#harry o. morris

[weirdlookindog]

Harry O. Morris - Halloween in Arkham: Dreams in the Witch House, 1979

source

[sandmandaddy69]

Harry O. Morris

[surfingkaliyuga]

“The Dreams in the Witch House” Harry O. Morris 1972 Illustration for a story by H.P. Lovecraft.

[trve-grimdark]

Illustration for H. P. Lovecraft. Dreams in the witch house by Harry O. Morris (1972)

[der-unverantwortliche]

NESTLED IN DREAD: THE ART OF HARRY MORRIS

It would appear that Harry Morris has the maximum contempt for reality. On the other hand, he has performed the service of distilling away its dross in order to picture its essence: pure dread. So this contempt also pays homage to its object, honoring it with scorn and raw exposures. No decor­ative comforts are allowed in his work, no natural light of day, no human reference points. No, no, no--the cry of a mind protesting its dreadful revelations and at the same time finding them well worth the revel. Dread: both reality and escape from it. Dread: both the sum of things fled from and the ticket out of town. Not to mention the ultimate destination. Next stop, the Haven of Dread. It is not fear that inhabits such a series as Scenes from Lautreamont's Maldoror. Fear implies hope, and these images are as far from hope as they are from the morning newspaper and the evening news, as well as from all the daily agitations which fill the hours between. Neither is it shock or fright, horror or terror that forms the center of these scenes. Or rather, such states so permeate Harry Morris's collagework as to institute them as the norm, to expand these irruptions in reality until they come to fill every square inch of it. And thus reality's volatile moments are smoothed out into an even atmosphere of dread, a climate of all horror and no hope, a place where nothing bothers to move toward or away from doom and desolation. Every­thing already lives there, and there is nowhere else to turn. This is, above all, a stable universe; its scenes, in dread, are forever fixed. Let us look at some of them.

One of them could be called "Bedside Scene." The "action" is all crammed into the corner of a room where leaden walls meet: one wall displays two four-paned, shutter-type windows; the other wall reflects eight ghostly segments of those panes, through which shine the lights entrusted to illuminate an eternal blackness. (Those two staring pinpricks in the night beyond the windows might, after all, be a pair of moons.) Below all this window business, of which more later, a pallid-faced thing with eyes like huge jeweled broaches lies bedridden. Another thing, with a tiny beaked head out of which grow great corkscrew horns, is nursing the thing in the bed, feeding it a serpentine fluid which gushes from a ruddy-textured bulb. A third thing, headless in the lower right foreground, motionlessly looks on. All three of these things were once good women of the Victorian epoch, this is meant to be known. But whatever identities they may have formerly possessed, whatever creditable activities they may have formerly been engaged in, they are now freaks in a mysterious world where they are compelled to carry out a mysterious ritual--automatons performing the rites of dread. Impossible to tell if this scene depicts a perennial situation of panic or one selected from an infinite series of emergencies. In either case, a reassuring constancy is supplied by dread, the dread which is forever. It is always there watching, like those cosmic dots peering in the windows. Yes, the windows. Where they lead is one of the most engrossing questions of Harry Morris's work. They are not like the windows we know, which always give out onto scenes we know, or think we know. These windows give out onto different scenes. Sometimes there is the suggestion of the star-speckled hollows of space beyond the windows, the vast vacancy of infinity. Sometimes there is only a cluster of splotches or an infernal glare, cluttered cul-de-sac. Whatever the backdrop, open cosmos or blind alley, it is an uneventful and unpopulated empti­ness. Nothing and no one resides there, except perhaps a few eyeless entities of a vaguely destructive bent and demonic mysteries as strange as a thunderstorm in outer space. So don't stray too many steps beyond the scene before you. As in a dream, what you see is about all there is to see. And like the windows of a dream, these windows lead, if anywhere, merely to another set of windows in another dream.

The next scene—think of it as the "Mummified Wonder"—appears to be about shadows and light and bandages. But possibly the first two phenomena are merely variant forms of the third. Shadows as a first-aid for dreadful illumination. Light as a fine white gauze hiding a great gaping wound that bleeds blackness. What gashes are hidden beneath this wounded one's wrappings? Such dread in her eyes. Or are they his? This is part of its wonder. But what good or evil would it do for this creature to be one or the other? In these scenes, all differentiations and categories of the waking world are defunct or irrelevant. You may be man, woman, or child across the street of sleep, but here--in the land of dread--you are just one more object among many. Is that you tapping on those windows back there? Welcome, sweet companion, dear old thing.

The last collage to be examined really begs to be given the simple title "Empty Rooms with Decapitated Head." Perhaps this is the same head that was stolen from one of the things in the "Bedside Scene." (Harry Morris's universe seems to have its own laws of conservation of materials.) But actually there are two heads, are there not? That is to say, a head within a head or a head behind a-mask; possibly the relationship is that between core and covering, or could it be some twisted evolution or decom­position going on here? Look at the apples at the base of its neck! Apples, or some kind of bulbous fruit. (Another link with the "Bedside Scene"?) Whatever they are, tempting they are not. At least not in the usual way. Attention should be paid to the windows, once again, and then expanded to take in the whole cryptic architecture of this scene. More than walls seem to have been knocked out, more than rooms have been sunken and split­-leveled. Is this place some hybrid between cathedral and condemned house? Despite the windows and doorways, these rooms offer no way in or out. Cer­tainly not to the wide awake wanderer, that much is sure. But perhaps a sleepwalker could get up those stairs at the back, could climb into the disintegrating glare of dreams. And perhaps only an experienced somnambulist could step out that door at the left and actually end up somewhere. And the artist of these scenes is both. Dream overlaps dream. Dread piles on dread. Thanks to the art of Harry Morris, pure dread finally possesses a geog­raphy, a home deep in some interior landscape where we watch ourselves rave in scenes of contorted glory, where we watch ourselves sleep in the paradoxical peace of perdition, and where we watch ourselves watching ourselves with the infinite eyes of dread.

Thomas Ligotti

[acardinalisred]

Halloween in Arkham, collages by HARRY O. MORRIS

[dark-art-666]

[hplovecraftmuseum]

The 1991, No. 19 issue of the magazine, NYCTALOPS. This would be the very last issue of this very important publication. NYCTALOPS was a product of the SILVER SCARAB PRESS which was edited and published by Harry O. Morris Jr. From its humble beginnings in the early 1970s, NYCTALOPS would become a leading platform for art, origional fiction, and scholarly evaluations of Lovecraft and other acknowledged masters of horror fiction. The front cover in full color was the work of German artist, Helmut Wenske. The ink rendering of Rhan-Tegoth from Lovecraft's ghost written story, THE HORROR IN THE MUSEUM, was the work of David Pudelwitts. The photo collage of a man recoiling in horror from a multi-eyed tangled monster was the work of. H. E. Fassl. The origional tale, THE STRANGE FATE OF ALONZO TYPER, a story based on the origional Lovecraft 'revision', THE STATEMENT OF ALONZO TYPER, and was the creation of noted Lovecraft Scholar, Robert M. Price. (Exhibit 487)

[guiadeterror]

Sleepstalker - O Homem de Areia

Sleepstalker - O Homem de Areia

Sleepstalker – O Homem de Areia (Sleepstalker) SINOPSE: Dezessete anos depois de matar todos, exceto um membro de uma família, um assassino serial vicioso conhecido apenas como “The Sandman” aguarda a execução. Mas, primeiro, seus carcereiros permitem que um ministro visite o assassino para lhe dar os últimos ritos, sem saber que o ministro é um padre vodu e um aliado do prisioneiro condenado. O…

[weirdlookindog]

Harry O. Morris - Halloween in Arkham, 1979

[sandmandaddy69]

Harry O. Morris

[simstorian-blog]

L O T R E V I S I O N - Accommodating the Suite Life Mod by Lot51

The S Hotel @ Uptown

(CC List + Links)

(Disclaimer: I am not affiliated with this hotel by any means. I simply took the 'S' from San Myshuno and slapped 'Hotel' after it. The '@ Uptown' is because I built it within the Uptown neighborhood of said Sims 4 world.)

World Map: San Myshuno

Area: Stargazer Lounge

Lot Size:  40 x 30

Amenities: Bar, Lounge, Nightclub, Pool, Restaurant, Wedding Venue

(These are the venue types that my build meets the requirements of)

Gallery ID: Simstorian-ish

Packs Needed

Expansion Packs

City Living

Eco Lifestyle

For Rent

Get Famous

Get Together

Get To Work

Island Living

Snowy Escape

Game Packs

Dine Out

My Wedding Stories

Parenthood

Spa Day

Vampires

Stuff Packs

Backyard Stuff

Home Chef Hustle

Moschino

Romantic Garden

Recommended Gameplay Mods

(Please read through what each mod has to offer before deciding if it fits your gameplay style or not.)

Dine Out Reloaded

Lock/Unlock Doors for Any Lot

MC Command Center

No Fade On Everything

Spawn Refresh

Build Mode

Harlix

Bafroom (Tall Windows + Tall Doors)

Harrie

Octave Pt. 2 (All Doors)

LittleDica

H&B Store (Lit Letters)

Peacemaker

Old World Wild Plank Flooring

Shaker Paneling

Pierisim

Stefan Kitchen (Tiles)

Syboubou

Lift Elevator (This is NEEDED)

TaurusDesign

Judith Living Room (Walls)

Buy Mode

BlueTeas

Milano Living (Chandelier Medium)

Safford Entertainment Room (Morris Barstool)

Samara Dining (Chandeliers, Sconce)

Felixandre

Chateau Pt. 5 (Tall Bookshelf Pieces)

Grove Pt. 2 (Dining Tables)

Hanraja

S005 Soundbar

Harlix

Baysic Bathroom (Toilet, Toilet Roll, Towel Clutter)

Kichen (All Glasses)

Kichen 2.0 Pt. 2 (All Glasses)

Livin’ Rum (Frame TV)

Orjanic Pt.2 (Chaise, Cushions, Rug, Sectional Sofa)

Tiny Twavellers (Director Chair)

Harrie

Coastal Pt. 5 (Nursery End Table)

Coastal Pt. 6 (Mirror Landscape, Sink Vanity Table)

Coastal Pt. 7 (Bedside Lamp, Leaning Mirror)

KiwiSims4

Blockhouse Kids (Bedroom Lamp)

Max20

Happily Ever After Kit (Bouquet Magnificent, Dining Chair)

No Style x Woodland

Tamasusja Booth Corner

Onyxium

Heilbronn Dining Chair

Pierisim

Domaine Du Clos Pt. 2 (Account Book)

Stefan Living (Curtains + Rod Covers)

PlushPixels

Into Summer (Olive Tree)

Ravasheen

Enjoy the Lentil Things

Shake and Shimmy Dance Floor

Simplistic

RPC x Loloi Rugs II

Sooky88

Oil Paintings

SurelySims

Office Space (Wall Clock Locations)

Syboubou

Bridgerton Wedding (Buffet Table)

Pour Toujours (Petals on the Floor, Tables)

Tuds

IND 02 (Bar, Island Counters, Wine Rack)

IND 03

Valia

Arty Bathroom

Wondymoon

Tiarella Garden Umbrella

DO NOT REUPLOAD MY LOTS.

DO NOT CLAIM THEM AS YOUR OWN.

DO NOT PLACE BEHIND A PAYWALL.

Tray Files: DOWNLOAD

[amberjuni]

🤍 Shuffle Playlist Game 🤍

tagged by no one, but it sounded fun so...

Rules: you can tell a lot about a person by the music they listen to. Put a playlist on shuffle, list the first 10 songs and then tag people!

Journey to Skyhold - Trevor Morris

My New Swag - Bwood

Vi, the Piltover Enforcer (Here Comes Vi) - LOL, Nicky Taylor

Calm Down - Krewella

Voices - Hidden Citizens, Vanessa Campagna

The Look - Lord Of The Lost, Blümchen

Burn It Down - E.P.O., Veronica Bravo

Watermelon Sugar - Harry Styles

Yosemite (Song For The Ahwahnechee) - Iniko

EVERYDAY ANYONE - N O M I N A L

tagging @yamitay @classyinternetmango @fmd-art :3 (but feel free to disregard the tag if you don't want to play! <3 )

[monkeyssalad-blog]

324 Morris Minor 4 door (Series V) (1968) TPG 156 F by Robert Knight Via Flickr: Morris Minor 1000 Series V (1962-72) Engine 1098cc S4 OHV Production 847,491 (Series III and Series V) Registration Number TPG 156 F (Surrey) MORRIS ALBUM www.flickr.com/photos/45676495@N05/sets/72157623690377489... Designed by Sir Alec Issigonis for William Morris's Nuffield Group the Morris Minor made its debut at the 1948 Earls Court Motorshow . The original Minor MM series was produced from 1948 until 1953, the range included a 2 door and 4 door four seater saloon, and a convertible An instant success and the baby car of its day, the new car featured rack and pinion steering, torsion bar independent front suspension and superb handling. Although the Minor was originally designed to accept a flat-4 engine, late in the development stage it was replaced by a 918 cc S4 side valve engine. The Series II was substantially re-engineered following the merger of the Nuffield Organisations merger with Austin (forming BMC), Cosmetically the car now had raised front lights in the wings, rather than at the sides of the grille. As part of a rationalisation programme to reduce the production of duplicate components for similar vehicles, the Minor drivetrain was completely replaced with an Austin-derived engine, gearbox, prop shaft, differential and axle casing. The more modern Austin-designed 803 cc (49.0 cu in) overhead valve A-series engine, designed for the Austin A30 which proved more lively than the 918cc SV it replaced. An estate version was introduced in 1952, known as the Traveller featuring an external structural ash (wood) frame for the rear bodywork, with two side-hinged rear doors. A horizontal slat grille was fitted from October 1954,[ as well as a new dashboard with a central speedometer 269,838 examples of the Series II had been built when production ended in 1956 In 1956, the Minor received a major programme of updates as the Series III Minor 1000. Now powered by a 948cc variant of the BMC A-Series engine, which increased fop speed from 63mph to 75mph. the engine was mated to a revised gearbox with longer ratios and a shorter gearchange. A series of changes to the body pressings allowed a wraparound rear windscreen and a curved front screen In 1961 the semaphore-style trafficators were replaced by flashing direction indicators In 1962 the final Series Minor 1000 (ADO 59) was launched the 'Series IV' designation having been assigned to the Morris Mini Minor. A new, larger 1098cc version of the BMC A Series engine with a Harry Weslake designed cylinder head Although fuel consumption suffered moderately at 38 mpg, the Minor's top speed increased to 77 mph and a significant increase in torque, this revised engine was mated to a new stronger gearbox and the size of the front drum brakes increased. The interior was refreshed, and revised again in 1964. Diolch am 92,828,339 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr. Thanks for 92,828,339 amazing views, every one is greatly appreciated. Shot 23.04.2022 at the Bicester Spring Scramble, Bicester, Oxfordshire 158-324

[todaysdocument]

Discharge Petition for H.R. 7152, the Civil Rights Act of 1964

Record Group 233: Records of the U.S. House of RepresentativesSeries: General Records

This item, H.R. 7152, the Civil Rights Act of 1964, faced strong opposition in the House Rules Committee. Howard Smith, Chairman of the committee, refused to schedule hearings for the bill. Emanuel Celler, Chairman of the Judiciary Committee, attempted to use this discharge petition to move the bill out of committee without holding hearings. The petition failed to gain the required majority of Congress (218 signatures), but forced Chairman Smith to schedule hearings.

88th CONGRESS. House of Representatives No. 5 Motion to Discharge a Committee from the Consideration of a RESOLUTION (State whether bill, joint resolution, or resolution) December 9, 1963 To the Clerk of the House of Representatives: Pursuant to Clause 4 of Rule XXVII (see rule on page 7), I EMANUEL CELLER (Name of Member), move to discharge to the Commitee on RULES (Committee) from the consideration of the RESOLUTION; H. Res. 574 entitled, a RESOLUTION PROVIDING FOR THE CONSIDERATION OF THE BILL (H. R. 7152) which was referred to said committee November 27, 1963 in support of which motion the undersigned Members of the House of Representatives affix their signatures, to wit: 1. Emanuel Celler 2. John J. Rooney 3. Seymour Halpern 4. James G Fulton 5. Thomas W Pelly 6. Robt N. C. Nix 7. Jeffery Cohelan 8. W A Barrett 9. William S. Mailiard 10. 11. Augustus F. Hawkins 12. Otis G. Pike 13. Benjamin S Rosenthal 14. Spark M Matsunaga 15. Frank M. Clark 16. William L Dawson 17. Melvin Price 18. John C. Kluczynski 19. Barratt O'Hara 20. George E. Shipley 21. Dan Rostenkowski 22. Ralph J. Rivers[page] 2 23. Everett G. Burkhalter 24. Robert L. Leggett 25. William L St Onge 26. Edward P. Boland 27. Winfield K. Denton 28. David J. Flood 29. 30. Lucian N. Nedzi 31. James Roosevelt 32. Henry C Reuss 33. Charles S. Joelson 34. Samuel N. Friedel 35. George M. Rhodes 36. William F. Ryan 37. Clarence D. Long 38. Charles C. Diggs Jr 39. Morris K. Udall 40. Wm J. Randall 41. 42. Donald M. Fraser 43. Joseph G. Minish 44. Edith Green 45. Neil Staebler 46. 47. Ralph R. Harding 48. Frank M. Karsten 49. 50. John H. Dent 51. John Brademas 52. John E. Moss 53. Jacob H. Gilbert 54. Leonor K. Sullivan 55. John F. Shelley 56. 57. Lionel Van Deerlin 58. Carlton R. Sickles 59. 60. Edward R. Finnegan 61. Julia Butler Hansen 62. Richard Bolling 63. Ken Heckler 64. Herman Toll 65. Ray J Madden 66. J Edward Roush 67. James A. Burke 68. Frank C. Osmers Jr 69. Adam Powell 70. 71. Fred Schwengel 72. Philip J. Philiben 73. Byron G. Rogers 74. John F. Baldwin 75. Joseph Karth 76. 77. Roland V. Libonati 78. John V. Lindsay 79. Stanley R. Tupper 80. Joseph M. McDade 81. Wm Broomfield 82. 83. 84. Robert J Corbett 85. 86. Craig Hosmer87. Robert N. Giaimo 88. Claude Pepper 89. William T Murphy 90. George H. Fallon 91. Hugh L. Carey 92. Robert T. Secrest 93. Harley O. Staggers 94. Thor C. Tollefson 95. Edward J. Patten 96. 97. Al Ullman 98. Bernard F. Grabowski 99. John A. Blatnik 100. 101. Florence P. Dwyer 102. Thomas L. ? 103. 104. Peter W. Rodino 105. Milton W. Glenn 106. Harlan Hagen 107. James A. Byrne 108. John M. Murphy 109. Henry B. Gonzalez 110. Arnold Olson 111. Harold D Donahue 112. Kenneth J. Gray 113. James C. Healey 114. Michael A Feighan 115. Thomas R. O'Neill 116. Alphonzo Bell 117. George M. Wallhauser 118. Richard S. Schweiker 119. 120. Albert Thomas 121. 122. Graham Purcell 123. Homer Thornberry 124. 125. Leo W. O'Brien 126. Thomas E. Morgan 127. Joseph M. Montoya 128. Leonard Farbstein 129. John S. Monagan 130. Brad Morse 131. Neil Smith 132. Harry R. Sheppard 133. Don Edwards 134. James G. O'Hara 135. 136. Fred B. Rooney 137. George E. Brown Jr. 138. 139. Edward R. Roybal 140. Harris. B McDowell jr. 141. Torbert H. McDonall 142. Edward A. Garmatz 143. Richard E. Lankford 144. Richard Fulton 145. Elizabeth Kee 146. James J. Delaney 147. Frank Thompson Jr 148. 149. Lester R. Johnson 150. Charles A. Buckley4 151. Richard T. Hanna 152. James Corman 153. Paul A Fino 154. Harold M. Ryan 155. Martha W. Griffiths 156. Adam E. Konski 157. Chas W. Wilson 158. Michael J. Kewan 160. Alex Brooks 161. Clark W. Thompson 162. John D. Gringell [?] 163. Thomas P. Gill 164. Edna F. Kelly 165. Eugene J. Keogh 166 John. B. Duncan 167. Elmer J. Dolland 168. Joe Caul 169. Arnold Olsen 170. Monte B. Fascell [?] 171. [not deciphered] 172. J. Dulek 173. Joe W. [undeciphered] 174. J. J. Pickle [Numbers 175 through 214 are blank]

[historyofglee]

On this day in 2010:

members of the cast of Glee attended an outdoor screening of 1x14 “Hell-O” ahead of the show’s spring premiere.

The event was held at the Grove in Los Angeles, California, and was attended by Jenna Ushkowitz, Jane Lynch, Dianna Agron, Heather Morris, Naya Rivera, Cory Monteith, Dijon Talton, Harry Shum Jr., and Josh Sussman.