* Edition of 100. Housed in High Quality folded card stock silk screened * The Obelisk I imagined a movie. The movie, made in 2029, begins as Two Lovers drive through an unending forest — already we are disoriented — Germany? Russia? The Ozarks? And then a crash. They find their way to The Obelisk — a walled asylum built on the edge of the Black Sun. The doctors here are in fact Psychotronic Biologists; the inmates are tunnels to the edge-of-the-cosmos source of witchcraft, despair, and power. The Lovers fight against the impulse to transform their own flesh. They fight the nightside sister-entities Morbida, Destruda, and Libida. Soon our own childhood traumas and fears merge onto the screen as demonic inmates watch “mind movies” projected in beams of light from their own skulls. By the end, the audience is rooting for the destruction of The Obelisk — both the movie and the structure depicted within — while our heroine, harrowed by humanity’s damage-made-flesh, attempts to resurrect her lover using the occult controls at the heart of the facility. This movie from the future seemed to be projected back to my own mind, echoing from the Outer Gateways. My score is a recapturing of the movie beginning with the opening credits overture and a journey through The Dark Road, through the agonies of telepathic destruction and the psychic landscape of the Woods. It ends in the hellish evocation of a Centrifuge and an epiphany about what is controlled by the Control Room.