a) I am jumping on the idea that Giger too had an interest in the African synth-funk music artist William Onyeabor and and wanted to do something with this interesting album cover, "Crashes in Love" (1977), now that news of William Onyeabor's death has settled a few days. I come to understand out of the blue that it got absorbed into Giger's Life Cycle Hieroglyphics (1978).
b) The spinning record becomes transformed into the fleshy sun like structure at the top of Giger's painting while the legs transformed into a strip of film in the lower centre becomes transformed into the tale of the Face Hugger.
c) Holes in the side of the film forming the big circle in the album cover, become transformed into ribs and ribbing.
d) This of course becomes merged with Egyptian imagery of the sky goddess Nut and Ron Cobb's concept art for the life cycle hieroglyphics inspired by tree of life imagery from the Dresden Mayan Codex.
e) If one looks at the upper cutaway egg in Giger's Hieroglyphics, the album cover becomes the basis for the egg, the strip of film once again the Face Hugger tale, the W transforms into the Face Hugger's body with fingers, the spinning record becomes the egg opening, and the holes in the side of the film of the large circular form in the album become the shell of the egg with its interior layer of ribbing.
|Original life cycle tableau|