Psychic TV: Logo #314

Designed by Throbbing Gristle / Psychic TV co-founder Genesis P-Orridge in 1981. Deceptively simple and endlessly reproduced in a variety of materials and locations, it is at least a distant cousin to Raymond Pettibon's Black Flag bars and at best a close brother to Jesus Christ's cross - well, wait, let's not talk about that. That cross around your neck? You think Jesus is going to want to see that when He gets back and comes up to shake your hand? So distasteful. The Temple Ov Psychick Youth file declares, "The Psychick Cross is a symbol of TOPY. That is its main meaning. It can also represent a trinity, a reversal of the Papal Cross (i.e. two long crossbars and one short), and a TV aerial (receiver and transmitter of information). No meaning is imposed upon it by the group." Speaking rather incisively in a recent interview, P-Orridge recalls, "One reason we came up with what we called the Psychic Cross was to have a non-verbal icon, where if you saw someone with that on a jacket, or a tattoo, you would think, "They’re probably relatively close to my way of thinking…they're part of my invisible tribe." It doesn’t have a linguistic definition - it's beyond words.

(William S.) Burroughs was really interested in hieroglyphics. One of the things he pointed out was that he believed that the hieroglyphic so-called 'languages' work on the nervous system rather than the intellect because they're pictograms, which are received in our brains very differently to a linear, alphabetic language. And the subtleties and the nuances in this holographic information - of a hieroglyph - is more far-reaching and less specific than an alphabetized language. Whether alphabets go from right to left or left to right or up and down, they're basically teaching the brain to create habitual pathways that are - supposedly - logical…but actually they erase imagination from language. They erase the individual's subtle interpretations of meaning - and therefore meaning becomes very dogmatic."

With more than three dozen members coming and going since the group's inception in 1981, Psychick TV is a cross (har) between a symphony orchestra and the Justice League of America. Genesis P-Orridge - now Genesis Breyer P-Orridge - welcomes the publication in November on Feral House of the 544-page "Thee Psychick Bible." Finally - something to read this winter.

Chris & Cosey: Logo #283

This amalgam of sperm, king and egg was designed by Stephen Gilmore in 1984. Chris and Cosey go under the name Carter Tutti now; here's what I wrote in the L.A. Weekly after one 2005 live action: "Nostalgia is a bit like going to the dentist: past sensations are felt so acutely that their anticipation is nearly equals original sensation. So it is with Carter-Tutti, formerly Chris & Cosey, they of the previously submerged Throbbing Gristle until its recent revivification campaign – and what better space in which to play for these wreckers of civilization than a building whose reflective panels inflict sunburn in ten minutes for those standing before it? Slowed footage of children at the seaside and amusement parks segue into animated hands altered to resemble Kirlian photography by way of jewels and honey. Carter manipulates various inscrutable dials from his left-side laptop / mixing desk, scoring footage in which Cosey’s veiled head turns into a pomegranate. Her almost subliminal croon subsumes below the music, much of which is propelled by her gentle picking at an echoing guitar before occasional harmonica and trumpet blasts. There’s an overriding sense of revelation – from Carter’s unblinking eyes to the repeated images of wide-eyed children. Over time, naturally, revelation happens in one’s life in more gentle ways – for instance, under the idyllic gaze of Wozniak’s apple and the rapt applause of a literally full house rather than gallery-destroying milk-and-blood enemas."

Logo #234: Coil

Coil's symbol of chaos was originally designed by Jim Cawthorn in 1962 and appropriated by John Balance (born Geoffrey Laurence Burton, a.k.a. Geff Rushton; February 16, 1962 - November 13, 2004) and Peter Christopherson in 1987. Christopherson: "I would say (we started using it) around '87, not before. By the way, I would claim some small credit for first deriving the vaguely 'animal-skull-shaped' version of the chaosstar which occurs when you filter a normal one through a Photoshop Polar co-oordinates filter! This version was used extensively by Coil during the '80s and '90s." Perhaps no other shape since the circle has captured the imagination of modern logo design than the chaos star. SFA, Naked Aggression, Psychick TV, GWAR, Skullflower and Fire + Ice have all wielded it as an identity over the decades, and why no one's used it in a movie as a shuriken is beyond me. Talk about a system! Coil was one of the very first bands - along with Sleep Chamber, Master/Slave Relationship, Controlled Bleeding and SPK - I ever got into on my long journey into the nights and noises of experimental music, and I tend to like them on compilations and in little bits. As one focused album of songs - mmh, not so much. Highly, highly recommended: the "Gold is the Metal with the Heaviest Shoulders" and "Stolen and Contaminated Songs" albums. Your life is improved immeasurably for having heard those sounds at least once and possibly twice.

Logo #123: Throbbing Gristle

"The TG flash was Genesis' suggestion, based - he claims - on the "Warning! High Tension Cables" signs on electricity pylons. I was pissed off when it appeared he knew it was already used by Bowie for one if his "Ziggy Stardust" tours. If I had known I would have been against it. TG used the flash logo from before the first record - around 1975 when we started practicing at Martello Street. I would say it would be unfair and incorrect to credit it exclusively to Gen. It certainly wasn't his in the first place (see above) - TG as a group would be marginally better, as we all contributed to its wider use and all the variations that subsequently came along." - Peter "Sleazy" Christopherson