Some German moralist organization putting websites on a list and asking for their addresses? Really? Ever heard of freedom of speech? We have neither racist or pornographic content on this site. Violent? Well, yes. We’re guessing they were alerted by one of the many Internet crusaders that send us weekly death threats.
Please forward this E-Mail to the owner/provider of the website
the BPjM is an administrative authority of the German government called „BundesprÃ¼fstelle fÃ¼r jugendgefÃ¤hrdende Medien“. Our task is to protect children and adolescents in Germany from any media which might be harmful or dangerous to minors (e.g. racist / violent / pornographic content). This work is authorized by the “Youth Protection Law” (Jugendschutzgesetz – JuSchG). You can find further information about our work in the enclosed form.
A German youth welfare institution has requested the BPjM to examine the site https://www.thepsychopath.org and to enter its address into the “list of youth-endangering media”.
The owner/provider has the right to defend the website against the charges of youth-endangering content. When the board has decided to enter a product into the “index”, the author/distributor receives the full verdict by letter. As soon as the website is put on the „Index“, German guarding tools are able to deny access to minors. That is why we even put foreign websites on the „Index“, although we know, that our decision might have no effect in their native countries themselves. In all cases we have to inform the provider that his site is put on the „Index“.
We only have to inform you about the proceeding and you have the right to defend the above mentioned site against the charges of youth-endangering content. It is your right to do so, but you do not have to. We would like to ask you to forward us your postal address, so that we can then properly notify you about the request by the youth welfare institution and give you the opportunity to reply within two weeks after the notification.
Should you be acquainted with the addresses of (other) authors or creators of the website, we would like to ask you to give us their postal addresses within two weeks so that we are able to properly notify them as well.
Best regards, __________________________
BundesprÃ¼fstelle fÃ¼r jugendgefÃ¤hrdende Medien
RochusstraÃŸe 8-10, 53123 Bonn
Telefon: 0228 99 962103-0
Fax: 0228 379014
Bitte prÃ¼fen Sie der Umwelt zuliebe die Erforderlichkeit des Ausdruckens.Englisches Benachrichtigungsschreiben
Pack up your possessions and head for safety? Stay and help put the fires out?
Or head into the bush with a packet of matches and start another fire?
Amazingly, in the Australian bushfire season, some people do the latter. So the obvious question is – why?
The only way I can get this story out safely is to call it fiction. However, I assure you, it is not. I have written it in the fashion of a movie treatment, thinking this was the best way to disguise its intention. However, things have changed since I wrote this in 2017 and even though it was optioned to be made into a movie, I fear that it was actually optioned in order to be shelved so that this story never sees the light of day. Time is running out, so what you see before you is the act of a desperate man.
This is a warning to all of you out there, something has been unleashed and I must accept responsibility for it. I can only hope that once you have read my confession, that you can forgive me or at least understand how this happened. If you are reading this, you are the recipient of my message in a bottle. Please don’t let all my efforts be in vain. – Cameron
Every kind of ignorance in the world all results from not realizing that our perceptions are gambles. We believe what we see and then we believe our interpretation of it, we don’t even know we are making an interpretation most of the time. We think this is reality. – Robert Anton Wilson
Every man is born as many men and dies as a single one. – Martin Heidegger
Publisher’s note: This document came over our digital transom, stamped with a watermark that indicated that it was originally intended as a movie treatment that was supposedly based on real events. We do not claim any rights in republishing this on various platforms but rather do so in the interest of the free dissemination of important information. Cameron, if you’re out there, please contact us. We have an email just for contact from you. The links in the sidebar list the various outlets where you may download a copy of Cameron’s “treatment”.
Download Liminal PDF
FEW WRITERS WEAPONIZE a reader’s trust like Brian Evenson. To engage with his brand of “epistemological horror,” as he has described it, is to feel the disturbing pleasure of finding yourself stranded — in worlds less stable, minds less bearable, and uncertainties less resolvable than you’ve been led to expect. His books have a way of bothering you long after you’ve put them down, and a way of making most other fiction seem remarkably safe.
Evenson’s newest collection of short stories, Song for the Unraveling of the World, once again drops readers into a series of unpredictable realities, written in a deadpan style which renders even familiar genres sparser and stranger. In “Born Stillborn,” a patient’s therapist (or is it the therapist’s twin?) begins making mysterious visits in the middle of the night. In “Line of Sight,” a film director senses something imperceptibly wrong with his latest movie. My favorite of the collection, “The Second Door,” defamiliarizes a standard sci-fi setting — a space station is described from the point of view of an orphan who only has his older sister for guidance. He begins to distrust her when the sound of clattering metal replaces her voice. Taken together, the stories probe the tension between unreliable narrators and an unreliable world, amplifying our own uneasiness about what we may or may not know.
Evenson is the recipient of a Guggenheim Fellowship and three O. Henry Prizes. His novel Last Days (2009) won the American Library Association’s award for Best Horror Novel, and his novel The Open Curtain (2006) was a finalist for an Edgar Award and an International Horror Guild Award. Over email, he was kind enough to answer a few of my questions about environmental collapse, the work of Lydia Davis, and the advantages of the novella form.
You may have seen the headlines lately, saying that famed pseudonymous street artist Banksy was being “forced” into opening up a pop up store in London in order to secure a trademark and prevent “a greetings card company” from selling “fake Banksy merchandise.” Banksy also claimed that the company was “attempting to take custody of my name.” Banksy and Banksy’s artwork are somewhat famous for protesting against commercial incentives and traditional capitalism — so many people rushed to Banksy’ defense, because from the initial description, it sounded like Hallmark or some sappy corporate giant of that nature was trying to rip off Banksy images for its own benefit.
Turns out that the story is very, very different. And doesn’t make Banksy look very good at all once you understand the details. First, the “greeting card” company in question, Full Colour Black, has responded via a Facebook post, and you realize it’s a tiny home-based business and it’s not trying to take anyone’s name or sell fake merchandise at all. Indeed, contrary to some of the reporting, it’s not “suing” over anything. It just put forth a completely legitimate challenge to Banksy’s sketchy and probably illegitimate trademark on the “flower bomber” image (whose official name is apparently “Rage, Flower Thrower.”)
Salvador Dalí’s romance with film and the visual arts is a relatively well-known chapter in the life of the original and controversial Spanish (Catalan) artist (1904-1989). His collaboration with Luis Buñuel in the writing of Un Chien Andalou (1929) and L’Age D’Or (1930) has been extensively examined and documented. However, his explorations of video art with the production of the “documentary” Impressions de la haute Mongolie. Hommage a Raymond Roussel (1974-75) remain an episode of his long and successful creative career only acknowledged by the specialist. The fact that the video production has not been commercialized by, more or less, vague reasons related to copyright disputes did not help to make this innovative work better known. The “videografía”, written in collaboration with its director José Montes Baquer and produced with Sony-Cologne and WDR, narrates the exploration of Dalí to the remote land of Mongolia in search of the Great White Mushroom. Salvador Dalí, a consummate expert in media manipulation, invites the spectator to become his accomplice and partner in what it seems a drug-induced “trip” to a faraway and distant land where wonderful treasures are hidden. By means of advanced technology in film and the visual arts of the time (video, electronics, macro photography), Dalí strives to reveal optically the metamorphoses of matter with the purpose of revealing a new artistic reality. The journey –inspired by the psychedelic aesthetic of the seventies and narrated by Dalí in Catalan, with French subtitles that roughly translates his words– will offer the possibility of exploring the cosmos through the observation of a small metal piece magically transformed by Dalí’s secret techniques. The adventure concludes in a Catalan town where the crowd participates in a public ceremony of communal painting (a true “happening”) conducted and directed by Dalí. The multitude will worship him as a king (or so he intends) who does not shy away from acting as a clown.
The homage that Dalí pays to himself in the film is made extensive to the figure of his beloved Raymond Roussel (1877-1933), the author of Locus Solus (1914) and Nouvelle Impressions d’Afrique (1932) whose homonymic puns where so celebrated by the Surrealists, and are the base for Dali’s explorations of the double-image and the macro/micro reality on which his own impressions are based.
(Note: Crowley wasn’t a Satanist, but what can you expect from the Daily Mail?)