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From 1981 to 1991, the band Psychic TV served as the audio-visual propaganda unit of Thee Temple ov Psychick Youth (TOPY), an international network of occultists designed by Genesis P-Orridge to resemble a subversive, militant youth movement. This essay investigates how P-Orridge, Psychic TV, and TOPY embarked on a calculated campaign of “occult research” to test whether chaos magick rituals might conjure the widespread belief that P-Orridge and h/er followers pioneered the UK acid house movement. Primary sources from this epoch, such as Psychic TV's compilation albums with pseudonymous artist names, demonstrate how acid house's trademark psychedelia became a conduit for recruiting listeners into these occult experiments.

Beginning in 1966, Victor Moscoso designed many of his psychedelic posters for the stroboscopic light shows of the San Francisco dance halls. Moscoso innovated a new mode of print that depended on its environment—kinetic lithography, a product of creative experimentation. He developed multiple iterations of this medium; however, installing it outside of its original context of the psychedelic dance hall continues to pose a unique challenge for preparators and curators alike. Today, museum display of his works relies upon experimental settings to activate his site-specific design. This article considers how immersive displays and antistatic artworks demand a new kind of relationship between visitor and artwork by decentering the museum’s longstanding emphasis on the optical, a regime that has long served to frame posters and ephemera in contexts of display rather than as active objects. By analyzing two recent exhibitions displaying Moscoso’s kinetic lithographs (The Summer of Love Experience, 2017, and Moscoso Cosmos, 2021), this article considers the mechanics of the print itself, curatorial decisions, and visitor engagement to assess the site-specific demands of a genre-bending medium.

Honorable Mention, 2019 Foreword INDIES Awards - Performing Arts MusicHonorable Mention, Graphis 2021 Design Annual CompetitionPopular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction and so many other crucial issues. Music Is Power takes us on a guided tour through the past 100 years of politically-conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches- angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority-to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, The Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley.Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc 

Imbuido de un romanticismo manifiesto e inserto en el ambiente de la contracultura de los años sesenta, el New American Cinemasostuvo una concepción expansiva y mística de la mirada, que sustrajo al cine su poder directo de referencialidad, es decir, de su capacidad para presentar naturalmenteel tiempo, el espacio, las personas, las cosas.En algunas cintas de Brakhage, Warhol o Frampton, entre otros, se produce un paso de lo psicodélico a lo fantástico que da como resultado obras no solo estéticamente impactantes sino que ambicionan actuar socialmente en la experiencia. El presente artículo aborda esta relación entre lo fantástico, lo psicodélico y el cine undergroundnorteamericano, vínculo que, aunque orillado por la crítica, es fundamental para comprender su estética y su potencial político.

Chapter 2 analyses Marta Minujín’s increasingly countercultural attitude to communication after Three Country Happening, turning to the artist’s subsequent sociological media performances: Circuit (Super Heterodyne) (1967) and Minucode (1968). It reads these works as extended sociability studies, which used feedback to address the power imbalances of cultural capital, the pressures of Cold War soft diplomacy, and the experiences of exile and alienation. The chapter grounds Minujín’s deployment and critique of social science methodologies in the analytical reception of the Happening in Argentina and the dramatic rise of sociology, psychology and psychoanalysis in the country. It shows how the artist’s fascination with sociability, socialisation and cultural capital, and the media’s role in their consolidation, influenced her immersion in the counterculture, and her desire to undermine the disciplinary effects of sociology and psychology by inciting improvisatory relations – notably in her deeply idiosyncratic, provocative New York and Washington, DC Happenings of the early 1970s.

El presente artículo es un análisis de las adaptaciones de las novelas de Alicia en el País de las Maravillas en formatos diferentes. La hipótesis central está planteada alrededor del concepto de \"crossover\", el fenómeno por el cual un producto cultural destinado a niños acaba siendo consumido por un público adulto. Una vez que las teorías principales hayan sido analizadas, los elementos clave de la original Alicia en el País de las Maravillas (versiones traducidas al español) que puedan dar pie a \"crossover\" serán comparadas con diferentes adaptaciones y representaciones. Lo primero a ser tratado serán los conceptos de \"crossover\", \"target audience\" y adaptación en el ámbito de la \"mass media\". La primera versión a ser analizada será la producción de Walt Disney. El segundo punto analiza la visión psicótica y psicodélica de la obra original de Lewis Carrol y cómo Tim Burton plasmó esta visión en su filme, convirtiéndose en la obra más notable en esta vertiente oscura de la obra. El tercer punto está dividido en diferentes formas de representación: pinturas de Salvador Dalí, una canción de Enrique Bunbury y un cuento gótico escrito por Thomas Ligotti.

Allen ginsberg strongly advocated the use of psychedelic drugs, particularly LSD and psilocybin, as a means of self-discovery through the expansion of consciousness. He kept massive files of news clippings and magazine articles, general interest and scholarly, on drug use, legislation, law enforcement, and scientific and anecdotal studies; his knowledge on drug-related issues was encyclopedic, and, not surprisingly, he was very vocal in expressing his opinions on such topics as Timothy Leary and his Harvard LSD experiments, and on the legalization of marijuana, to name just two. His knowledge and high media visibility made him an ideal witness when, in