculture around the film’s projected audience. X-Filles consumers desire flexible subjectivities, for whom personas can be plug-ins, and identities hang like lanyards. X-Filles embraces swimwear, spears, scarves with pony-hair, and, a USB necklace, created with designer Arielle de Pinto, which holds excerpts of the film, writing, and music by the film’s composer, Patrick Dyer. The accessory is perhaps the most impermanent commodity, the kind that can be replaced as soon as fashion dictates, making it the ideal object in an economy of perpetually circulating information. While X-Filles flirts with the accessory’s noted role as a symbol of status and an impediment to labor, it attempts to surpass these definitions by proposing the accessory as equipment, as interconnectivity, as possibility, and as a point of science fiction social reality.

Songs for the Witch Woman Marjorie Cameron and John W. Parsons, Fulgur Esoterica UK

Dirty Looks Volume Two, Dirty Looks NYC

https://fulgur.co.uk/books/marjorie-cameron-and-john-w-parsons/songs-for-the-witch-woman/

https://dirtylooksnyc.bigcartel.com/product/dirty-looks-volume-2-reprint

2014

A trailer for the film COCO involved recording cross-training athletes' breathing patterns while they scaled the concrete floors of a building that houses an art book store. 2012.

I DREAMT IN HEAVEN 

2017

CAST

Natassa Arabatzi

Georgia Kotokou

Manos Koulimpis

Spiros Mesologitis

Nikos Tasoulis

Sadir al-Iraqi

Peter Paul Emmanuilidis

Will Ascott

CREW

Dialogue written with

Dan Bodan

Music

Sky H1

Camera

Alexis Spiliopoulos

Assistant Director

Isavella Anastasiou

Susana Kalemou

Dan Bodan

Sound Recording

Antonis Koutelias