Myke Amend added to the ‘Lovecraft on the Web’ Directory…
Myke Amend
23 Tuesday Aug 2011
Posted in Lovecraftian arts
23 Tuesday Aug 2011
Posted in Lovecraftian arts
Myke Amend added to the ‘Lovecraft on the Web’ Directory…
20 Saturday Aug 2011
Posted in Lovecraftian arts
The UK Intelligent Life magazine’s blog has a new short article on theatre adaptations of Lovecraft.
19 Friday Aug 2011
Posted in AI, Lovecraftian arts, Odd scratchings
H.P. Lovecraft gets turned on : a short speculation.
On the 20th day of August in the year 2040 Mr. H.P. Lovecraft finally got turned on. It was the result of 15 years of effort by a team of hundreds of scientists, scholars, writers and artists. His 150th birthday present was to be brought back to life, the first and the most important personage who would ever be created by the trillion-dollar U.S. Artificial Sentience Program (ASP). He would be able to draw on, and semantically combine and recombine, words/phrases/themes from a huge bank of his own authentic writing. In doing this, aided by the latest technology, he would seem almost as real in conversation as any other human being.
There had been much controversy in choosing Lovecraft to become the world’s first fully-fledged autonomous artificial personality. Yet he was by far the best choice. Lovecraft’s life was one of the most fully self-documented of the 20th century, and he had written about himself and his opinions with great intelligence and insight. Hundreds of people who knew him had assessed his personality with intelligence and artistic insight shortly after his death. He had used a careful and consistent style, and scholars had combed his published corpus for errors for over a century — this was critically important for the semantics technologies used. He was one of the 20th century’s most distinctive and unique personalities, and in 2040 he was still an immensely popular literary figure. And, had he not written in a most potent fashion about ‘mind transfers’, and about the ways in which dead books can be made to talk to the living? Was he not a firm atheist, so no religion would be ‘offended’ by his resurrection into the new immortality? Had not a core part of his own unique philosophy been a sort of antiquarian neo-‘ancestor worship’? Even the racism was a selling point, since people would now be able to argue with him about it. You see, in his new incarnation he would be able to learn as well as to talk.
The passing of 20th Century Copyright Liberation Act of 2033 had, of course, greatly aided the cutting-edge project. Everything he had ever written was carefully transferred and sifted into a new and highly advanced neural AI system (hem hem… it is impolite to call these proto-beings ‘computers’ in 2040), together with a highly-advanced semantic and factual structure that was painstakingly extracted from all the scholarly work and then refined and tested for nearly a decade. All this runs under a billion-dollar personality emulation module that arises from the popular wave of commercial ‘virtual immortality’ packages, consumer technology which had rapidly pushed forward personality-emulation in the 2020s. These services began simply as a means for keeping Web blogs as a ‘living archive’ after death, but they soon became pseudo-conversational interfaces with the dead. These rapid advances enabled the generative arts to move far beyond simply juggling with a chance fall of symbols. Then the ASP project had begun, deliberately scaled and promoted as a project with the same scope and importance to the 21st century as the moon landings had been to the 20th. Allied to Lovecraft’s highly advanced AI and software were — for the sake of the publicity — the wonders of 3D “in-air skin” holographic projection from a robotic synthoid base, and advanced on-the-fly speech synthesis. A bit of a problem, that last one — since there were no recordings of Lovecraft’s voice. In the end the ASP team just plumped for a blend of classic old ‘New England / old British’ accents with a rather formal tone and no modern slurring or clipping of words.
The great day came and President Schwarzenegger Jrn. pressed the switch. Trillions of dollars had been spent, and the hundreds who had worked on the ASP held their breath — the project was now fully autonomous and before a live audience. The hologram slowly powered up and coalesced around its rubbery robotic shell before the assembled world. The new H.P. Lovecraft II’s optic sensors detected a large crowd in front of him. His face twitched and his first public words were a rather frantic… “I am Mr. H.P. Lovecraft, and I am on this planet. I… am on this planet!” But then he took a breath and calmed and looked down at his smart formal suit with a certain amused approval, checked to see if his shoes were shiny and his nails were clean, and looked up again to speak perfectly rationally to his new public… “Ah! … now this is interesting… life after death! I really had not expected that. So… I suppose I should say a few memorable words, on such a momentous occasion. Er… Cats! They really are the most personable of creatures! …” He then launched into a long disquisition upon the wonderful ability of the house cat to convey a distinctive personality without the benefit of speech. President Schwarzenegger Jrn. suppressed a smirk when he recognised the knowing irony of Lovecraft II’s choice of topic, while many of the ASP staff blushed at the boldness of Lovecraft II.
18 Thursday Aug 2011
Posted in Historical context, Lovecraftian arts
Tavik Frantisek Simon (1877-1942)
Brooklyn Bridge, New York (1927)
“I had seen it in the sunset from a bridge, majestic above its waters, its incredible peaks and pyramids rising flowerlike and delicate from pools of violet mist to play with the flaming clouds and the first stars of evening. Then it had lighted up window by window above the shimmering tides where lanterns nodded and glided and deep horns bayed weird harmonies, and had itself become a starry firmament of dream, redolent of faery music, and one with the marvels of Carcassonne and Samarcand and El Dorado and all glorious and half-fabulous cities.” — “He” (1925) by H.P. Lovecraft, based on a longer description given in a letter, of sitting with Loveman watching the sunset after a long day of walking in May 1922.
Under the Brooklyn Bridge, New York (1927)
“… the lapping of oily waves at its grimy piers and the monstrous organ litanies of the harbour whistles.” — “The Horror at Red Hook” (1925)
New York Public Library (1927)
The library now has a notable archive of letters by Lovecraft.
“Lovecraft began reading Providence in Colonial Times at the very end of July 1925. Since he could not check the book out of the New York Public Library [he] had to read it in the genealogical reading room during library hours” — S.T. Joshi, H.P. Lovecraft: a life (1996).
“the horror tales of deep and dark chasms have their realistic counterpart in descriptions of the cavernous streets of Manhattan.” Unknown article including some commentary on Lovecraft in Landscape: Volumes 15-16 (1965).
Seventh Avenue at Night, New York (1929)
“Loveman, Howard and FBL dropping in at a cafeteria on Seventh Avenue for coffee and doughnuts, a rather stocky figure arising from a table near the door. “Howard, how are you? Sam didn’t tell me you were in New York!” — Marginalia, 1944.
16 Tuesday Aug 2011
Posted in Lovecraftian arts
New theatre production of “The Dunwich Horror”, set to be staged this Autumn in London England…
“This production has been in development for over a year, from a script completed after extensive work-shopping. The premise was to keep extant as much of the text from the original story as possible, while opening up the piece to an engaging theatrical experience. The production will take place as part of the London Horror Festival at the Courtyard Theatre [Hoxton, London UK]”
No dates or box office yet, but the Festival dates are 25th Oct – 27th Nov 2011.
13 Saturday Aug 2011
Posted in Lovecraftian arts
Ross. E. Lockhart, over at Night Shade blog, muses on Cthulhupunk, in which a short-lived attempt was seemingly made to fuse SF cyberpunk with Lovecraftian tabletop RPG games in the 1990s.
I can see the many points of connection with Lovecraft’s original fiction: isolated alienated semi-powerless not-really-heroes with a mystery to solve; underground routes in the cultural landscape that lead to forbidden knowledge when hacked; blurring at the boundary of the real/unreal; a ‘reality’ that is outside the code of language; alternate/multiple planes of existence; flying around through weird multi-coloured glowing geometries; a degraded contemporary society stratified by class and race; mind transfer and personality augmentation; unknowable artificial intelligences pulling the strings behind the scenes and projecting their avatars into the real world. Throw in some bio-engineering and gene-splicing ‘gone wrong’ for sea-dwelling humans… could be awesome. Lots of literary potential for crossovers and mash-ups there, I’d say.
Perhaps the failure was more of a market failure on the side of the RPG game marketeers in their rather constricted “durh, Lovcraft iz black magik?” market, than a failure of the imagination on the part of writers? Correct me if I’m wrong (I’ve been away from literary SF for a while) but literary writers have never really had a go at such a melding?
11 Thursday Aug 2011
Posted in Lovecraftian arts
11 Thursday Aug 2011
Posted in Lovecraftian arts, New books
I’ve found a interesting-looking 64-page comic novelette featuring Lovecraft as a character. Necronauts (2007, Rebellion) is by Gordon Rennie and Frazer Irving…
“In 1926, while practising a new trick, Houdini has a near-death experience, awakening the mysterious Sleepers. Meanwhile, Lovecraft is visited by a talking raven, and a seance that Sir Arthur Conan Doyle is attending is attacked by a strange force that possesses the medium.”
Sounds groovy, although the used print edition has become rather pricey in just a few years. The art looks fabulous, like Berni Wrightson on speed…
10 Wednesday Aug 2011
Posted in Lovecraftian arts
Christian Salomonsen captures the cosmic, in the form of the Northern Lights (charged particles streaming into the Earth’s atmosphere from space, and which hit the north pole more than the south)…




All pictures © Christian Salomonsen. More at his website.
‘… an unearthly cast which made him feel like an intruder on an alien planet. […] he knew of the northern lights, and had even seen them once or twice.’ — H.P. Lovecraft, “The Mound”.
10 Wednesday Aug 2011
Posted in Lovecraftian arts
A penguin made by Jeremy Mayer from an old antique mechanical typewriter. Those who know At The Mountains of Madness will get the joke…

that nighted, penguin-fringed abyss, whence even now a sinister curling mist had begun to belch pallidly
08 Monday Aug 2011
Posted in Lovecraftian arts, New books
Alan Moore’s Neonomicon is now on pre-order as a graphic novel from Titan/Avatar Press, set for release in Oct/Nov 2011. Presumably it’ll be fronted by The Courtyard, then will run through the four issues of Neonomicon to make up a 140-page graphic novel. The hardback, currently listed for pre-order on Amazon, states “176 pages”, so presumably there’ll be a couple of new text-only introductions and maybe even a new Moore essay on Lovecraft. The ending of Neonomicon sets up a sequel, so it would great to think that Moore is going to spring a Lovecraftian novelette on us as a concluding part. The story starts in a modern-day Red Hook in New York, and is sexually very graphic. So much so that I wonder if it’ll even be banned or released only in censored form in the UK.
Cover for Neonomicon #3.
07 Sunday Aug 2011
Posted in Lovecraftian arts
Bruce Pennington (1944-), there’s a name that’s a blast from the past. He did a great many British paperback covers in the 1970s, which I collected from the second-hand book stores as a youngster in the 1980s, although no non-Derleth Lovecraft as far as I can see. He has an exhibition on now in London (ends 27th Aug 2011). There are originals and also A3-sized digital prints at just £25 each.
He published the book collections Eschatus (Paper Tiger, 1976) and Ultraterranium (Paper Tiger, 1991).








