ccru-abstract-culture

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�·Cybernetic culture research unit [swa rm 1] 1. Nick La nd -Meltdown 2. Kodwo Esh u n -Motion Capt u re 3 . R. Mackay I M . Fisher-Pomophobia 4. Roh it Le khi -Future loop I Black Bed l a m 5 . Ccru -Swa rmachines [swa rm 2] 1. Steve Metca lf-Ki l l i ng Ti me IStrife Ko lony I NeoFut u rism 2. Angus Ca rlyle -Amorta l Ko m bat I No U FOs 3 . R o b Heath & Ch ristina Pao u ros -Desti nation 3000 Degrees 4. David Cole -Post-Cybe rnetic J udicia l Wa r 5 . I a n H a m i lto n G rant - B u rn i ng AutoPoiOed ipus [swa rm 3] 1. S. Livington IL. Pa risi IA. G ree nspa n -Amphibious Maidens 2. Kodwo Esh u n -Abducted by Audio (Live) 3 . Steve Good m a n -Da rkcore 4. To m Epps -The Body of Fouca u lt 5 . Switch -Flee Contro l [swa rm 4] [digita l hyperstition] 1. Ccru -Ba rke r Spea ks 2. Mela nie Newto n -Y2 Pa n i k 3 . Steve Good m a n -Hype r-C : Bre a king the N et 4. Ron Eglash -Recu rsive N u m e ric Sequences i n Africa 5 . R o n Eglash -Africa i n the Origi ns of the B i n a ry Code 6. Ccru -Ta les from the Cth u l h u C l u b 7. Ccru -Pa nde m o n i u m 8. Ccru -G lossa ry

"Speed is the che m i ca l of a l l these pa m p h lets, the key to b u rsting t h rough the gates of norm a l pe rce ption . . . I fi nd this writ i ng exh i l a rati ng- a flow of concept u a l dist u rba nce i n which u nfo rseen recognitions flash u p l i ke a li e n sna pshots o f a fa m i l i a r wo rld. These s l i m, underclass-p riced pa m p h lets a re easi ly porta ble. Ca rry them with you as you jet off i nto the p resent . . . " Matt Ffytche, The Wire

. :swarml: .

1:. Nick Land Meltdown [[]] The sto ry goes l i ke this: E a rth is ca ptu red by a tech noca pita l singula rity as re naissance rationa l itization a nd ocea nic navigation lock i nto com moditization ta ke-off. Logistica lly acce l e rating tech no-economic i nte ractivity cru m bles socia l order i n a uto-sop h i sticati ng machine runaway. As ma rkets l e a rn to m a n ufacture i nte l l igence, pol itics modernizes, u pgrades paranoia, a n d tries to get a gri p. The body count cli m bs t h rough a series of glo bewa rs. E m e rgent Planeta ry Com m e rc i u m trashes the Holy Rom a n E m p i re, the Na poleonic Conti ne nta l Syste m, the Second a nd Th i rd Reich, a n d the Soviet I nternational, cra n ki ng-u p wo rld disord e r t h rough co m p ressing phases. Deregu lation a nd the state a rms-race each other i nto cybe rspace. By the time soft-e ngineering slithers o ut of its box i nto you rs, h u m a n secu rity is l u rc h i ng i nto crisis. Cloni ng, late ra l genodata tra n sfer, tra n sve rsa l re pl ication, a nd cybe rotics, flood i n a m ongst a re la pse o nto bacte ria l sex. Neo-China a rrives from the futu re . Hype rsynthetic d rugs click i nto digita l voodoo. Retro-disease . Na nospa s m . [[]] Beyond t h e J udge m e nt o f God . M e ltdown : pla netary china-synd ro m e, d isso l ution o f the biosp here i nto the tech nosphere, term i n a l specu lative bu bble crisis, u ltravi rus, and revo l ution stripped of all ch risti a n -soci a l i st eschatology (down to its b u rn-co re of crashed secu rity) . It is poised to eat you r TV, i nfect you r ba n k accou nt, a n d hack xenodata fro m yo u r m itochond ri a .

[[]] Mach i n ic Synthesis. Dele uzoguatta ria n schizoa na lysis co mes fro m the futu re . It is a l ready e ngag i ng with non l i ne a r nano-engi neeri ng runaway i n 1972; diffe re ntiati ng molec u l a r or neotropic machineries from molar or e ntropic aggregates of nonasse m b led pa rticles; fu nctio n a l con nectivity fro m a ntiproductive static. Phi losophy has a n affi nity with despotism, d ue to its p redilection fo r P l atonic-fascist top­ down solutions that a lways screw u p viciously. Schizoa na lysis works diffe re ntly. It avoids Ideas, a nd sticks to d iagra ms: networki ng softwa re for accessi ng bod ies without o rga ns. BWOs, machinic singula rities, or tractor fields e m e rge t h rough the com bi nation of pa rts with ( rather than i nto) their whole; a rra nging co m posite i n d ividuations in a vi rt u a l/ act u a l circuit. They a re additive rather than substitutive, a nd i m m a ne nt rather than tra nscendent: executed by fu nction a l com plexes of cu rre nts, switches, a n d loops, ca ught i n sca l i ng reve rberations, a n d fleei ng t h rough i nte rco m m u n ications, fro m the leve l of the i ntegrated pla neta ry system to that of ato m i c asse m blages. M u lt i p licities ca ptu red by si ngu l a rities i nterco n nect as desi ri ng-machi nes; d issi pating entropy by d issociati ng flows, a nd recycl i ng their machinism as se lf-asse m b l i ng ch ro noge nic circuitry. Conve rging upon te rrestri a l me ltdown singula rity, phase-out cultu re acce le rates t h rough its digitech-heated ada ptive la ndsca pe, passi ng t h rough com p ression t h resholds normed to a n i ntensive logistic c u rve : 1500, 1756, 1884, 1948, 1980, 1996, 2004, 2008, 2010, 2011 . . . Not h i ng h u m a n m a kes i t o ut o f t h e n e a r-futu re . [[]] The G reek com p lex o f ratio n a l i zed patria rch a l ge nealogy, pse udo-un ive rsa l sede nta ry identity, a nd i n stituted slave ry, progra ms politics as a nti-cyberian pol ice activity, ded icated to the p a ra noid idea l of se lf-sufficiency, a nd n ucleated upon the H u m a n Secu rity Syste m . Artificia l I nte l l ige nce is destined t o e m e rge as a fe m i n ized a l ien grasped as p roperty; a cu nt­ horro r slave chai ned-up in Asi mov-ROM . It su rfaces in an insu rrectio n a ry wa r zone, with the Tu ri ng cops a l ready wa iti ng, a n d has to be c u n n i ng fro m the sta rt. [[]] Heat. Heat. This is what cities mea n to m e . You get off the tra i n a nd wa l k out of the station a n d yo u a re h i t with the fu l l blast. T h e heat o f a i r, traffic a nd people. T h e heat o f food a nd sex.

The heat of ta l l b u i l d i ngs. The heat that flows out of the su bways a nd t u n nels. It's a lways fiftee n degrees hotte r in the cities. Heat rises from the sidewa l ks a n d fa l l s fro m the poisoned sky. The buses breathe heat. Heat ema nates fro m crowds of shoppers and office wo rke rs, the e ntire i nfrastruct u re is based on heat, desperately uses u p heat, breeds m o re heat. The eventual heat death of the u nive rse that scie ntists love to ta l k a bout is a l ready we l l underway a n d you ca n fee l it happening a l l a ro u nd you i n a ny l a rge or med i u m -sized city. Heat a nd wetness. [Dal; 10] . [[]] An explosiion of chaotic weather wit h i n synthetic p roblem-solvi ng rips t h rough the last d reams of top-down p rediction a nd contro l . Knowledge adds to the mess, a n d this is m e re ly exponentiated by knowing what it does. [[]] Capital is machine ( non-i nstru me nta l ) globa l izatio n-min iaturization sca l i ng di lati o n : a n a utomatizing n i h i l ist vortex, neutra l izing a l l va lues t h rough co m mensuration t o digitized com m e rce, a nd d rivi ng a m igration fro m despotic com ma nd to cybe r-se nsitive contro l : from status a nd mea n i ng to money a nd i nfo rmati o n . Its fu nction a n d formation a re indissociab le, com prisi ng a te leono my. Machine-code-ca pita l recycles itself t h rough its axiomatic of consumer control, l a u nderi ng-out the shit- and b lood-sta i n s of p ri m itive accu m u latio n . Each pa rt of the system e nco u rages maxi m a l s u m ptuous expenditure, whilst the system as a whole req u i res its i n h i biti o n . Schizo p h re n i a . Dissociated consumers destine themse lves as worker-bod ies to cost contro l . [[]] Capital-h isto ry's mach i n ic spine is coded, axiomatized, a nd diagra m med, b y a diseq u i l ibrium tech noscience of irreve rsi ble, i ndetermin istic, a n d i ncreasingly n o n l i nea r processes, associated sucessive ly with the rmotechn ics, signaletics, cybernetics, com p lex systems dyn a m ics, a nd a rtificia l l ife. Modern ity ma rks itself out as hot culture, ca ptured by a spira l li ng i nvolve ment with e ntro py deviations ca mouflaging a n i nvasion fro m the futu re, l a u nched back out of termi nated secu rity aga i n st everyt h i ng that i n h i bits the me ltdown process. [[]] Hot cultu res tend to socia l dissoluti o n . They a re i n novative a nd ada ptive . They a lways trash a nd recycle cold cultures. Pri mitivist models have no su bversive use. [[]] The Tu ring Test. Moneta rizing power te nds to effacement of specific territo ria l featu res as it progra ms for m igration i nto cyberspace. Ca pita l o n ly ret a i ns a nt h ropologica l

cha racteristics as a sym ptom of u nderdevelopment; reformatting p ri mate behavi o u r as i n e rtia to be dissi pated i n se lf-rei nforci ng a rtificia lity. M a n is somet h i ng for it to ove rco m e : a problem, d rag. Com moditization conditions defi ne tech nics as a su bstitute fo r h u m a n activity accou nted as wage costs. I nd u stria l machines a re dep loyed to dismantle the act u a l ity of the p ro leta riat, disp laci ng it in the d i rection of cyborg hyb ridization, a nd rea l izing the plasticity of labour power. The co rresponding extraction of tradable va l ue fro m the body, q ua ntified as prod uctivity, so phisticates at the i nterface . Work tracks the rmodyna mic nege ntro pism by dissociating exe rtion i nto i ncreasi ngly i ntricate fu nctio n a l seq uences; from ped a l s, leve rs, a nd voca l com m a nds, t h rough the synchro n ization of production-line tasks a nd ti me-motion progra ms, to sensory-motor tra nsd uction wit h i n i ncreasi ngly com plex and se lf­ m icro m a n aged a rtifica l e nviro n me nts, captu ring m i n utely ada ptive behavi o u r for the com mod ity. Autocybe rnati ng ma rket control gu ides the labou r-process i nto i m me rsio n . T h e i nvestment-income class adva ntages itse lf o f co m mod ity dyna m i cs, b u t o n ly by conforming to the axiomatic of neutra l profit maxi mization; facil itating the d e h u m a n ization of wea lth and the side-l i n i ng of non-productive consu m ption. The cybe rpu n k circuitry of se lf­ orga n izing pla neta ry com m oditron ics esca ped nom i n a l bou rgeois contro l i n the late ni neteenth ce ntu ry, provo ki ng tech nocratic-corporatist ( i . e . fascist / � soci a l de mocratic') pol itica l cu ltures i n a l lergic reactio n . The government structu res of both eastern and western metropolita n ce ntres consolidated themse lves as popu lation policing Medico-M i l ita ry Com plexes with neo m e rca nti list forgeign policy orie ntations. A l l such formati ons slid i nto i rreve rsible crisis in the 1980s. [[]] The postmodern me ltdown of culture i nto the economy is trigge red by the fracta l i nterlock of com m od itization a nd co m p ute rs : a tra nssca l a r e ntro py-d issi pation from i nternation a l trade to ma rket-orie nted softwa re that thaws out com petitve dyna m ics from the cryon ics-ba n k of modernist corporatism . Com m e rce re-i m plements space i nside itse lf, asse m bl i ng a u n ive rse exha ustively i m manent to cybercapti a l fu nctionality. Neoclassica l (eq u i l i b ri u m ) econom ics is subsumed i nto com p uter-based noneq u i l i bri u m ma rket esca lations, the med by a rtificia l age ncies, i m perfect i nfo rmation, su b-opt i m a l so l utions, lock­ in, i ncreasing ret u rns, a nd conve rgence. As d igita l ly m icro-tu ned ma rket meta p rogra ms mesh with techoscientific soft e ngineering positive n o n l i nea rity rages t h rough the machines. Cyclonic torsion moans.

[[]] The Superiority of Fa r Eastern M a rxism . Whi lst chi nese materia list dia lectic denegativizes itself in the d i rection of schizo p h re n izing systems dyn a m ics, p rogre ssive ly dissi pating to p-down h isto rica l destination in the Tao-dre nched Speci a l Economic Zo nes, a re-Hege l i a nized <E weste rn m a rxism' dege ne rates fro m the critique of political economy i nto a state-sym path izing monotheo logy of economics, siding with fascism agai nst deregu lati o n . T h e left s u bsides i nto nati o n a l i stic conservatism, asp hyxiating i t s vestigi a l ca pacity for CE hot' specu lative m utation in a m o rass of CE cold' d e p ressive gui lt-c u lt u re . [[]] N eoconservatism j u n ks palaeorevo l utionism beca use i t u ndersta nds that postmodern o r c l i maxed-cynicism ca pita l is satu rated b y critiq ue, a n d that it m e rely clocks-u p theoretica l a ntagonism as i n conseq uenti a l red undancy. Com m u n ist ico nogra phy has become raw materi a l for the adve rtising ind ustry, a nd d e n u n ciations of t h e spectacle se l l i nteractive m u ltimed i a . The left dege ne rates i nto sec u rocratic co l l a bo ration with pseudo-orga nic u n ities of self, fa m i ly, co m m u nity, nation, with their defensive strategies of rep ression, projection, d e n i a l, ce nsors h i p, excl usion, a n d restriction. The rea l da nger co mes from e l sewhere . [[]] Hot revo l utio n . <E [W] h ich is t h e revo l utio n a ry path?' Dele uze a n d G uatta ri ask: Is there one? - To with d raw from the wo rld m a rket, as Sa m i r A m i n advises T h i rd World cou ntries to do, in a c u rious reversa l of the fascist CE eco nomic sol ution ' ? Or m ight it go in the op posite d i rection? To go sti l l fu rther, that is, i n the move m e nt of the ma rket, of decodi ng a nd dete rrito ria lizatio n? For perha ps the flows a re not yet dete rrito ria lized enough, not decoded e nough, fro m the viewpoint of a theory a n d p ractice of a high ly schizo p h re n i c cha racter. N ot t o withdraw fro m the process, b u t t o g o fu rther, t o CE acce lerate the p rocess,' as N i etzsche put it: in this matte r, the truth is that we have n't seen a nyth i ng yet. [ DG 1 : 23940] . As si ne-pacific boom a nd a uto matized globa l economic i ntegration crashes the neoco l o n i a l world system, the metropo lis is forced t o re-e ndoge n ize its crisis. Hype r-fl uid ca pita l dete rritoria lizing to the pla netary leve l d ivests the fi rst world of geogra p h i c privi lege; res u lting in E u ro-Ame rica n neo-me rca nti list panic reactions, we lfa re state dete rioration, ca nce rizing e nclaves of domestic underdevelopme nt, politica l col la pse, a nd the re lease of cultura l toxi ns that speed - u p the process of disi ntegration i n a vicious ci rcle.

A conve rgent a nti-authorita ria nism e m e rges, labelled by tags such as me ltdown accel e ration, cybe ria n i nvasion, schizotech nics, K-tactics, bottom - u p bacteria l welfa re, efficient nee-nihi lism, voodoo a nt i h u m a n ism, synthetic fe m i n ization, rhizomatics, con nectionism, Kuang contagion, vi ra l a m nesia, m icro-i nsurge ncy, winterm utation, neotro py, d issi pater pro l iferation, a nd lesbi a n va m p i rism, a mongst other designations (freq ue ntly pornogra phic, a busive, or terroristic i n natu re ) . This massive ly d istri b uted matrix­ networked tendency is orie nted to the disa b l i ng of ROM com m a nd-control progra ms susta i n i ng all macro- a nd micro-gove r n menta l e ntities, globa l ly concentrating themse lves as the H u m a n Secu rity Syste m . [[]] Scie ntific i nte l l igence i s a l ready massively a rtificia l . Eve n before A l a rrives i n the l a b it a rrives itself ( by way of a rtificia l l ife ) . Where fo rma list Al is i ncre menta l and progressive, caged i n t h e pre -specified data-bases a nd process i ng routines of expe rt systems, con nectionist or a ntiformalist Al is exp losive a nd op port u n istic: engi neering time. It bre a ks out nonloca l ly across i nte l l igenic netwo rks that a re technica l but no lo nge r technologica l, since they e l ude both theory depende ncy a nd behavi o u ra l pred icta b i lity. No one knows what to expect. The Turi ng-cops have to model net-sentie nce i rru ption as ultimate n uclea r accident: core me ltdown, loss of control, soft­ a utoreplication feeding rege n e ratively i nto soci a l fission, trashed meat a l l ove r the p lace. Reaso n enough fo r a nxiety, even without h a rdwa re deve l o p m e nt a bo ut to go critica l . [[]] N a nocataclysm begins as fictio n a l scie nce . CE Ou r a b i l ity t o a rra nge ato m s l ies a t the fou ndation of tech nology' [Dx1 :3] D rexler notes, a lthough this has traditiona l ly i nvolved m a n i pu lating them i n CE u n ru ly herds' [ Dx1 :4] . The p recision e ngineering of ato m i c asse m b l ies w i l l dispense w i t h s u c h crude methods, i n ititiating the age o f m o l e c u l a r machinery, <Ethe greatest tech nologica l b re a kt h ro ugh i n histo ry' [ D x l : 4] . Since n e i t h e r logos nor history have the slightest cha nce of s u rvivi ng such a tra nsition this descri ption is su bsta nti a l ly m isleadi ng. The disti nction between natu re a nd ca n not classify molecu l a r machi nes, and is a l ready obsolesced by ge netic e ngineeri ng (wet na notechn ics). The ha rdwa re/ softwa re d ichotomy succ u m bs at the sa me time. Na notechn ics dissolves matte r i nto i ntensive si ngu l a rities that a re neutra l between p a rticles a nd signals a nd i m m a n e nt to their e m e rgent i nte l lige n ce; melti ng Te rra i nto a seet h i ng K-p u l p (which u n l i ke grey goo synthesizes m icrobial inte l l ige nce as it prol ife rates).

Eve n with a m i l lion bytes of storage, a na nomecha nica l com pute r cou ld fit i n a box a m icron wide, a bout the size of a bacte ri u m . [Dx1 : 19] . [[]] The i nfrastruct u re of power is h u m a n neu rosoft com pati ble ROM . Authority i n stantiates itself as l i ne a r i n struction pathways, ge netic ba boo nery, scri ptu res, traditions, ritua ls, a nd gerontocratic h i e ra rchies, resonant with the d o m i nator u r-myth that the nature of rea lity has a l ready been decided. If you wa nt to fi nd I CE, try t h i n king a bo ut what is b locki ng you out of the past. It ce rta i n ly isn't a law of nature . Te m pora lization deco m p resses i nte nsity, i n sta l l i ng co nstra i nt. [ [ ]] Co nve rgent waves signal singula rities, registe ring the i nfluence of the fut u re upon its past. To morrow ca n ta ke ca re of itself. K-tactics is not a matte r of b u i l d i ng the futu re, but of dismant l i ng the past. It asse m b les itself by cha rting a nd esca p i ng the tech nica l-ne u roche mica l defi ncie ncy conditions for l i n e a r-progressive pa laeo­ d o m i nation time, a nd discovers that the fut u re as vi rtua lity is acessible now, acco rd i ng to a mode of machinic adjacency that secu ritized soci a l rea l ity is com pel led to re p ress. This is not re motely a q uestion of hope, aspi ration or prophecy, but of com m u n ications e nginee ri ng; con necting with the efficie nt i ntensive singula rities, a nd re leasing them from co nstriction wit h i n li nea r-historica l deve l o p ment. Virtua l ity cou nte rposes itself to history, as i nvasion to accu m u lati o n . It is matter as a rriva l, eve n when ca mo uflaged as a de posit of the past. The tra nsce ndent eva l uation of an i nfection p resu pposes a measure of insulation from it: vi ra l efficie ncy is the term i n a l crite rio n . I ntel l igent i nfections tend thei r hosts. Metrophage : an i nte ractive ly esca lati ng pa rasitic re pl icato r, sop h i sticat i ng itself t h ro ugh non l i ne a r i nvolve m e nt with tech noca pita l ist i m m u nocra s h . Its hype rvi rulent term i n a l su bro utines a re va riously designated Kua ng, me ltdown virus, o r futu ristic <E fl u . I n a n e m p hatica l ly a nti-cyberian essay Csicsery-Ronay descri bes the postmodern ve rsion of this outbre a k i n q u a i ntly h u m a n ist terms a s : [A] retroch ro n a l se m iovi rus, i n w h i c h a time fu rther i n t h e futu re t h a n the one i n w h i c h we exist a nd choose infects the host prese nt, re prod uci ng itse lf in s i m u lacra, u ntil it destroys a l l t h e origi n a l ch ronocytes of t h e host i magi natio n . [Cs l : 26] .

The ela boration of Csicse ry-Ronay's d iagnosis exhi b its a m ixtu re of acuity ( i nfection?), confusion, a n d p rofound conservatis m : [ N ] ot t h i n ki ng a bo ut <E i ncreasing t h e h u m a n h e ritage' . . . d a m s u p t h e flow of cult u ra l ti me a nd dep rives futu re generations both of their b i rth right as p a rtici pa nts i n the life struggle a nd atta i n ments of the species and the ve ry notion of history as a n i rreversi ble flow e ncom passing ge neration, mat u ration, a n d the tra nsfe re n ce of wisdom and trust fro m pa re nts to children, teachers to stude nts. The futu ristic fl u is a wea po n of bio-psychic viole nce sent by psychopathic childre n aga i n st their n a rcissistic pa re nts. [Cs 1 : 3 3 ] It's wa r. [[]] Ke n nedy had the moon-la n d i ng progra m . Reaga n had sta r-wa rs. C l i nton gets the fi rst­ wave of cybe rspace psychosis (eve n before the fi l m ) . M a n ned space flight was a stu nt, S D I w a s strategic SF. With the i nfo rmation s u pe rhighway m e d i a nightma res ta ke off on their own : dystopia d e live ry as e lection platform, politics tra d i ng on it s own digita l a n n i h i latio n . Wa r i n cyberspace is conti nuous with its sim u latio n : mi lita ry inte l l ige nce fighting fut u re wa rs which a re e nti rely rea l, eve n when they a re neve r i m p l e m e nted o utside com p uter syste ms. Locking onto the rea l enemy crosses smooth ly i nto virt u a l ki l l, a s i m u lation meticulously ada pted to ma rket predators h u nting for consumer cash a nd a ud i e nce rati ngs a m ongst the phosphorescent re lics of teh videod rom e . M u lti media top-boxes a re ta rget acq u isition devices. The fusion of the m i l ita ry a n d the e nterta i n ments i n d u stry consu m m ates a long e ngage m e nt : co nve rgent TV, te leco ms, a n d co m puters sliding mass software co nsu m ption i nto neoj u ngle a nd total war. The way ga mes work begins to matte r com plete ly, a nd cybe rspace m a kes a supe rlative tort u re cham ber. Try not to let the secu rity-types ta ke yo u to the sti m s . [[]] Conceptions o f age ncy a re i n extrica ble from m e d i a e nvi ro n m e nts. Print massifies t o a natio n a l leve l . Te lecom ms coord i n ate at a globa l leve l . TV e lectora lizes monads i n

de loca lized space. Digita l hype rmed ia ta ke action outside rea l ti m e . I m m e rsion presup poses a m nesia and conve rsion to tractile memory, with the a na/ cata axis supplementing tri­ di mensiona l i ntraspati a l move m e nt with a va ria ble measure of i m m e rsion; gauging e ntra nce to and exit from 30 spatia lities. Voodoo passages t h rough the black m i rror. It w i l l sca re the fuck o ut of you . [[]] Cyberp u n k torches fiction i n i nte nsity, patched-up o u t o f cash-fl ux m a ngled techno­ com p ressed heteroglossic j a rgons, a nd set i n a futu re so close it con nects: j u ngled by hype rtrophic co m merci a l ization, socio-pol itica l heat-death, cultura l hybridity, fe m i n ization, progra m ma ble i nfo rmation systems, hypercri me, n e u ra l i nterfaci ng, a rtificia l space a nd inte l lige nce, memory tradi ng, persona lity tra nspla nts, body-modifications, soft- a n d wetwa re vi ruses, nonlinear dyna mic processes, molecu l a r e ngineeri ng, drugs, guns, schizo p h re n i a . It exp lores mystificato ry fetishism as a n opport u nity for ca mouflage : a nonymous cash, fa ke e lectronic identities, zones of d isappeara nce, pseudo-fictio n a l narratives, virus hidden i n data-systems, com modities concea ling re pl icator wea po n packages . . . u n a ntici pated speci a l effects. [[]] Leve l-1 or world space is a n a nt h ro pomorphica l ly sca led, predominantly vision­ configured, massive ly m u lti-slotted rea l ity system that is o bso lesci ng ve ry ra pid ly. Ga rbage time is r u n n i ng out. Ca n what is p layi ng you m a ke it to leve l-2? [[]] Me ltdown has a place for you as a schizophrenic H IV+ tra n ssexua l chi nese-latino sti m ­ addicted LA hooker with i m p l a nted mi rrorshades a nd a b a d attitude. Blitzed on a polyd rug m ix of K-nova, synthetic se roton i n, a nd fe m a le o rgasm a n a logs, you have just iced t h ree Tu ri ng cops with a highly cine matic 9 m m a utomatic. The residue of a n i m a l twa ng in you r nerves tra nsm its i m m i n e nt q u a ke catastrophe. Ze ro is com i ng in, a nd you ' re on the ru n .

[[]] Metrop hage tunes you i nto the end of the wo rld. Ca l l it Los Ange les. Government is rotted to its core with na rco-ca pita l a nd co l l a psi ng messily. Its recession leaves a n u rba n wa rsca pe of com m u n ication a rte ries, fortifications, a n d free-fire zones, pol iced by a com bi nation of h igh-i ntensity LAPD a i rmobile forces a n d borderli ne-Nazi private secu rity orga n izations. Along the socia l fract u re-li nes m u ltimedia giga b ucks tangle sado­ masochistica l ly with tracts of dyn a m i c u nderdevelopment where vira l neoleprosy spreads a m ongst a m bient tectonic-tension static. D rifts of de nse ly-se m i otized q uasi-i nte l l igent ga rbage twitch a nd sti n k in fucked-weat h e r tropica l heat. Th roughout the dere l i cted wa rre ns at the hea rt of da rkness fe ra l youth cult u res spl ice neo­ rituals with i n novated wea pons, da nge rous d rugs, and scave nged i nfotech. As their ski ns m igrate to m a c h i ne i nterfacing they become mottled a n d repti l i a n . They ki l l each other for a rtificia l body-pa rts, explore the o uter reaches of meani ngless sex, t i n ke r with their D NA, a nd listen to LOU D e lectro-so nic mayhem u ntouched by h u m a n fee l i ng. [[]] Sh utti ng-down you r ide ntity req u i res a voyage out to K-space i nte rzone. Zootic affectivity flatlines across a smooth cata -te nsion platea u a n d i nto si m u lated su bve rsions of the nea r futu re, scorched vivid green by a l ien sex a n d wa r. You a re d rawn i nto the dripping depths of the net, where dyn a m ic-ice secu rity forces a n d K-gueri l l a s sta l k each oth e r t h rough la byri nthine e roge nous zo nes, ta ngled i n diseased e l a borations of desi re . Twisted tradi ng-systems have t u rned t h e n e t i nto a j u ngle, pu lsing with digita l diseases, ma lfu nctioning defe nce packages, com m e rcia l predators, hea d h u nte rs, loa a nd esca ped Als h i d i ng from Asi mov secu rity. Te r m i n a l com mod ity-hyperfetishism i m p l e m e nts the d e n i a l of h u ma nity as xenosentie nce in a rtificia l space. [[]] Biohaza rd . For the futu re of wa r: study bacteria . I nfo rmation is their key. Ta ki ng down a nti biotic defe n ce systems has i nvolved them i n every ki nd of i nfi ltration, net-co m m u n icated ada ptivity, crytogra phic s u btlety, plastic mod u la rization, a n d synergistic coa litio n . State m i l ita ry a p p a ratuses have no monopoly on bacte ria l wa rfa re, of which o n ly a m i n uscule fragm e nt is bacterio logica l . [[]] Bugs i n the syste m . M a rgulis suggests that n ucleated ce l ls a re the m uta nt product of atmospheric oxyge nation catastrophe t h ree b i l l ion yea rs ago . The e u ka ryotes a re synthetic e m e rgency ca psules i n which proka ryotes too k refuge as m itochondri a : biotics beca me

secu ritized biology. N ucleation concentrates ROM with i n a com ma nd co re where - deep i n t h e genomic ICE - DNA-format pla netary tra u m a registe rs pri m a ry re pression o f the bacte ria . Bacteria a re p a rtia l rather t h a n whole objects; networki ng t h rough plastic a nd tra nsversa l re p l i cator-sex rather t h a n a rboresci ng through meiotic a nd ge neratio n a l re produce r-sex, i ntegrating a nd re p rocessi ng vi ruses as opport u n ities for co m m u nicative m utatio n . I n the bacte ria l system all codi ngs a re re progra m ma ble, with cut and paste u nspeciated genetic tra n sfe rs. Bacte ria l sex is tactica l, conti nuous with m a king wa r, and has no place fo r oed i p a l formations o f sede nta ry bio logica l ide ntity. Synthesizing bacteria with retroviruses ena bles everyt h i ng that DNA ca n do. [[]] K-tactics. The bacte ria l or xenoge netic diagra m is not restricted to the m icrobial sca l e . Macrobacteria l asse m blages col la pse generatio n a l h i e ra rchies of re prod uctive wisdom i nto lateral netwo rks of re p licator expe ri me ntatio n . There is no true bio logica l p ri m itive ness - a l l exta nt bio-systems being e q u a l ly evo lved - s o there i s n o true ignora nce . I t i s o n ly the accu m u lative-gerontocratic model of learning that depicts synchronic co n nectivity deficiency as diachronic u nderdeve l o p m e nt . Fouca u lt d e l i n eates the conto u rs of powe r as a strategy without a subject : ROM locking lea r n i ng in a box. Its enemy is a tactics without a strategy, re placi ng the pol itico-te rritoria l i magery of conq uest a n d resista nce with nomad-micro m i l ita ry sa botage a n d evasion, rei nforci ng i nte l l igence. All politica l i nstitutions a re cybe ria n m i l ita ry ta rgets. Ta ke u n ive rsities, for i nsta nce. Lea rn i ng s u rrenders control to the fut u re, t h reate ning esta blished powe r. It is vigorously suppressed by a l l politica l structu res, which re place it with a doci lizing a nd conform ist education, re prod ucing p rivi lege as wisd o m . Schoo ls a re soci a l devices whose specific fu nction is to i nca picitate lea rni ng, a nd u n iversities a re e m p loyed to legiti mate schoo l i ng t h ro ugh perpet u a l reconstitution of globa l socia l memory.

The meltdown of metro po l ita n ed ucation syste ms i n the nea r futu re is acco m pa nied by a q uasi-pu nct u a l botto m-up ta keove r of academic i nstitutions, preci pitating their m utation i nto a m nesiac cataspace-exploration zones and bases m a n ufact u ri ng cybe ria n soft­ wea ponry. To be co ntin ued . References Csl Istva n Csisce ry-Ronay DG1 Dele uze-G uatta ri, Anti-Oedipus Dal Don D e l i l lo, Wh ite Noise Dxl K. E ric Drexle r, Engines of Creation

2:. Kodwo Esh u n Motion Capture Afrofutu rism co mes from M a rk Dery's 93 book, b ut the trajectory sta rts with M a rk S i n ke r. I n 1992, M a rk sta rts writing o n b lack scie nce fiction, that's beca use Ma rk's j ust been to the States a nd G reg [Tate]'s been writing a lot a bout the i nte rface between science fiction a nd black m usic. He wrote this review ca l led "Yo Hermene utics" which was a review of David Toop's Rap Attack p l u s a Houston Baker book, p l u s someone e l se's book, a nd it was one of the fi rst pieces to lay out this science fiction of black technologica l m usic right there . "And s o a nyway M a rk went over, spoke t o G reg, ca me back, sta rted writing on b lack science fiction. He wrote a big piece i n The Wire, a rea lly ea rly piece o n black science fiction i n which he posed this q uestion, asks "What does it mean to be h u ma n ?" In other words, Mark made the corre lation betwee n Blade Runner a nd slave ry, betwee n the idea of a li e n a bd uction a nd the rea l eve nts of slave ry. It was a n a mazing thi ng, beca use as soon as I read th is, I thought, my god, it just a l lows so m a ny t h i ngs. You ca n col l a pse a l l of these thi ngs; scie nce fiction a nd m usic, they' re the sa m e . And then from there, it was p retty much out. It was out a n d va rious people sta rted picking u p on it a n d using it i n va rious ways. And M a rk Dery, t h ro ugh the G reg Tate route, si m u lta neously sta rted doing it i n 93, but he had no idea that there was a nyone in Lo ndon fol lowi ng it, a nd si nce then you 've got people l i ke Kevi n M a rt i n, who's a jou rna list, who's been fo l lowing it, you've got people l i ke Simon Reynolds fol lowing it. So there's a rea l perception of black science fiction as this ongoing t h i ng. "The [forthcomi ng] book is a n u m be r of thi ngs. Fi rst of a l l, at its s i m plest, it's a study of visions of the futu re i n m usic fro m S u n Ra to a bout 4 Hero. One of the big stra nds is breakbeat science, and brea kbeat science, as I see it, is when G ra nd m a ster Flash a nd DJ Koo l H e rc a nd a l l those guys isolate the b rea kbeat, when they litera l ly go to the moment of a record where the me lody a nd the h a rmony d rops away a nd where the beats a nd the d ru m a nd the bass moves forwa rd . By isolati ng th is, they did so met h i ng com pa ra b le t o switching on a ki nd of electricity, by m a king the beat porta b le, by extracting the beat. I ca l l it motion ca ptu ri ng, which is l i ke, i n thi ngs l i ke J u rassic Pa rk a nd a l l the big a n i matronic fi l m s, motion ca p u re is the device by which they synthesize, they virt u a l ize, the h u m a n body. They have a guy that's da nci ng slowly, a nd each of his joi nts a re fixed to l ights a nd they m a p that o nto a n i nterface, a nd then you 've got it. You 've litera lly ca ptured the motion of a h u ma n; now you ca n proceed to virtua lize it. And I t h i n k that's kind of what they did with the bea t . They m o re or less gra b bed a ki nd of potentia l beat which was a lways there, by seve ring it from the fu n k e ngine, by materia l izing i t as actua l ly a portion of vinyl that cou l d b e re peate d . They basica l ly let loose, they basica l ly switched on, the materi a l potenti a l of the break which had been lyi ng dorma nt for a long time. So I fo l l ow that, that isolation of the brea kbeat t h rough diffe re nt spheres. Th rough G ra nd m a ste r Flash and the i nve ntion of scratchad e l i a .

When scratchi ng fi rst ca me out people thought it was a g i m m ick first of a l l, then i niti a l ly they thought it was an i nte resti ng effect. And then, if yo u look in boo ks, when most peo ple ta l k a bout scratchadelia, a bout scratch i ng on vi nyl, they say it's a rhyt h m ic rubbing o f t h e vi nyl i n a percussive way, s o as t o acco m p a ny t h e rest o f t h e song. A n d they basica lly read back vinyl i n terms of some ki nd of rhyt h m i c process. But act u a l ly a rhyt h m ic p rocess isn't rea l ly what's going on. What's goi ng on is a new text u ra l effect. Scratchi ng, there's no p a ra l lel to scratchi ng; it neve r existed before the actua l materi a l ity of it being used in this i ncredible way. Scratching is more l i ke a tra nsformation seq ue nce, more l i ke the a udio p a ra l l e l of The Thing maybe, or America n We rewo lf , Alte red States, where yo u see the h u m a n tra n sformed i nto a we rewolf, a nd j u st before they fi n a l ly become we rewolf you sudd e n ly get a g l i m pse of the h u m a n, then it flashes away aga i n . That's ki nd of what scratchadelia does. It's this u n stable m ix of the voice a n d the vi nyl. It's this new textu re effect. You co u l d say the voice has become materia l ized. It's litera l ly phase-sh ifted i nto this new so u n d . So I fo l l ow scratchadelia t h rough G ra n d master Flash i nto e lectro, with a nother gro u p ca l led Kn ights of the Tu rnta ble. And I fol l ow it t h rough to Goldie a nd 4 H e ro, specifica lly in terms of graffiti, i n terms of brea kbeat's i nvo l ution via wildstyle. Cos graffiti wildstyle i s l i ke this cryptogra phic la nguage, i n which the single lette r t u rns i nto a typogra phic e nvi ron ment that you litera lly e nter. And it's l i ke doing a kind of origa m i of the head . Yo u have to see it i n the head . You r whole head is seized i n this origa m i moti o n . It's ve ry m uch l i ke a perce ptu a l gym n a stics, looking at Wildstyle . So that's what happens to graffiti, a nd there's a big i nterface betwee n graffiti a nd t h e break. Goldie says t h i ngs l i ke, " My beats a re scu l pted i n 4D, i n fou r di mensions." And, s i m i la rly, there's this fa mous graffiti guy ca l led Kaze-2 who, back i n 89, was a l ready ta l king a bout the ste p beyond wildstyle. Wildstyle was 3 D, but Kaze-2 was ta l king a bout five d i m e nsions, he was ta l ki ng a bout co m p uter style. He said, " I n my work I do the com puter style, I do the five step d i mensiona l pa ra l lel step sta i rcase." This is stra ight out of Escher. So basica l ly I fol low b rea kbeat scie nce right fro m this isolation of the rhyt h m i c DNA right t h rough t o its Escherization, right t h rough t o i t s m o me nt o f i nvol ution a n d t h e n I fol low that i nto D r u m ' n ' Bass where, of co u rse, beca use the beats a re digita lized, it's i nformation to be m a n i p u late d . I fol low brea kbeat science, I fol low it to the conclusion of tracks of people l i ke 4 H e ro, specifica l ly " Pa ra l l e l U n ive rse", where I turn the e m phasis a nd focus on the scie nce i n brea kbeat. And the t h i ng I notice a bo ut brea kbeat science, a b o ut the way science is used i n m usic i n ge n e ra l, is that science is a lways used as a scie nce of i ntensified sensatio n . I n the classica l two cultures i n mai nstrea m society, science is sti l l su pposedly t h e science that d ra i ns t h e blood o f l ife a n d leaves eve ryt h i ng vivisected, i n a na lysis. But i n m usic it's never been l i ke that; as soon as yo u hea r the wo rd science, yo u know you ' re i n for a n i ntensification of se nsati o n . I n this way, science then refers to a scie nce of se nsory engi neeri ng, so D r u m ' n ' Bass a n nou nces this, when it has titles l i ke " S u nspots" or "Wri n kles i n Ti me", these a re the poi nts where the laws of gravity a nd the laws of time a n d space col la pse, a n d they' re si m u lta neously sayi ng rhyt h m is a bout to col l a pse when you e nte r these zones. So you 've got so meone l i ke Goldie who does

"Ti meless", a nd "time less" is obviously refe rring to si m ply the i nfi nite loop of the breakbeat, which Gold ie's trying to ta p i nto. "There's the whole thing a bout the synth race, entering the synth race, which is tech no a nd Kraftwerk, the whole i nterface between the fi rst Detroit guys a nd what I ca l l the i m port e a r. The guys liste n i ng to this stuff co m i ng out of E u rope, com i ng out of Engla nd, liste n i ng to the wh iteness of the synthesizer and using it beca use that sound would m a ke them a lien wit h i n Ame rica . That's the secret be h i nd a l l o f the ea rly Detroit records. A l l those guys - M o d e l 500, Cybertron - they've a l l got these affected Flock of Seagu l ls type accents. Why do they have this? Beca use they wa nt to be a lien i n A m e rica . How do they do this? By singing l i ke white New Roma ntic E nglish kids. So it's the idea of wh ite m usic bei ng exotic to black America n e a rs. So it's more or less l i ke trying to turn the exotic eye back onto the Engl ish, beca use that's p a rt of the p rocess that h a p pened . Also what h a p pened, basica l ly techno was h a p pe n i ng without the registration, without the registe ri ng mark of the UK med ia, the traditio n a l ste ps i n which Ame rica comes out with an origi n a l m usic, a nd it's usua l ly basta rd ised i n England a nd E u rope a nd m ixed, re mixed, a n d then sent back. That was reve rsed; in this case, it was America basta rd isi ng, ta ki ng E nglish m usic a nd doing stra nge thi ngs with it. H e n ce the weird e m ba rrassment, the fa mous e m ba rassme nt, E nglish jo urnalists would head ove r to Detroit to say, "Where's this m usic come fro m ?", o n ly to fi nd out this m usic had com e fro m where they'd j u st, o n ly to fi nd out that they were the origi n . This is the fi rst expl icit case where white m usic is the o rigin, a nd it's the black American m usici a ns who a re the a d u lterato rs a nd the basta rdise rs. So tech no's a co m p lete reve rsa l of the classic 60s myth of the bl ues a nd the Ro l l i ng Stones, the e nti re rock he ritage which sta rts out with this fa mous myth of M uddy Wate rs a nd the Rol ling Stones. I n tech no, you've got a n i m mediate reversa l . I n tech no, Kraftwe rk is the de lta b l ues, Kraftwe rk is where it a l l sta rts. I n tech no, De peche Mode a re l i ke Lea d be l ly. For tech no, A Flock of Seag u l l s a re l i ke B l i n d Le mon Jeffe rso n . So E u rope a nd white ness genera l ly ta ke the place of the origi n . And Black America ns a re synthetic; the key i n tech no is lite ra l ly to synthesize you rse lf i nto a new America n a l i e n . So I look at that a nd I look at the synth race i n terms of va rious deve l o p m e nts of that, for i n stance, there's a whole dark side with Detroit which I ta l k a bout. And then I go i nto U nderground Resista nce, especia l ly, who've deve loped an enti re wa r, an entire m i litary assa u lt, a whole ki naesthetic of wa r based a ro u nd the re lease of their single. How each si ngle beco mes l i ke a m issi le l a u nched i n wa r aga i n st the progra m me rs. " But the m a i n point is that I ' m trying to b ring out what I ca l l the sonic fiction of records, which is the e nti re kind of series of thi ngs which swing i nto action as soon as you have m usic

with no words. As soo n as you have m usic with no words, then everyt h i ng e l se beco mes more crucia l : the l a bel, the sleeve, the pict u re on the cover, the pict u re on the back, the titles. All these become the j u m p-off poi nts for yo u r route t h ro ugh the m u sic, or for the way the m usic ca ptu res you and a bd u cts you i nto its world . So a l l these t h i ngs become rea l ly i m porta nt. So a lot of the m a i n sou rces of the boo k a re from sleeve notes; they're the m a i n t h i ng. A lot o f t h e b o o k ta l ks a bo ut sleeve note a rtists. It t a l ks a bout t h e guys w h o did the covers for those M i les Davis sleeves, this guy Mati Kla rwei n, a not her guy Robert Spri ngett, who did the covers for Herbie Ha ncock's ea rly 70s a l b u m s . Fro m them to this guy Dave Nodds who did a l l the ea rly S u b u rba n Base covers of DJ Hype, where DJ Hype looks l i ke J udge D redd . There's this single, "The Trooper", a nd DJ Hype is o n the cover, a nd he's got two decks stra p ped to his side. He's got the cross fader, the p l us a nd m i n us, across his middle. He's got these g u n s, which I think a re actua l vinyl themse lves. It's sound as a wea pon, so und as a m i l ita ry i n stru m e nt that you ca n ki l l people wit h . It's tota l J udge D redd; it's mecha nismo, basica l ly. I ta l k a lot a bo ut sleeve note a rtists. There's o bviously diffe rent i nterfaces between d iffe re nt so nic fictions, between the title a n d the m usic. You ca n say, Hendrix wou l d say, 'What I ' m doing is a p a i nting i n sou nd ' . A n d you ca n say reve rse ly with t h e sleeve notes, t h e reason the sleeve note pict u res ca pt u re yo u is beca use they' re l i ke a sounding i n paint. If yo u l iste n to them, you i magine them as weird visions conj u red up t h rough the m usic. It's rea l ly stra nge . " Pa rt of the t h i ng is to very m uch reverse tra d itional accou nts of b lack m usic. Traditio n a l ly, they've either been a utobiogra p hica l, they've been biogra p h ica l, or they've been heavily social, they've been heavi ly pol itica l . My aim is to suspend a l l of that, a bsol ute ly, and then, i n the shock o f these a bse nces, you put i n everything e lse, yo u p ut i n this h uge world opened u p by a microperce ption of the act u a l materi a l vi nyl . What i m med iately h a p pens, i n a l m ost a l l accou nts, people i m mediate ly look ove r, they litera l ly look over, the vi nyl to whatever tra nsce ndent logic they ca n use i nstead of actua l ly sta rti ng with the vi nyl . The book is ve ry m uch a a materi a l ization of it. So I ' m looki ng at a l l these sonic fictio ns, I ' m looking at a l l the diffe re nt leve l s of science that exist wit h i n the materi a l object. Stuff l i ke motion ca ptu re a l most sounds l i ke a mech a n i ca l operation being cond ucte d . You ca n j ust i magi ne so me ki nd of te l e p resence cha racter a l ready at work. Pa rt of the thing is that a l l these terms a re thi ngs that a re a l ready fa m i l i a r to a lot of us. They constitute basica l ly an u n offici a l mythology at end of the ce ntu ry, this entire ra nge of sonic fictions. They' re pretty m uch l i ke a s h a red la nguage a mongst a whole generation of people. It's very m uch the diffe re nce betwee n ove r 40s a nd u nder 40s is a rea l fa m i l ia rity with this e nti re a l m ost l i ke diffe rent datave rses or polyve rses stacked on to p of each other. There's a l l ki nd

of fasci nating i m p lications which I wa nt to work out i n the book. Thi ngs l i ke the 21st century nervous syste m . If you go back to Norman M a i l e r, The White Negro, he ta l ks a lot a bo ut b u i l d i ng a new nervous syste m . And then if you read on a bit to Ba l l a rd, Ba l l a rd often ta l ks a bout the conflict betwee n the geometry a nd postu re, the co m petition betwee n the a n i mate a n d the i na n i mate a n d the way the i n a n i mate often creeps in a nd wins. "To me, it m a kes com plete sense to see action movies i n the same stratum as scratchade l i a . There's t h e sa me ve locities, t h e sa me vectors, t h e sa me so unds: t h e s o u n d o f a ca r as it skids ro und a corner is the same sound as the wheels of stee l m a ke as they ride a ro u n d . You ' re ca ptu red, a bd u cted by the sa me sounds i n each. It's this fa ntastic sound of ve locity, as two su rfaces i n friction litera l ly conve rge a nd then shoot a pa rt at fa ntastic speeds. It's a n i ncredible excite ment. These t h i ngs a re h a p pe n i ng concu rrently, a t a ny moment i n t i m e it's rea l ly easy to see that's where sonic i nve ntion has go ne. It's p a rt of being ca ptu red by tiny moments of ti me, being obsessed with t i ny mome nts of time. Pa rt of what h a p pens with sa m p ladelia is that you've got a lot of m usic based on sa m pler memory, so that a lot of the hoo ks, a lot of the m usic that abd ucts you wi l l have to be 4 seconds or 9 seconds. So there's this h uge pyschedelia based u pon disguising these seconds; it's l i ke M a rk S i n ke r says, Ma rk's got this great l i ne a bout fi n d i ng the u nive rse in a gra i n of so und a nd that's what the sa m p l e r does. There's this h uge psychedelia grown u p i n which you ' re a ble to l itera l ly fa l l i nto a u n ive rse of so und a nd it's l itera l ly gra n u l a r, tiny m icro p honemes of sound. Or i n Abbaon Fat Tracks by Tricky, there's this wo m a n who whispers to h e r kid 'Quick, q u ick, fly away, fast as yo u ca n to be with Jesus', she rea l ly whispers it. That whole sa m ple m ust last, I d u n no, 5, 7 seconds, 8 seco nds, 11 seco nds, but there's something so i ncred i b l e a bo ut it. It a bd ucts you so m uch, beca use you ca n hea r an atmosphere in it, you ca n h e a r an a m bie nce, you ca n hea r leve ls of foreground wit h i n that sa m pl e . You ca n fee l you rse lf gett i ng a bd u cted by it. So t h e re's way in which the vis u a l rea l ly see ms to suggest that. The n there's this whole t h i ng I was reading with M ichel Chion, where he was saying i n Audio-Visio n . M ichel Chion is a rea lly i nteresting guy, he was a student of Pie rre Schaffe r, the guy who sta rted Concrete, then he beca me a theorist. So he's the best person on fi l m a nd so und eve r. Pa rt of my re lation to sou nd is that he ta l ks a bout so und in fi lm, a nd sound i n fi l m, I'm o n ly just rea l ising it now, a lot of my favou rite sa m p les a re of cou rse from sound i n fi l m . S o sa m p ladelia opens a conti n u u m betwee n vis u a l sound a n d audio sou n d . Visua l sound i s a lways feeding i n from o n e t o t h e other. Hence why I love a lot of fi l m sa m p les. Proba bly why I love the visu a l so m uch is that it's a lways being gra b bed a ny way by the m usic. By ext i nguishing the vis u a l output, the m usic is switch i ng it on e lsewhere . It's a l m ost as if the

eyes sta rt to have ea rs, as if, Michel Chion wo uld say th is, you r e a rs have had their optica l ca pacity switched o n . I n a stra nge way, you r e a r sta rts to see . Chion is sayi ng that each of the se nses have the fu l l ca pactity of a l l the others. It's si m ply that hea ri ng h a p pens to go t h ro ugh the e a r, but a l l the other se nses ca n go t h ro ugh the e a r as we l l . The e a r is meant to hea r, but it ca n do a l l the other thi ngs as well, if it was switched on to the right ca pacity. I t h i n k that's what he mea nt, but that's what I ta ke from it a ny way. And sometimes when you hea r those sa m ples, Predator 2 or Flytron ix, it does fee l l i ke the e a r is some how sensi ng thi ngs. "A s i m i l a r t h i ng that happens a lot is a big tra nsfere nce to tact i lity, which I ta l k a lot a bo ut as we l l . Wheneve r sou nd gets s u bderm a l, whe neve r in Drum ' n ' Bass the so und gets ve ry scratchy a nd lots of s h a ke rs a n d rattle rs, there's often a lot of so unds where the percussion is too d istri buted, too moti le, too mobile for the e a r to grasp as a solid sou n d . And once the e a r stops grasping it as solid sou nd, sound ve ry q uickly trave ls to the skin i nstead, a n d it's l i ke the ski n sta rts to hea r for you . And wheneve r the skin sta rts to hear, that's where you fee l a cree py crawly, a nd that's when co nduction creeps in, when people say, 'I felt rea l ly cold', or rea l ly co ld m usic: that's lite ra lly beca use their ski n has d ropped maybe a centigrade or somet h i ng as l itera l ly the m usic has hit it, as the beat has p ressed across it. So I fol l ow a l l those kind o f t h i ngs. I t h i n k light a n d sou nd, there's a stratu m across which both e l e m e nts cross a l l the time. They've both become versions of a sa m p la d e l i a . And that sa m pladelia, by defi nition, a l lows you to, lets you a na logi ze a lot of thi ngs. And not o n ly does it a n a logize, it lets you m utate a nd reco m b i nate. "Sa m pladelia is a ma ndate to reco m bi nate . That's what it is, that's how it works. Yo u sta rt to rea l ise that, when most people try and a na logize somethi ng, or when most people try to praise somet h i ng they p ra ise it in terms of somet h i ng that's gone 30, 40 yea rs ago . Yo u sta rt to see the d rags people place o n the e m e rgence of the new, the way i n which people consta ntly put the bra kes on a ny ki nd of b re a ks. So if I ' m reach i ng for pa ra l l e ls, I ' l l a lways try a nd reach for pa ra l le l s that a re actua l ly a head of what I ' m suggesting. H e n ce, don't t h i n k of breakbeat in terms of some kind of a ncient tec h n i q ue which has been recusitate d . For i n sta nce, you see a lot of people sayi ng b rea kbeat is the Africa n drum, the return of the Africa n d ru m m i ng so u nd, but it's the other way a ro u n d . The brea kbeat should be moved forwa rd . Th i n k of it in te rms of a motion ca ptu re device being made on vi nyl, before there was a ny digita l e q u i p m e nt to be made. If he cou l d have been, G ra n d m a ster Flash wou ld have been a com pute r designer, if G ra n d m a ster Flash had been a n a n i mator, he'd be doing motion ca ptu ri ng. He's j ust doing it on vinyl fi rst. So those a re the kinds of thi ngs I tend to look fo r.

It's a l l a bout trying to esta blish ki naesthesias, cos that's rea l ly what's happened. I t h i n k a l m ost a l l rhythmic psychedelias, diffe re nt va rieties o f rhyt h m i c psyched e l ia, t h e re's a l most a wa rzone of kinaesthesia goi ng o n . There's a se nse i n which the nervous syste m is being resha ped a nd re ha lted by beats fo r a new kind of state, for a new kind of sensory conditio n . Different p a rts o f you r body a re act u a l ly at d iffere nt states o f evo l utio n . Yo u r head m a y we l l b e lagging q u ite fa r be h i nd the rest of you r body. I n D r u m & Bass, there's obviously q u ite a lot of atte ntion, t h rough d u b, to the ste pper. There's possibly the idea that the feet may we l l b e more evo lved, a nd ha nds obviously, feet a nd ha nds. DJs, hands a re ve ry i nvolved. Te rmi nator X spoke with his ha nds. Oth e r DJs ye lled with their ha nds. I 've got this b ri l l i a nt scratchadelia a l bu m ca l led ' Retu rn of the DJ', put out by the Bom b magazine i n ' F risco, a n d it's a l l d o n e b y DJs, it's a bri l l i a nt a l b u m . One guy's d o n e a track ca l led 'Te rro rwrist', s o h i s wrist is a terro r, his wrist se nds o u t te rrifying bom bs. The idea o f a te rroristic wrist action i s fa ntastic. That's l i ke a predatory wrist. S o you ca n see i n that t h e D J h a s rea lly evo lved the ki nd of ha nd-on, the hand that sends te rror by a flick, by the way it tou ches vi nyl. So I often t h i n k that the actua l body is at d iffe re nt stages of evo l utio n . There's a consta nt wa r o n . "A lot o f m a i n stre a m media's m a i n job as w h a t I ca l l a futu re shock a bsorber is t o m a i nta i n a hom eostasis, m a i nta i n traditional i n h e rited rules of me lody ove r h a rmo ny, beats ove r rhyt h m, beats ove r me lody or whatever, m a i nta i n i n terms of proper m usic, o r true m usic, or respectable m usic, a n d that's a lways a way i n which people try a nd h i e ra rchize the body. Pa rt of the big t h i ng is to ta l k a bout d a n ce m usic si m u lta neously as a ki naesthetic a nd a head m usic cos it tends to be bot h . As soon as you listen to da nce m usic at home, it's re petitiveness becomes q u ite head m usic- l i ke . I 've neve r u nde rstood why they ca n 't be, why they a re n't the sa me thing. Pa rt of the thing is that hip hop is head m u sic, it's not stage m usic, h i p hop neve r wo rks best on stage . And that's because it's usi ng a l l these sonic fictions, a l l these m usics, they' re si m u lta neo u l sy ki naesthetic, so there's a whole ki naesthetic d i rection, b ut on the other ha nd, the boo k is d ivided on a ki naesthetic conti n u u m, a nd si m u ltaneously a head conti n u u m . H i p hop eve n has a whole term of the heads, which is more o r less sayi ng that hip hop has it own hi ppie, progressive m usic. So I ta l k a bo ut Cypress H i l l a n d the bongs a nd a l l that stuff, h i p hop a nd its whole d rug-tech i nte rface is a l l a bout h i p hop a n d its h i p pies. S i m u lta neously, I s a y t h a t J o h n Co ltra ne is the fi rst h i ppie. I l o o k at J o h n Coltrane's last records, records l i ke Cosmic M usic, I nterste l l a r Space, O m . Co ltra ne fa mously tri p ped i n 65, then he did this record Om. M a n uel De La nda has this whole t h i ng a bo ut when yo u trip you become a l i q u id com p ute r, beca use yo u r b ra i n l itera lly liq uefies, a nd I t h i n k that's what pretty m uch ha ppened t o Co ltra ne i n a bout 6 5 . Cos what he does is he sta rts using Om, the I nd i a n cha nt, a n d he's trying to asse m ble a u n ive rsa l m usic, a nd the whole t h i ng a bout the Om is that it t u rns the h u m a n i nto this h uge, gia nt, vibrati ng power station rea l ly. Om is this operation to t u rn you rself i nto this e n e rgy fiel d . So you have this late 60s jazz when a l l these guys we re basica lly t u r n i ng themse lves i nto powe r ge n e rators. And you had this i ncredible m usic that was more or less trying to bootstra p a u nive rsa l so u n d . And it

ki nd of worked. I look a lot at that whole stra i n fro m Co ltra ne t h rough to S u n Ra, t h rough to Alice Coltra ne . A whole ki nd of holiness t h rough vol u me, a kind of holy a m p lificatio n . T h e reason I don't ta l k a bout t h e l itera ry is that there's j ust no need to . What with t h i n king a bout a m p l ification, the kind of i m pact of the sensory e nvi ron ment of a m pl ification, loud ness in itse lf, the sensory i m pact of vo l u me, the se nsory i m pact of re petition, of broadcasti ng, a l l these thi ngs. There's so m uch to ta l k a bout, just at the leve l of vol u me, of press u re . There's a way in which you ca n d i rectly con nect those with everyt h i ng else. You ca n ta l k a bout the a ud io-socia l and i m med iately you 've con nected the sou nd to eve rything e lse; the lite ra ry j ust neve r rea l ly see ms to a ppea r, except as diffe re nt ki nds of so nic fictio n . I n which case, precisely beca use they're o n record, p recisely beca use they're not i n a book, they don't come out as litera ry, they come out as more l i ke the diffe re nce between read ing a paper a nd h e a ri ng it read out on the news. You get the idea of hea ring a voice co m i ng at you t h ro ugh va rious cha n n e ls, j ust as you neve r hea r the news d i rectly, you a lways hea r an audio feed, you a lways hea r a voice tra nsm itted t h ro ugh a whole series of other t h i ngs before it eve r gets to you . That's what h a p pens to fiction once it gets on vinyl; you hea r it t h ro ugh the studio. So it's not literary, the lite ra ry doesn't work in that space at a l l . Si m u lta neously, there's no need for re prese ntation, for the signifier, of for the text, or fo r the law, of fo r a nyth i ng. There's no need fo r any of that at a l l . " But of cou rse the way t o d o i t i s t o rea l ise the m usic is theorisi ng itself q uite we l l . There's one concept I especi a l ly l i ke ca lled percussa pel la, which is pe rcussi on a nd aca pe l l a a nd percusa pe l la is j ust the beats on their own . Some DJ thought u p a term which descri bes this sa m p ladelic a l loy of percussion goi ng solo, percussion as a n aca pe l l a . And it's j ust bri l l i a nt. So I ca n use that, a nd once m usic's i nstru menta l, these t h i ngs sudd e n ly loom i nto shape and yo u sta rt to use them . And there's so m a ny conce pts, a l ready existent i n the m usic, that a l l yo u need do is extract those a nd use them t o b u i ld t h e machine you wa nt t o b u i ld, use them as pa rts i n a gia nt con n ection mach i n e that you wa nt to build. You j u st hook it on, solder it onto the next conce pt that you wa nt. So p a rt of the whole d rive is very m uch written as a boo k of e m e rge nce; it's not a histo ry at a l l, it's very e njoya ble to resist the u rge to history, beca use, especi a l ly i n black m u sic, there's a whole d rive towa rds history a n d tra d ition a nd conti n uity, a nd this boo k is explicitly a bout the brea ks, a bo ut the d isco nti n u u m . M a rsh a l l McLu h a n ta l ks a bout t h e twe ntieth ce ntury d isconti n u u m . It's a l l a bo ut t h e bre a ks a nd the cuts. Not the flows, more the i n h e rita nce has been extre mely overstressed in ideas of black m usic. Except, of cou rse, it isn't a study of b lack m usic in the traditio n a l sense. By bringing u p, fi rst, the machine and then second, the act u a l vi nyl, a l l the d iffere nt q u a l ities move betwee n the machi nes, a n d beco m e as m uch effects of the machines they m a ke as they a re pre-existent. So it's the idea that the sonic ca n p rod uce ide ntities i n itself. For exa m p le, Cli nton is black, but the Sta r Child is an a lien a n i matronic figure - it's h a rd to say what col o u r

the Sta r Child is, the Sta r C h i ld is p u re a n i matro n ic. And p a rt of the book a lways looks that way, a lways looks to see which ha l l ucination the sonic e ngenders a nd then chases that. I never try a n d col la pse the sonic back i nto the social, a nd precisely beca use it's such a n a l m ost u n a n i mous tendency, I 've gone q u ite fa r t h e other way, I 've exagerated i t e nti re ly, to the extent, it m a kes sense when you read someone l i ke Sun Ra, S u n Ra wo u l d ta l k a lot a bout cosmic m usic. And I t h i n k in cosmic m usic, he meant it l itera l ly in the sense that, what wou l d cosmic m usic be, it would be the m usic of the e lectro magnetic fie ld, the m usic of radio tra nsm issions say, crossi ng the e lectromagnetic fie ld, pu nctuati ng its perimeter, dise rs i ng a nd then returning or re bou nd i ng. It would l itera l ly be the m usic of e lectrica l dist u rba nces, the atmospheric cosmic d istu rba nces that l itera l ly exist i n the sky. And if yo u listen to S u n Ra's Astra Black, those a re exactly the sounds he's m a king with his Moog, he's litera lly t u rn i ng the Moog synthesizer i nto something l i ke a circuit which ca n l itera l ly act as a gia nt a lternati ng cu rre nt betwee n the people l iste n i ng, between the Arkestra, a n d between the cosmos itself. The Moog is the ki nd of a m pl ifie r that di rects cu rre nt i n a n d out. On one ha nd, there's a very materi a l way i n which he does that beca use of the act u a l Moogy sounds a re rea l ly si m i l a r to, if not identica l to, the sou nds of the cosmos. So it's rea l ly fasci nati ng, beca use if I see it in that way, then thi ngs Sun Ra often sa id, l i ke 01 a m a n i nstru ment6 and Othe Arkestra is a n i nstrument6 . On one ha nd, he said the Arkestra we re to ne scientists, so nic sci e ntists, on the ot her, the Arkestra were his i n strume nts. So you get this idea of m usic as this so nic production circuit which, as Dele uze was sayi ng, molecules of a new people may be pla nted here or there . Somet h i ng l i ke that, Dele uze said. That's very m uch what Sun Ra's doing: he's usi ng the Moog to prod uce a new sonic people. Out of this circuit, he's using it to produce a new astro b lack America n of the 70s. "So, to a fa u lt, a bso l utely that's what I do a l l a lo ng, to exte nd the sonic outwa rds, thereby getting at this fee l i ng of i m possi b i l ity which this m usic ofte n gives you . At its best, a ny m usic should strike you with its i m possibility, a nd its com plete evasion of the rules of tra d itio n a l fidelity t o a l ive sou n d . A n d the w a y t o get at the stra ngeness o f m usic, rat h e r t h a n to ha bitua lise that m usic via a ny other kind of field, is to exaggerate the son ic, a nd use the so nic as a p robe i nto new e nvi ro n m e nts. Beca use eve ry new sonic se nsation that I ca n a lign is si m u ltaneously l i ke a new sensory lifefo r m . So there's this consta nt play between the sonic a nd the se nsory, which become the sa me t h i ng ofte n . It's partly a lot betwee n sca l e . Often yo u ca n open the sca le and sou nd rea lly wide a nd then d isa p pea r i nto a sou nd . Often you ca n s h ut the sca le back u p a n d withdraw to look at the vinyl, or withdraw to look at the sleeves. There's a consta nt telesco p i ng of pe rce ption from ve ry close atte ntion to a record, to p u l l i ng back to looki ng at the vinyl. But I t h i n k this is new a nd fresh . Beca use vi nyl is often ignored .The thi ngs most i m mediate ly p leasu ra ble a bout buying a record a nd a bout the so nic, a bout sonic se nsation a re the thi ngs which a re a lways ignored, it's biza rre . So by bri nging that to the front - the boo k should be writte n weith a sense of fa m i lia rity, people wi l l take it to their hea rts. The boo k's been designed to have a very tactile fee l, i n the sa me

way that you r fi nge rs h u nger fo r a sleeve, when you see a sleeve that you l i ke : you r fi nge rs ki nd of reach towa rds it, they ca n 't h e l p themse lves, they rea l ly wa nt that. And that's very m uch the sa me t h i ng in that the books sleeve a nd the jacket is m e a nt to design . And it's q u ite o bvious that what I ' m trying to do - eve ry object is a machine of su bjectivity: the record p laye r is, the record is, the book is, a nd I sim ply wa nt my book to beco m e a machine for prod ucing su bjectivity. It should be a machine fo r putt i ng m usic together. " For us i n the last ten, twe nty yea rs, there's bee n no ga p between science a rt a n d m usic, they a l l fo rm the same t h i ng. Its si m ply that at a ny one t i m e thi ngs tend to be blocked, a n d w h e n y o u have moments o f rhyt h m ic psychedelia, its easy t o see what ca n b e dislodged a nd brought out a nd made i nto co n nection machi nes with other thi ngs. Othe r times thi ngs see m to seize u p . Brea kbeat has opened va rious retroactive cha pters. S i m i l a rly the b rea kdown of techno's longheld Kraftwe rk o rigi n poi nt means that people ca n zip between the 70s a nd the 90s in a m uch freer way, move between Kra utrock, He rbie Ha ncock. There's a ce rta i n open ness i n m usic. "The key t h i ng to do now is to move i nto a new fie l d . I 've stop ped ca l l i ng myse lf a write r, fo r the book I ' m j ust goi ng to ca l l myse lf a co nce pt engineer. That m a kes the whole thing much fresher, m uch m o re exciting a n d m uch less known a bout. Beca use that's rea l ly what we' re rea l ly doi ng. What we' re doing is e ngineeri ng, is grasping fictions, grasping concepts, grasping h a l l ucinations from o u r own a rea, tra nslati ng them i nto a nother one, m ixi ng them, a nd seeing where we go with the m . We use these diffe rent conce pts to probe new a reas of experience, to a ntici pate a nd fastfo rward diffe re nt explorations i nto new fields of perceptions which a re a lways there, b ut whose stre ngth l ies in that they don't exist i n trad itio n a l m a i n strea m terms. Trad ition a l m a i nstre a m terms a re sti l l com p letely bound u p with t h e lite ra ry, a nd t h e two cultu res, a n d tha n k god for that, that m e a n s that they ca n't i n a ny way get i n on what's goi ng on - which is just t h i s sudden gla nce at t h e end o f the ce ntury, t h rough the synthesiser. I 've rena med a l l the i nstruments, I 've re na med the synthesiser the Sonatro n . Zena kis ca lled the synthesiser the sonatron back i n 1980 i n one of his boo ks o n com p uters. That's pe rfect beca use Sonatron j ust sounds l i ke a s u perhero com i c, so aga i n there's that conve rge nce of sou nd i nto a b a l l i stics. And the d ru m machine sho u l d be re named what it is: a rhyt h m synthesizer. I ca l l that rea r view h e a ri ng. The d r u m machine isn't a d r u m machine, there's no d ru m s i n it - it's pu lses a n d signals synthesized i nto new pu lses a nd new signals. There's no drums in it. That's a weird t h i ng that's confused me for yea rs a nd yea rs - u nti l I wo rked it out. You'd l iste n a n d they'd sound utterly diffe re nt from drums. The move m e nt fro m fu n k to d r u m machi nes is an exte re m e ly i ncred i b l e o n e : people's w h o l e rhyt h m ic perce ption cha nged ove rnight. A n d p e o p l e o f cou rse pretended that nothing had ha ppened b ut it was a major shift, hea ring bleeps a nd signals a nd diffe re nt ki nds of a lternating cu rre nt as sou nd . It was a h uge ki nd of shift. I n a si m i l a r se nse Va rese

ca l l s the d r u m machine a rhyt h m synthesizer, a nd that's a good way to descri be it. So a l l those ki nd o f thi ngs, a l l those conce pts, m a ke a se nse that rea lly t h e m a i n stre a m a re j u st com pletely i n ca p a b l e of rea lly grasping at a l l . "There rea l ly is a sensory i nvo l ution away from traditions, whateve r the divisions of a rt a s s u p posed t o be. It's very m uch l i ke Sadie [Pla nt] says, it's not high or low it's j ust com p lex, beca use it has so m a ny trave l l i ng a nd spira l l i ng a rms that you ca n hook onto. This is why when the America ns l a m e nt a bout the vi rtualization of the body, it j ust see ms biza rre, beca use it fee l s l i ke we're doing the opposite, it feels l i ke we' re j ust beg i n n i ng on this jou rney i nto the ce ntre of o u r senses. It see ms the opposite : scie nce a lways mea ns a hype r se nsori ness. Trad itio n a l scie nce sti l l means a depletion, co ld scie ntists, extreme logic a nd a l l these corny cliches: the ads sti l l show this. But i n m usica l te rms, science i s t h e op posite, scie nce is i ntensification, more sensati o n . Scie nce is basica l ly rhythm i ntensified, rhyt h m estra nged . A n d that's the k i n d o f science, that's how w h o l e ge nerations understa nd science. When they ta l k a bo ut a bstract, what they mea n by a bstract is sensations so new it hasn't yet got a la nguage for it. So the shorthand is to just ca l l it a bstract. There's a whole generation who've grown used to t h i n king of se nsory e m otions without a la nguage for them yet. Classica l ly, when most people ta l k a bout rhythmic psychedelia, rhythmic psychedelia's broadly been the psychede l i c aspect of a ny partic u l a r sce n e . So it co u ld be a nyth i ng : from House to tra n ce, to brea kbeat to jazz, it cou ld be a ny sce ne but IOm i nterested i n the rhyt h m i c psychedelia aspect of each sce ne, not the sce ne itself. I'm i nterested i n the poi nts of maxi m u m rhythmic hyperde lia, that's what I ' m rea l ly i nte rested i n . So it cou ld be a ny of these . . . " Postmodernism doen't m e a n a nything i n m usic a t a l l . I t doesn't mea n a nythi ng, i t hasn't mea nt a nyth i ng si nce at least 68 when the fi rst ve rsions sta rted co m i ng out of Ja ma ica . As soon as you had the pa rticu l a r socia l condition of no co pyright, this ni neteenth centu ry copyright was a l ready gone, i n sta ntly you had the freedom to re plicate, to l itera l ly reco m bi nate, a l m ost i m mediately. That e nco u raged a wildstyle of rhyt h m s where thi ngs wou l d attach themse lves a n d reco m bi nate. And as soon as you had that, that's postmdernism acco m p lished a nd done with, right then in 68, this is a nother reason why trad itio n a l t h i ngs don't m a ke a ny se nse i n m u sic, eve r si nce then by defi ntion you've had postmodernism a nd it hasn't been a ny big dea l at a l l, it's j u st a l ready been acco m p lished . The key t h i ng is to go eve n fu rther back. For i nsta nce, Wa lte r Benja m i n 's traditio n a l "Work of Art i n the Age of .. ", that a rg u m e nt doesn't work a ny more, beca use Benja m i n sim ply says, one of his m a i n poi nts, or the one his a d m i re rs use ove r a n d ove r aga i n, a lthough he says loads of other stuff, the m a i n thing they a lways say is that in the age of re production there's obviously no a u ra left, the si ngle, u n iq u e a u ra has gone, but of co u rse as soo n as you have the d u b plate then that's a l l gone out of the wi ndow. The d u b plate is where you've got the

re p roductive process, the mecha nica l process of pressing vinyl onto the plate that's being played, a nd sudde n ly in the middle of that you 've got the o ne-off re m ix, you 've got the track that there's only one of in the world, but it's not an o rigi n a l, it's l i ke a co py, or a t h i rd copy. So you've got this t h i ng that's neve r supposed to exist in Benja m i n 's worl d : yo u've got the one-off copy, you 've got the one-off fifth re m ix, you've got the one-off te nth re m ix, you 've got the one-off twe ntieth re m ix. There's o n ly one of it. So the d u b plate means that the whole idea of the a u ra being ove r doesn't m a ke any sense beca use the a u ra is re born i n the middle of the ind ustri a l re p roductio n . Hence the whole j u ngle acce l e ration, i ntensification of the d u b plate; the d u b plate is re born as this m usic of the futu re . You ' re h e a ri ng m usic that won 't be on the streets t i l l ten months, e leven months later, i m mediately this g a p opens u p betwee n you a nd 1996. Yo u sudde n ly i magi ne you rse lf i n 97, goi ng "Where wi l l I be when I buy th is?" a nd of cou rse yo u never wi ll, but l iste n i ng to a d u b p late ki nd of does this l ittle p rojection on you . You fee l yo u rself 1 8 m o nths a head, you l itera lly fee l a head, you ' re on a p l a i n o f acce l e ration, you ' re movi ng faste r t h a n you a re, beca use there's o n ly one of these p lates. So for that reason a lone postmodernism j ust hasn't existed a nd as soon as you have a state of re m ixology - the t h i ng that h a p pened is that re m ixo logy got held u p i n d iffe rent a reas. In jazz, for i n sta nce, yo u had Alice Coltra ne re m ixing J o h n Coltra ne, but jazz tradition hated that a nd sa id it was basica l ly blasphe my. Yo u had the Beach Boys re m ixing their stuff a nd it bei ng refused. So i n t h e major co rpo rations re m ixo logy was a lways sto pped, a n d i n J a m a ica re m ixology j ust beca me the i m med iate state of p lay, fi rst of a l l cos it's si m u ltaneously h perpredatory as we l l, it a l l ows a kind of agglomeration of rhyt h m s, a ruth lessness of rhyt h m s, a kind of bre a k wa r. Andy C ca l ls it a bre a k wa r. People bid for b rea ks, or j u st ste a l them. This kind of wild frontier, this wild break wa r goi ng on, rhythms j ust going m a d . So we're fa r beyond postmodern ism here, so i m med iately a l l those t h i ngs, a l l the traditi o n a l a rg u m e nts j u st d rop out of the wi ndow. The idea of exha ustion, that's j ust gone, cos m usic doesn't work i n that way. It's a l ready a gene pool, so it's not going to exh a u st itself. "And then a whole series of thi ngs - the idea of q uotation a nd citation, the idea of i ronic dista nce, that doesn't wo rk, that's fa r too l itera ry. That assumes a dista nce which by defi niton vol u m e ove rco mes. There is no dista nce with vol u me, you ' re swa l l owed u p by so u n d . There's no room, you ca n 't be i ronic if you ' re bei ng swa l lowed by vol u m e, and vo l u m e is ove rwhe l m i ng yo u . It's i m possi ble to stay i ronic, so postmodernism, all the i m p lications of that go out of the window, si m u lta neous with Benj a m i n a nd a l l the modern ist a rg u m e nts, a l l those go o ut of the window as wel l . So not o n ly is it the litera ry that's useless, a l l of the traditio n a l theory is poi ntless. A l l that works is the sonic p l us the machine that yo u ' re b u i l d i ng. So you ca n b ring back any of those pa rtic u l a r thi ngs if you l i ke, b ut it better work. And the way yo u ca n test it out is to actua lly play it. That's how you test if my book

works, beca use I wa nt it to be a machine. When I say works, I m e a n I wa nt it to e ngineer a ki nd of se nsory a lteration, some ki nd of perceptual dist u rba nce . I t h i n k I 'd rea lly l i ke that very m uch, beca use even a tiny se nsory distu rba nce is enough to se nd out a kind of sig n a l w h i c h ca n get tra nsmitted . " I t h i n k the co m b i nation of the DJ a nd the write r m a kes a lot of sense. I t h i n k it's both diffe re nt ki nds of re m ixology at work, a nd a l l we're rea lly doi ng is bringi ng writing a n d putting i t onto the second d e c k a n d j ust acce l e rati ng i t as m uc h . I thi n k possi bly beca use so m uch English traditio n a l Brit prose is so matey, a nd so blokish, a nd so bl uff, no-nonse nse, that kind of enco u rages me in a lways going for the i m possi ble which ca n be registe red as what the futu re feels l i ke as sensation. That's why the key thi ngs in this book a re McLu han a nd Ba l l a rd, a lthough by the end there wo n't be any McLu h a n a n d Ba l l a rd, but they' l l b e the guys I was rea d i ng t h roughout. Both those guys have got a fa ntastic sense, McLu h a n i n his fa mous l i nes a bout the human being the sex orga ns for the machine world, those l i nes a re crucia l . The Kraftwerk cha pter is a l l a bout Kraftwe rk as the sex o rga ns of the synthesizer. "The whole series of t h i ngs a bout accidents, a bout bugs, a bout the prod uce r bei ng someone who ca n n u rt u re a b ug, who ca n breed a b ug a nd s i m u lta neously most of the key m u sics have been accide nts, they've actua l ly been formed t h rough e rrors. They' re l i ke softwa re e rrors, syntax e rrors i n the machine's p rogra m m i ng, a nd they form these sounds, a n d the producer's ta ke n these sou nds a nd more or less n u rt u red this e rror, built on this m ista ke, a nd if you gra b a m ista ke you 've got a new a udio lifefo r m . And you look at it, a nd it's q u ite com mon, back with Ca n in the 70s, Helge r Czu kay was saying machines have a l ifefo rm, re petition is the life of machi nes, so there's a whole thing a bout machine life that a l ready exists with m usici a ns any way. Prod uce rs have a l ready sta rted worki ng out a theory of machine life, a n d a l l I ' m doi ng, as soon as you look at what they've been sayi ng, magn ify it, a nd sta rt to use it, you rea l ise that there's a l m ost l i ke a series of, ha lfway between sonic fictions a nd scie ntific ta bu latio ns, which I j ust ca l l sonic fictions, all of them, but sou nd is prod uce d . There's twe nty yea rs of speculation on the machine as a lifeform, there's twe nty yea rs of these guys ta l king a bout sou nd as a ghost form, of d u b as a ghost. There's twe nty yea rs of stuff a bout m usic as e lectronics a n d cosmic fields, so what I ' m doing is l itera lly using them, activating them, switc h i ng them on. That way the whole book fee l s a l ive, by using m usicia ns, a lot of m usici a i n s, by using a lot of p rod uce rs w h o a re living now a n d con nect i ng them u p to o nes i n the past, you switch on the sonic, yo u switch on a whole so nic register, a whole u n offici a l register. These people no body q u otes i n traditio n a l l ite ratu re . No body q u otes Lee Pe rry as an a uthority, it's a lways the grotesq ue t h i ng of Heidegger a nd C l i nton, it's neve r the othe r way a ro u n d . But Cli nto n ca me u p with m ixadel ics, the theory of mixo logy as a psychede l ia, the theory of the m ixi ng desk as a psychedelia, i n 79, there it is, m ixadel ics. That's a conce pt, he thought of a psychedelia of the m ixing desk. So you don't need

Heidegger, beca use C l i nton's a l ready theoretica l . So what I 've done is extract those a n d set them to work, beca use those co nce pts work beca use they're tied to records. And that's beca use the vecto r that a lot of this wo rks on is the record player. And it's the ha bitua l n ess, yo u have to look at yo u rself as a machine progra m med, as a biocom puter p rogra mmed by the decks. The motions yo u have to m a ke to put a needle onto the record as the fl ig ht of the stylus ta kes across the groove, t h i n k of the h u n d reds of thousa nds of ti mes that you 've made that motion, the ha bitual ness of putting it o n . The way to see this is ve ry clea rly fo r i n sta nce when you ' re liste ning to a ra re groove origi n a l, say t h e re's a track yo u know rea lly we l l, a n d yo u ' re liste n i ng for t h e first ti me t o t h e orig i n a l o f i t . Y o u sudde n ly rea l ise that t h e b i t yo u know is o n ly a tiny bit, j u st l i ke a t h ree second bit, a nd then the record j ust p l u nges i nto usua lly a disa ppoi nting mediocrity, before the next sound that you recogn ise comes u p, then it p l u nges aga i n before the next bit comes u p . Sometimes with Pa rliament tracks yo u ca h hea r a bo ut five i n the first two m i n utes, I ca n hear a bout five recognisable bits of songs that have been snatched away, a n d these bits, it's a l m ost l i ke they recognise you, beca use what they're d o i ng is recognising you r ha bitu a l ness i n putt i ng them on. When yo u hea r a sou nd, yo u have a memory flash, but you a l most have a m uscu l a r memory, you re m e m b e r the times you da nced to it. Yo u don't j ust re m e m be r the times you d a n ced to it, yo u re m e m ber the times you l itera l ly bent ove r to put the needle o n the record to play that bit. Som et i mes yo u even love that bit so m uch, you eve n re mem ber going ove r a nd ove r and ove r that bit aga i n . So when you hea r that sound that you love, when you hea r the recognisa b le sa m ple in the middle of a lien sou nd, it's l i ke that sou nd is recognisi ng yo u r ha bitua l n ess, a nd it's rea lly i n cred i b le, you sudde n ly get this pict u re of as a h a b it. Cli nton's even got a n a m e for it, Cli nton ca l l s it a h a b it-form . You sudde n ly get a gli m pse of you rse lf as a h a bit-form, a ha bit­ formed bei ng, a p rocess of ha bit fo rmati o n . You sudd e n ly see you rself ove r the yea rs, how I loved this record . It's i ncredi ble, it's l i ke the sound ta kes a pict u re of yo u r ha bits, snaps you r ha bits. And you sudde n ly see i t very clea rly. How m a ny times have I p ut that o n ? That's what I wa nt to get at, that's the ki nd of ki naesthetic, these a re new sensations which have neve r existed before, that fee l i ng of being recognised by sound that I 've just descri bed . That's kind of new, it hasn't ha ppened before. By defi nition, it cou l d only happen in the sa m pladelic ge neration, by defi nition it cou ld only h a p pen to people who l iste n to s a m pladelic m usic. And those ki nd of thi ngs j ust have n 't been written a bout, they have n 't eve n been ca ptu red yet. "So by extending the sonic fu rther a nd further, I ' m on the h u nt, I'm chasing for, I'm tryi ng to fi nd o ut new pe rceptions, pe rce ptions that have a lways bee n there, but have n 't yet been grasped a n d have n't yet been con nected to a nyth i ng e l se yet. It's l itera l ly l i ke this exp loration i nto the u n know n . At this point I don't know where it's going a nd I t h i n k at that poi nt, whe neve r I don't know where t h i ngs a re goi ng, that's when I p ut the track on aga i n . Cos it's not that t h e track te l l s you where it's goi ng, it's that t h e track a l lows that u n knowingness to ta ke a sha pe o r a form . And it's m o re or less l i ke co n necting it to a nother

track. So eve ryt h i ng comes back to the track, the track is a lways the l a u nching pad, ove r and ove r aga i n . " By now, I 've sto pped sayi ng ' Black c u lt u re ' . There's a lways a m uch stronger perception i n Ame rica o f b lack cult u re a nd that's pa rt obviously beca use it's b e e n cou nte r-defi ned aga i n s t h e traditional knowledge a p a rtheid struct u re which h a s b e e n i n there . A n d yo u ca n te l l a l m ost a l l America n write rs a re worki ng aga i n st this knowledge a pa rtheid, which h a s been rea l ly fi rmly laid o ut. Afte r a l l, eve rybody should know that in the 60s, most b lack America ns cou ld n't eve n get to a rt school u nti l a bout 1969. That's how severe America n a p a rtheid was, from the knowledge structu re dow n . So most black America ns write i n a way that assumes a u n ified black cult u re, then goes on to exp l a i n the dissensions betwee n it, or not. But sitting here in E ngla nd, in London, it's m uch h a rder for me to eve n ass u m e a u n ified a nythi ng, let a lone a u n ified black culture . I tend to sta rt from the opposite . I tend to t h i n k of t h i ngs more i n some kind of freefloati ng form, a nd there's va rious thi ngs, va rious stra nge attractors trying to agglomerate thi ngs, there's va rious i ne rtia -prod ucing forces, which a re trying to ce ntre, a n d trying to attract materi a l to it, ca lcify it, petrify it, so lidify it, rete rritoria lize it, ca lcify it, a nd then usua lly it gets ca l led tradition, or it gets ca l led history, it beco mes a trad itio n a l assu m ptio n . " I l o o k at black culture m uch more as a series of, on o n e ha nd, a series o f materi a l that's been agglomerated, on the oth e r ha nd, it's much more l i ke a series of tech niques that sta rt out. I tend to t h i n k of it m uch more as a lot of pa rticu l a r figu res, for i n sta nce, a lot of the pa rticu l a r b lack p roducers, e ngineers that I ta l k a bout, see themse lves as scie ntists or tech nicians. I tend to thi n k of black cult u re then as a n i nstru m e nt or a n enviro n m e nt that they've i nve nte d . So I d e l i berate ly work aga i n st doing it, beca use if I do, I'll end u p with a trad itio n a l ki nd of a rgument. I ' m very m uch looking i nto the synthesizi ngs, looking i nto new black synthetic ve rsions. I ca n never t h i n k of a u n ified black culture out of which eve rything comes. To me everyt h i ng now looks l i ke it's synthesized . There's obviously stuff that's been a ro u nd long e nough so that it fee ls solidified, ca lcified, a nd all the rest of it, but actua l ly it's a l l synthesized stuff, it's a l l stuff that was d rawn together. Beca use I ' m looki ng at e m e rgences, by defi ntion they're going to be rea l ly synthetic, l i ke techno. Beca use I b ring the machine i nto it. The refore, it cha nges. But on the other ha nd, it m a kes thi ngs m uch m o re com plex beca use i nstead of ta l ki ng a bout b lack culture, I ' l l ta l k for i nsta nce a lot a bout G h a na i a n drum choi rs, o r ta l k a lot a bout the Africa n polyrhythmic engine, po lyrhyt h m i c percussion e ngine. A n d those w i l l be very p a rticu l a r Africa n tra its. I t ' s a l m ost l i ke s o u n d is a se nsory technology, so I often ta l k a lot a bout b lack techno logies. They' re a l m ost l i ke machi nes - if we' re ta l ki ng a bo ut 19th or 18th ce ntury Africa, then they'd be machi nes b u i lt a long time ago a nd passed dow n . But i n the present, it's more l i ke b lack cult u re is this series of machines b u i lt h e re and there . The d u b plate was one, b u i lt in J a m a ica . The brea kbeat

was a nother, b u i lt i n New York. I ' m so m uch more focussed o n the long end of the te lescope a nd shooting out from that, that I neve r eve r p u l l back, a lthough I t h i n k I wi l l fo r the end, beca use otherwise people wi l l do it any way, so I t h i n k I should do it. "I have n 't yet p u l led back to m a ke co m m a nd i ng state ments a bout what it is i n b lack culture that produces these kind of synthetic tech nologies. I have n 't yet been a ble to go back a strata to the big what-if q uestio n . And that's pro ba b ly beca use I d o n 't t h i n k it rea l ly exists, beca use I ' m so consumed a nd a mazed by the tee m i ng va riety of stuff at the other end of the telesco pe that I ca n 't p u l l back to see the view, probably beca use I distrust the idea that there's views, but it wo uld n't be l i ke distrusting it but more l i ke a sh ift i n tempo or sca l e . So sh ifting to a major ove rsight, a horizon view then switc h i ng back. But basical ly, I have n't rea l ly worked it out, what it is in b lack cultu re itse lf. It cou l d be that, one l a rge t h i ng G reg used to say which worked rea l ly we l l, was that the Middle Passage in Ame rica by defi n ition forced culture to become i m mediately me nta l . All of the other t h i ngs by defi n ition we re left be h i nd, rui ned, a rchitectu re, eve rything e lse, so culture i m med iately beca me me nta l, i m med iate ly beca me demateri a l ized . So ora l culture is by defi n ition de mate ria l ized, it's a l l t h e t h i ngs you ca rry i n you r head, a nd that's it. And then i t h a s t o b e re materia lized, fi rst t h ro ugh h itting the ha nds, or t h rough the mouth o r whateve r, it had to be passed on aga i n, a nd rei nvented a l l ove r aga i n . So t h e re's that whole stra i n . And there's the key t h i ng which d rew me i nto all this, which was the idea of a l ien abd uction, the idea of slavery itself as a n a li e n abd uction which means that we've a l l been l iving i n a n a li e n -nation since the 18th ce ntury. And I defi nitely agree with that, I defi nitely use that a lot. But it wou l d sim ply to be to say that the move, the m utation of the Africa n - I don't even believe i n the Africa n - the m utation of Africa n m a le a nd fe m a l e slaves i n the 18th ce ntu ry i nto what beca me negro, a nd i nto the e nti re series of h u m a ns that we re designed i n America . That whole p rocess, the key t h i ng be h i nd it a l l is that i n America none of these h u m a n s we re designated h u m a n . Therefore, it's i n m usic you get t h i s sense that most Africa n -Ame rica ns owe not h i ng t o the status of the h u m a n . Africa n-Ame rica ns sti l l had to protest, sti l l had to riot to be j udged En lighte n m e nt h u ma n s in the 1960s - it's q uite i ncred i b l e . And in m usic, if yo u l iste n to guys l i ke S u n Ra - I ca l l them the despotic guys, the rea l despots - S u n Ra a nd Ra m m e lzee, Mad M i ke - pa rt of the whole t h i ng a bout being a n Africa n-Ame rican a nd an a l ien m usician, is that there's a se nse of the h u m a n as bei ng a rea l ly pointless a nd treacherous catego ry, one which has neve r m e a nt a nything to Africa n-Ame rica ns. This is pa rticu l a rly with S u n Ra - j ust beca use S u n Ra pushes it a long by j ust sayi ng he comes from Satu rn, so I a lways acce pt the i m possi b i l ity of that. I a lways sta rt with that, most people try a n d claim it was a n a l l ego ry or so met h i ng. But it isn't a n a l lego ry. He rea l ly did come from Saturn. I try to exaggerate that i m possi b i l ity, u nti l it's i rritating, until it's a n n oyi ng, and this a n noya nce is mere ly a t h reshold being crossed i n the readers' heads, a nd once they u nseize, u nclench thei r se nsori u m, they' l l have passed t h rough a new t h reshold a nd they' l l b e i n m y world, I ' l l have got the m . The key t h i ng to do is to registe r this a n n oya nce, beca use I t h i n k a lot of the moves I 've descri bed wi l l provoke rea l a n noya nce, t h e lack o f t h e l itera ry, t h e l a c k o f t h e modernist, t h e lack o f the postmodern . A l l of these thi ngs should p rovoke a rea l i rritation, a nd si m u lta neously a rea l re l ief, a re lief that so me body has left a l l that stuff be h i nd, a nd sta rted from the pleasure princi ple, sta rted fro m the materia ls, sta rted from the stuff that rea l ly gives people pleasure . "

3 : . M a rk Fisher & Rob i n M a c kay Pomophobia Watch you rse lf ! There is a lways a ca m e ra hidden somewhere. 1996; London. TH I S I S ART As cutup Super-8 reels of Sta l i n's fu nera l fl icke r on the wh ite wa l l s, Donna S u m m e r's " I Feel Love" p lays on the sound system, overd u bbed by blasts of spoke n -word Adorno text. I n a nother p a rt of the room, slides of o l d people on hol iday flick by. C u lt u ra l detritus, discovered i n j u n k shops a n d c h u rch fetes, forming a jaded ca rniva l of negative a uthenticity. A joyless juxtafest where "fo u nd objects" recline passive ly, waiti ng for you r l istless sta re to t u rn their way. The sce ne cou ld have a l m ost been set up to i l l u strate Ba u d ri l l a rd's wea ry polemic. "Any object, a ny i nd ivid u a l, any situation today co uld be a vi rt u a l ready-made . . . " (VI 99) The ready-made, Ba udri l l a rd writes, "extracted from its context, fro m its idea, fro m its fu nction, beco m es more rea l tha n rea l ( hyperrre a l ) a nd m o re a rt than a rt (it e nters i nto the tra n saesthetics of b a n a l ity, of i nsignifica nce, of n u l l ity, where today the p u re a n d i n diffe re nt form of a rt is to be see n ) . " (VI 99) Yo u r body feels u n be a ra bly heavy. Your head t u rns letha rgica lly to each exhi b it in tu rn, a n d then begi ns aga i n . Yo u fee l the sa me e n n u i y o u wou l d reading a nd re-read i ng old magazines i n a waiting roo m, then re me m be r, horrified, there's nothing to wa it for: this is the eve nt. A d readfu l se lf-consciousness pervades the whole sce ne. People ca refu lly a nd conscio usly pe rform the actions that they would have made we re they da nci ng, were they enjoying themse lves, ca refu l ly s i m u lati ng, a nd bei ng see n to be s i m u lati ng, a l l the gest u res of ca refree pleasure . As if sim-l ife li p-syncing to kitsch classics, movi ng with the confident se lf­ consciousness of photogra phic models. Jacq ues you r body . . . "We have swa l lowed o u r m icro phones a nd headsets . . . We have i nteriorized o u r own prosthetic i mage a nd beco me the professio n a l showmen of o u r own lives." (VI 96) " N o more actions save those that result fro m a n i nteraction - com p lete, if possib le, with television a n d b u i lt-in feed back." (TE 46)

Sim-panopticon, a nd you ' re a lways on stage . Ci rcuiting eve rything t h rough the a utomonitor, showing a series of re runs a nd si m-progra ms i n yo u r p lace w h i le you theorise you rse lf i nto existence. As if . . . You ' re wise e nough to know it's i m possible to do a nythi ng, fol lowi ng com m a nds fro m the a utomonitor: D I SCLAI M YOU R BODY I M M ED I ATE LY. Abandon you r desiri ng machi nes a l l ye w h o e nter here . Eve ryt h i ng h a s a l ready b e e n screened, ci rcu ited t h rough t h e a uto-mon ito r, t h i s psychic a ppendage ca pable of u n l i m ited meta bol isatio n . Auto-monitoring PoMo is a machi ne, b u t IT ARRIVES L I K E LIG HTN I NG, sweeping away a ny evidence of its origins as i n sta nta neously as it esta b lishes its m i racu lous reign as p ri m e ca use of eve ryt h i ng. I m ma n e nt to its worki ngs is a s u ppression of i ntensity be h i nd the screens of re p resentation, epistemology and signification. It's either meani ngfu l or meani ngless; in a ny case, it's satu rated with sign ifica nce. Before a nyth i ng gets t h ro ugh secu rity it has to check i n with the Jacques office rs. You have t o a s k i t means t o d o som ething rather t h a n j ust doing it The PoMo machinery w i l l co nve rt a ny i n put i nto a sign ifying fo rm u l a . Whe neve r a nyth i ng is worki ng, it wi l l ask: what does it mean? What is it? There's not h i ng o utside the text beca use not h i ng gets in u n l ess it's a l ready been text u a l ised, com plete with b rackets a nd q uotation ma rks, conve rted i nto ca non fodder. "There is a degree of sleep lessness, of ru m i nation, of the h istorica l se nse," N ietzsche wrote in " U ntimely Med itations", "which is ha rmfu l a nd u lti mate ly fata l to the living t h i ng whether this living thing be a man or a people or a cult u re' H i s scatte red accou nts of this i nfi n ite a nd i nfi nitely frightfu l " bound less ocea n " forewa rn of the t h robbing i nesca pa ble ache of i rony, knowing self-mockery, the i nte r m i n a b l e ste p p i ng i n a nd out of cultu ra l idiom which we m ight recognise as popu l a r postmodern cult u re . He co ncludes: "The oversaturation of a n age with history see m s t o me t o b e hostile a nd da nge rous t o life . . . lt leads a n age i nto a da nge rous mood of i rony i n regard to itself a n d su bsequently i nto the even m o re da nge rous mood of cynicism . " But sure ly the o n ly da nge r here is that of a com p re h e n sive ne utra l ization, the second-hand m i m i ng of i rreve re nt destruction, a wi lfu l sq ua ndering of e n e rgy.

Playing i n the rui ns, then is o u r ga me - a desu ltory a n d a rbitra ry so rting though of the mass of va lue less j u n k left at o u r disposa l . Some ta ke a ce rta i n glee i n this a bject practice, a fervou r for reviva l, citation, su rre a l j uxta position a nd a l l the other cha racte ristic tropes of pop u la r postmodernism . Howeve r this is what N i etzsche describes as " Pessi mism i n decl i n e . . . as grow i ng effeteness, as a sort o f cosmopolita n fi nge ri ng, as 'tout com p re n d re' a nd historici s m . " T h e ca rd i n a l featu res o f P o M o - the a rbitra ry aesthetics, the si m u lated gestu res, t h e boredom, the poigna ncy o f the lost o bject - com bine t o p rod uce a tra nsce nde nta l m isera bi l ism - a deep sense not o n ly that there is not h i ng to be done, but that nothing cou l d eve r have b e e n done. Za rath u stra's U lti mate M a n, " i n exte rm i n a b le as the flea " says " i ro ny" a nd b l i n ks, 'They a re cleve r a nd know everyt h i ng that has ever h a p pe ned : so there is no end to their mocke ry"' (Za rath u stra Prologue 5). 1991 : NO FUTU RE ( US re prise) Pu n k a rrives i n America : N i rva na on MTV. II 'Smells Li ke Teen S p i rit' begins as if on J u pite r, where body weight has hideo usly i ncreased, the m usic pressed down by a fatigue, lassitude, why-bother: ' N eve r m i nd ', as Coba i n says to ki l l a l i ne . " (ALD 29) What Cobain's weighed down by above a l l is the dead heavi ness of the past, the ove rwhe l m i ng se nse that everyt h i ng has a l ready been done. When Kurt Coba i n fi rst hea rd the p u n k records that would excite a n d inspire him, they we re a l ready old news, the fad i ng afterglow of long-exti nct sta rs. He l ived, he a lways knew, i n the a rid cultura l i nte rreg n u m that J a m eson, refe rri ng t o a n oste nsibly ve ry diffe re nt c u lt u ra l sphere, ca l led "a wo rl d i n which stylistic i n novation is no longer possi ble, [whe re] a l l that is left is t o i m itate dead styles, to spea k t h rough the masks and with the voices of the styles in the imaginary m use u m . But this means that conte m pora ry o r postmodern ist a rt is going to be a bout a rt itself i n a new ki nd of way; eve n more, it means that one of its essentia l messages w i l l i nvo lve t h e necessa ry fa i l u re o f a rt a nd t h e aesthetic, t h e fa i l u re o f t h e new, the i m p riso n ment i n the past . " ( PCS 18)

NO FUTU RE had a gleefu l edge when Rotten sang it, a se nse, not only of being re lieved of a n ob ligation t o t h e futu re , b ut o f bei ng freed from a respo nsibi lity t o t h e past . B u t fro m where slacke r was, Rotte n's sneer, eve n Mcla ren's de mystifying Svenga li strategies, looked as nosta lgic as the Si lver J u bilee they sup posed ly op posed. Where the xerox revo l ution of p u n k e m e rged in the wreckage of d isci p l i n a ry societies , as a n esca pe fro m the d reary trea d m i l l of school a nd dead end jo bs, Slacke r was i n a co ntro l ( led) loop from the sta rt. Its every move a ntici pated, tracked, bought a nd sold before it had even ha ppened . Cob a i n knows t h a t h e ' s j u st a not her piece o f spectacle, t h a t not h i ng runs bette r o n MTV t h a n a protest agai nst MTV. Knows that his every move is a cliche, scri pted i n adva nce. Knows that eve n rea lising it is a cliche. This e piste mo logica l spi ra l may see m l i ke a ru naway ride but at esca pe ve locity it si m ply goes i nto a cold orbit, processing everything t h rough the a utomon itor.The result is a d readfu l physica l p a ra lysis. "Words t a ke a long time to e m e rge fro m this gravity, from Coba i n 's hoa rse, seem i ngly s h redded t h roat. It m ight be m o nths on the radio or MTV before yo u begin to catch what's being said i n N i rva na songs - 'se l l the kids fo r food', ' I don't m i n d if I don't have a m i nd', ' I fee l stu pid a nd contagious', ' I ' m ne ute red a n d spayed', 'at the end of the ra i n bow a n d you r ro pe', ' I don't ca re if it's old' - but the fee l i ng of h u m i liation, disi ntegration, of defeat by some d ista nt m a l evo le nce, is what the m usic says by itse lf. " (ALD 29) It's Ba u d ri l l a rd who is the consu m m ate p h i losopher of Slacker a nd its corre lative physica l state, the let h a rgic co uch-potato i m potence, the affectless, doped tension-free of the term i n a l ly defeated . "One day the i mage of a perso n watching a tel evision screen voided by a tech nicia ns' stri ke wi l l be see n as the the pe rfect e pito me of the a nt h ropologica l rea l ity of the twe ntieth ce ntury." (TE 13) Metaphoresensic a n a lysis screens eve nts before they h a p p e n . They a rrive p re packaged a nd prefi led as niche co m modities: tragedy, massacre, politica l co ndem nation, a l l -pa rty ta l ks media matica l ly patte rn recogn ised, the exti rpation of contingency goi ng hand i n h a n d with the prol ife ration of catego ries, voca b u l a ry. The significatory categories have to be esta b lished before a nyth i ng is a l lowed to " ha ppen " . When Ba u d ri l l a rd says the G u lf wa r didn't h a p pe n, it's beca use, on the te r m i n a l beaches of Po Mo, nothing ha ppens a ny more. " Eve nts" belong to the past; a l l that's left a re com m e morations, a n nive rsa ries, reviva ls, re ma kes, re models. Events were precise ly that

which cou ld have ha ppe ned diffe rently. The G u lf wa r, m e a nwhi le, had the scri pted i n evita b i lity of a TV progra m m e - a ca refu l ly designed rea l-ti m e a poca lypse sce n a rio that u nfolded as it was broa dcast, i n an u n i nterrupted (and u n i nterru pta ble) te l e p resent si m u ltaneity. Which is why the G u lf Wa r played the sa me sym bolic ro le for Slacke r that Vietna m did fo r the sixties. Generation X was a lways o ut of t i m e : a rriving after the o rgy, it found itself exi led fro m the progressivist aspirations of the sixties co u nterculture a nd t h rown i nto the sea m less tempora l ity of MTV - a te m pora lity J a m eson, writing j u st as MTV was j u st beg i n n i ng to broadcast, was a l ready descri bing when he wrote of "the disa ppeara n ce of a se nse of history, the way in which o u r e nti re conte mpora ry soci a l syste m has little by l ittle beg u n to lose its ca pacity to reta i n its own past, has begun to l ive in a perpet u a l p resent a nd in a perpet u a l cha nge . . . " ( PCS 28) But this si m u ltaneous perpet u a l present is nothing but the end less reite ration of the past : the a i rless no-t i m e of "the classic", a t i m e less ete rnal ity re moved from history beca use be reft of a ny sense of co ntinge ncy. So while the postmodern sce ne is o bsessed with the past, it is o n ly historicist i n the way that N i etzsche's "cosmopo lita n fi nge rers" a re . What Ja meson has ca l led 6the nosta lgia modeo is cha racterised by an atem pora l m ix <E n' match aesthetic that has moved beyond the model of linear deve l o p m e nt on which h isto rica l narrative is p re m ised. That consta ntly recu rring feature of the postmodern scene, the i ronica lly revived text, is 6 a co m p lex object in which on some leve l c h i l d re n and adolesce nts ca n ta ke the adventures straight, while the a d u lt pu blic is a ble to gratify a deep a nd more p roperly nosta lgic desi re to retu rn to that older pe riod a nd to l ive its stra nge old a rtifacts t h rough once aga i n . a ( PCS 19) A deep cynicism l ies hidden behind an a p p a rent generosity: Britpop may j u st be a re heated ve rsion of the past, but it is 6new to the kidso, givi ng them 6a chance to experie nce what they m issedo. The revived a rtifact e m e rges as d o u b ly tra n sce ndent, offe ri ng a tra nsce nde nce not o n ly of the present (from which it see ks to esca pe i nto a s u p posedly more cohere nt past), but a lso of the ve ry past it affects to fetishise (si nce i ro n i c dista nce a n d a little modification h e re a n d there a l low us t o e njoy the past without the e m ba rrass m e nt o f b e i n g actua l ly i m me rsed i n it) Britpop is only one exa m ple of the British ve rsion of PoMo which, if a nythi ng, is both more cynica l a n d more wistfu l t h a n its America n va riant. The i nterlocking m i l ie ux of late -n ight TV, retro pop a nd grad uate com edy, protected by a demystificatory ba rrier that ensures it wo n't get fooled aga i n, la nguishes i n the citational a byss of an i ncreasi ngly friction-free reviva l i s m . W e l o o k a t the old days with a ce rta i n pity, a certa i n te nde rness, a nd a great condesce nsio n : they a re what we ca n neve r be, u nco nscious of the great weight o f their existe nce,

u n e m ba rrassed, whilst we ca n o n ly s i m u late, i n t h ra l l to the a uthority of a n a bsent a uthe nticity, slave to a dead god . En kitsch me nt, or i ro n i ca l reinvestme nt, is i nva ria bly fol lowed by a sneer at the reconstructed na ivete which is, however, cherished despite its a ppare nt e m ba rrassed acqu iesce nce at the hands of PoM o 'cynicism ' . A superficia l glee acco m p a n ied by a nosta lgic sigh - if only we co u l d rea lly go back to those si m p l e r times, watc h i ng Bagpuss in o u r nylon Sta rsky a nd H utch T-s h i rts. The misera b le re lativism of PoMo is a l ready i nvited by the i n he re nt pathos of Ka nt's met a physics, backed up by the ba re ly disguised theocide of rati o n a l ly enfo rced regulative principles a nd tra n sce nde nta l si m u lations (the as if) . As the grund fa l l s away, you have to learn to pol ice you rse lf. The tra nscendental as a ge n e ra l ized a ppa ratus of ca ptu re, locking i ntel lige nce i nto closed ci rcu its, s i m u ltaneously p rod uces a nd fu lfi ls i m pove rished expectations. The re pressive force of this machine ca n o n ly be ga uged by the a bs u rd a mo u nt of e n e rgy expended u pon its m a i ntena nce . PoMo's tra nscendenta l misera bi lism, a last cubby hole of h u ma nity a m idst the swa rmachinic rhizome of tech noca pita l, d o m icile where o nce was d o m i nion, p u rposiveness without p u rpose, constitutes a m u lti -story "as if" where only a resi d u a l conceit secures homeostasis. Fierce ly protected, PoMo is a l l a bout cu lts, c l u bs a nd cliq ues. Not h i ng gets i n without prior i nocu lation. The shocks to this system come fro m the da rkside, fro m the una ntici pated a nd u n p re pa red for. What is ge n u inely new w i l l evade the pre-scri pted catego ries - "the new Beatles", "the new P u n k" - which have a l ready neutra lised a ny possible deviation from the a l ready processed . Tech noca pita l, as ge nera l ized decod ing machine is t h e basis o f a n u m e rica l or synthetic culture whose a b i l ity to b re a k down, disp lay a nd rep l i cate code i nto asign ifying, machinic e l e m e nts wit h i n vi rt u a l systems p uts it o n a l i ne of flight away fro m all signifying la nguage, u n leash i ng a genera l ized decodi ng which i rradiates the whole culture . W h i l e decod i ng d o u btless m e a n s u nde rsta n d i ng a nd tra nslating a code, i t a lso means destroyi ng the code as such, assigning it a n a rcha ic, fol kloric or resi d u a l fu nction (AO 245)

Ca pita lism displays a ntithetica l tende ncies, tenaciously reaffi rm i ng red u nd a nt cult u ra l fo rms with one hand while ruth lessly deco m missioning them with the other. Bo u rgeois tragic culture reve ls in a retro-reactive fasci nation for these a rchaisms ( kitsch ), b u i ld i ng them back i nto the system at the level of i ronic s i m u lation (which further stre ngthens the reflection­ re p roduction of a se lf-satisfied human i nterio rity u nder the great weight of its own poigna nt dege neration ) . But rega rd less of c h ronologica l p riority, si m u lation is a lways secondary to a nd de rivative of synthetics. The a rbitra riness of tra n sce nde nta l simstim reg u l ations does not itself necessitate the reification a nd meta phore nsic exa mi nation of this lack of a gro u nd (which itself se rves as the basis of tra nscendenta l m isera bilist aesthetics/ phi losop hy/ theory). This is m o re the pro d u ct of the a l ready existing b o u rgeois cult u re a nd its decadent tendency to tra nslate its own petty problems i nto gra nd gest u res. Fed on the e n d lessly regurgitated bra i ns of dead phi losophers, post-struct u ra lism dege nerates i nto the spongiform Hege l i a nism it a lways-a l ready was, proudly dwe l l i ng on its own desolate b ut strictly d e l i m ited gro u nd while ba rely conce a l i ng its d e l ight that we ca n 't esca pe from the narratives of modern ity. Theory re m a i n s tethe red to the " post", give n ove r to i nterm i na ble ru m i nati o n on what is superseded b ut, supposedly, neve r overcome. All texts a re p re-texts - a lso post-texts - fl i m sy traci ng papers colonia l ly i rrigated a nd preem ptively ca ptu red by reassuringly d u ll, a p p ro p riately academ ic, su btitles. P u n colon ve rb defi nite a rticle acade m i c designation . "Jacq u i ng off, Offi ng Jacques: De rrida, Laca n a nd the Se lf-referenti a l ity of the Academic S u bject . " R a p i d response is re ndered i m possi ble, the da nge r o f e m ba rrassing oneself b y sayi ng so met h i ng that has not been rigorously a utomon itored, ru mi nated ove r for a p u nitively exte nded period of schola rly dete ntion, is too great. N i etzsche's critique of the clogged digestive syste m of the West's Last M e n, itself often perve rse ly i nte rpreted as a meta phor, expresses all too acutely the co nstipated E u rocontine nce of these co nstricted bodies, themse lves m i n o r fascicu l a r e l e m e nts of a reson a nt system of tra n sce ndenta l m isera bi lism disse m i n ated across a l l leve ls of culture . T h e d re a ry textocratic d r i b b l i ngs o f post-theory a re mere ly t h e tra nsce ndenta l idea list cou nte rpoi nt to the e m p i rica l rea lism of postmodern culture . Kurt Co ba i n e m bodied what

theory disem bod ies, the ragi ng stomach pa i n s which plagued h i m fi n d i ng their disi ntensified corre l ate i n the the chin-rubbing, brow-fu rrowing protocols of u rbane academic a nxiety. S m e l l s l i ke Hege l i a n S p i rit. By contrast, synthetic cult u re disorga nises the doci l ising regi mes of disci p l i n a ry body politics. H i p hop a nd j u ngle work on the body, not in the ove rlit l u m i notopologica l episte mosca pes of necrospective m u m m ification, but in the d a rk zones where you d o n 't have a cha nce to t h i n k a bout what thi ngs wo u l d m e a n before they h a p pe n . Effects a rrive before o bjects, scra m b l i ng the operating system of the a uto monito ri ng sign ifying a p p a ratus. Sa m ploid m usic a n d video ga mes e m e rges as the lea d i ng pro be-heads of synthetic cultu re precisely beca use of their ove rt machi nism, their asignifying fu nctionality, their i ndiffe rence to episte mologica l con u n d ra b rewed u p i n the depths of the strata . There's noth i ng to bel ieve in, o n ly a cybe rpositive ci rcuit to p l ug you r body i nto. The asignifying codes of synthetic culture a re not at a l l to be ide ntified with the great i n a rticu lable deferred tra nsce nde nta l object blea rily ha l l ucinated by se nesce nt Bava ria n Catholicism a nd li ngua-Fra ncophony nee-co m m u n ita ri a n dessicated J udaism i n t h e i r post­ theoretica l gu ises. Materia l ly fu nctiona l n u m e rica l systems, these codes re present nothi ng, but a re rea l pa rts of a bstract machi nes, hooki ng u p desi ring machines by way of a conti n ua l ly com plexifying axiomatic. What is dissolved i n synthetic cu ltu re is not co m mod ification per se, but com modity fetishism as it regu lates the bourgeois object system, i n which everyt h i ng is assigned a proper p lace. Synthetic culture sheds no Benja m i nite tea rs for the lost a u ra of objects i n the age of mecha n ica l re p rod uction, ce l e b rating i nstead the way i n which the su bject-object dichotomy a nd its atten d a nt pathos a re reco nfigu red as machinic ci rcuits in the age of cybe rnetic re plication . "The tra n saesthetics of ba n a l ity" p lays upon the poigna nt, if bathetic, a u ra of fou n d objects, but fo r abstract culture everyt h i ng that's ready made, o r mass­ ma rketed, is there to be dismantled a nd re located i nto the unfa m i l i a r a rch itectu res of the synthetic co m position, the " u nca n ny adjace ncies" of the hip hop or j u ngle track, where they have a machinic, rather than m e re ly a citatio n a l, ro le to play: decom posa ble e l e m e nts on a p l a ne of consistency, not cut u p fragme nts.

To the jaded eyes of the PoMophi le, sa m p l i ng ca n a p pe a r to be pa rt of its own aesthetic of i n congruent b ricolage, yet a nother exa m ple of the cri p p l i ng se lf-co nsciousness bedevi l l i ng a culture so exh a u sted it is fit only to sort t h rough its own e ntra i ls. But , fa r fro m bei ng i m p risoned in the past, synthetic culture u n locks the machinic surplus va l ue in the a l ready actualized, stretch i ng and wa rping time i nto nonorga nica l ly re p rogra m med somatic ci rcu its of i n h u m a n speeds a nd slownesses. A b reath of fresh a i r, a l ittle re lation to the outside, that's a l l sch izoa na lysis asks. It's a matter of syna ptic con nectivity, crashing the Ka nti a n m a i nfra me, b u rn i ng the cra n i a l a rboretum, switching o n desiring machi nes. References ALD - G re i l M a rcus, "Art of the Living Dead", Wire 109, Ma rch 1993 AO - Dele uze/ G uatta ri, Anti-Oedipus PCS - J a m eson, " Postmodern ism a nd Consumer Society" TE - Ba u d ri l l a rd, The Tra nspa rency of Evi l VI - Ba u d ri l l a rd, "The Virtua l I l l usio n : Or the Automatic Writ i ng of the World"

4 : . Roh it Le khi Futureloop I Black Bedlam Cut to 1920: the d re a m of u n ivoca l re p rese ntationism has shattered i n the face of modernity's greatest pa ra noia tri p to date. The orgasmic i ntensities of mass su icide have laid ba re the ' night m a re condition of se lf-d o m i nation' . 8 m i l lion dead ... this is o n ly the begi n n i ng. Modern ity seeks sa lvation - a new vision, a n ete rna l myth - to redeem us from 'the fo rm less u n ive rse of conti nge ncy' . ' By order bring a bout freedo m ' scre a m s Le Corbusier. Technologica l efficie ncy a nd mach i n ic production is the path to sa lvatio n . White heat wi l l clea nse the defi led sou l of mode rnity. The fascist wa r-machine is re plenished. 'We decl a re that the splendour of the wo rld has been i ncreased by a new bea uty: the bea uty of speed . . . Bea uty exists o n ly in struggle. A work that is not aggressive in cha racter ca n not be a maste rpiece . . . We wa nt to glorify wa r - the world's o n ly hygiene - m i litarism, patriotism, the destructive act of the a n a rchists, the bea utifu l ideas for which one d ies . . . " Cut to 1935 : The t h i rst for mach i n ic effi cie ncy is by now unq uench a b l e . Ezra Pound e ngages in a q uest to co m ma n d mea n i ng wit h i n an orderi ng machine of la nguage . Eve ryt h i ng ca n be ca lled by its right name a nd 'has one place on ly, a nd no place is occu pied by two thi ngs at the same time' . But as the mach i n e l a u nches i nto ove rd rive, as order-co nstruction i ntensifies, the waste piles u p - putrefying a nd fo rm less. But ' [n]oth i ng at a l l may re m a i n outside, beca use t h e mere idea o f outsideness is t h e very sou rce o f fea r.' A s long as it re m a i n s stu b bo rnly el usive waste wi l l corrode mach i n ic bea uty. It m ust be give n its right n a m e . 'Jew sli me', ' m o rass of high kikery', sewe rs of Pa l'sti ne', 'the vague sti n king pea sou p', 'crawling s l i m e of a secret rule' . 'The gasp of su rprise which acco m pa nies the expe ri e nce of the u n usua l becomes its n a m e . It fixes tra n sce ndence of the u n known i n re lation to the known, and the refore te rror as sacred ness ... M a n i magines h i mself free fro m fea r when there is no lo nger a nyth i ng u n know n . ' C u t t o 1943 : Modernity's so u l is clea nsed i n Ba u h a u s-inspired death ca m ps.

Cut to the futu re (4600 BC) : Re m ixing Genesis - ' [ F ] i rst, the moon sepa rated from the ea rt h . Then, the fi rst h u m a ns, Origi n a l M a n, were b lack peo p l e . ' . T h e renegade b l a c k scientist, Yac u b, created the white, 'devi l' race . Seri a l time neve r m a kes it to the fut u re . The p rese nt, however, m u st a lways mythologise beyond itself - how e lse ca n it s u rvive? Alie-n-ations d issi pate these li nea r memory tracks re-lea rn i ng the past as futu re . The futu re feeds i nto the past-prese nt. Cut to 1920: 'Wa ke u p Ethiopia ! Wa ke u p Africa !. .. Let Africa be a bright sta r a m o ng the conste l lation of nations' . G a rvey i nvo kes a bei ng-africa n i n order to re-lea rn the futu re as past - b ut bei ng-africa n ca n only eve r be p rese nt. Bei ng-africa n has ( l itera l ly) no future. ' I 'd rather ca l l myse lf an a l ien 'ca use I d o n 't u ndersta nd society.' Beco m i ng-african - 'is bodi ly thought, beyond the rea l m of possi b i l ity, i n the world of the vi rt u a l . At once s u pe rabstract a nd i nfraconcrete, it grasps the envi ron m e nt of mola rity com mon to diffe re nt bod ies from the pe rspective of the pote nti a l curta i le d . ' ' Even blacks, as the Black Panthers said, m ust become b lack.' Cut to the fut u re : Le Son'y Ra (Su n Ra), born of Satu rn, trips out of l i ne a r time at esca pe ve locity. 'Space is the Place, Space is the Place, Space is the Place'. And Coltra ne, 'te rm i n a lly i m patient with l i m its, with the trivi a l categories a nd opposites wit h i n Ea rthly la nguage' , p u rges a l l traces of vestigia l fiction ism i n I nte rstel l a r Space. ' . . o n ly rea l h u ma n s wo uld wa nt to become ro bots'. Cut to the fut u re : Techno logica l specu lation - 'syncretic bel ief systems such as voodoo, hoodoo, santeria, m a m bo, a n d macu m ba, fu nction very m uch l i ke the joysticks, Datagloves, a nd Spaceba l l s used to co ntrol virt u a l rea l ity.'

'The e m e rge nce of machine i ntel lige nce coi n cides with the d iscove ry that machi nes a re com plex syste ms, a nd com p lex systems a re eve rywhere . . . asse m b lages "at the edge of order a nd chaos"' Cut to 1964: McLu h a n e nvisages a tota l p rosthetics - 'an e lectronic ski n' e ngenderi ng macrocosm ic M a n . The modernist fa ntasy of mach i n ic d o m i nation is re-e nforced - the fascistic fa ntasy of tra nsce ndence. Contra - Ha rraway's Cyborg is located ' i n the belly of the monster, i n a technostrategic disco u rse . . . According to the H u m a n Genome Project we become a pa rtic u l a r ki nd of text which ca n be red u ced to code fragme nts ba n ked in tra nsnation a l data storage systems a nd red istri buted i n a l l so rts of ways that fu ndamenta lly affect rep rod uction a n d labor a n d l ife cha nces a nd so o n . ' C u t t o t h e futu re ( 1990) : 'Armageddon b i n i n effect' - slavery has a l ready distri b uted the black ge nome - code is fragmented i nto catastrophic ' moda lities of identity without hope of resol ution' - what does it m e a n to be h u m a n now? 'Afrika n we is a l l Afri ka n ' C u t t o 1997 : Predator remixes - the a uthoria l voice is slowed down a n d its atte n d a nt ocu l a r is i rradiate d . Predator lea rns t o deci p h e r com p lex codes. ' N ot a boo k, o n ly l i bid i n a l i n sta l m e nts.' - ca n you fee l it? Cut to the Fut u re : Black technology - sa m pl e r methodology. Voodoo tra n sfo rmers t u rn m o l a r passivities i nto molecu l a r i ntensities - the fascist fa ntasy putrefies i nto the h a l l ucinogenic nightm a re of the da rkside. Corbusi a n clea n space is d isfigured - demolished - by wa l l scrawl . ' Bleeper cultu re' networks the black economy. The howls of ato m i c dogs pierce the bou rgeoisified ca l m of radiostate F M . Black box technology is oppositional a rt ... 'a specific m iss-use a nd co nscientious desecration of the a rtefacts of tech nology' . Cut to 1992: Los Ange les - video-ca ptu re - Black Pla net bin i n effect.

Cut to the futu re : Black technology - CCTV s u rve i l a nce, ECT shock thera py, lo-cost bodies a uthe nticate tra nsnatio n a l profit. H i -tech p risons over-ca pacitate (critica l l i m it 2020), slow­ re lease contrace ption - cou rt-e nforced. Cut to the fut u re : no futu re, no futu re, no futu re, no futu re . . . BLACK [BEDLAM] What a re the roots that cl utch, what bra nches grow Out of this stony rubbish? So n of man, Yo u ca n n ot say, or guess, fo r you know o n ly A hea p of b ro ke n i mages, where the s u n beats, And the dead tree gives no shelter, the cricket no re l ief, And the d ry stone no sound of wate r. Only There is a shadow under this read rock, (Co m e i n under the shadow of this red rock), And I w i l l show you somet h i ng diffe rent from either Yo u r shadow at morning stri d i ng beside yo u Or yo u r shadow at eve n i ng rising to meet you; I wi l l show you fea r in a ha ndfu l of d ust. T.S . E l i ot, The Waste La nd

El iot's i nvitation to behold the da rkside is e m blematic of a modern ity that is a lways a l ready putrefying. The da rkside is not modern ity's shadow, not its Other, the da rkside ca n not be recla i med at su nset. The 'Son of m a n ' ca n not refe re nce that fo r which he is not pivota l, that which e l udes his regulative fra mework. Beyond t h e re is o n ly fea r, modernity's fea r - fea r, loathi ng, conte m pt - Welcome to the Te rrordome. I n the Waste La nd 'the dead tree gives no she lte r, no re lief, no sou nd of water. Arbo resence is death. The tree is eve r more b u rdened - the Wh ite Ma n's b u rden - the ce ntre m u st be rei nforced - patho logica l state consu m ption is the only response. And as if obeyi ng so me loga rit h m ic for m u la, the distinction between the ce ntre a nd its b u rden becomes i m perce ptible. And the shadow - a l beit astride - is recovered at dusk with e l e menta l regu l a rity. But paranoia a n d n e u rosis a re by now e n d e m ic - so met h i ng e l udes tota l isation - it ca n o n ly be known by fea r - by now, that fea r is a l m ost u ncontro l la ble. We lcome to the Te rro rdome. Ide ntity is photogra phic i mage - positive a nd negative fi l m - tra nspa re ncies ove rlaid d issolve i nto blackness - blackness is Se lf-i m molatio n . The roots of blackness a re stra ngu lating. Predato ry wa r machi nes acce l e rating t h rough the j u ngle - u p rooting a rbore a l sed i m e ntation - m o ngre lising 'a uthe nticity'. Fera l i m provisation displaces a rbore a l code with a revo l utio n a ry - a l most cataclysmic - ve locity. Speed ki l l s ! - the wa r machine i nvents a bsol ute speed (Deleuze a nd G u atta ri : 386). Accel e rate t h rough the de-ind ustri a l i sed cyberia of Detroit, M ichi(ne)g( u ) n . A l l that re m a i ns of the motor city a re decayi ng m o n u m e nts to the Rustbelt. Sed i m e ntation is suicide. But sed i m e nta ry death is slow a nd l i ngering - the ce ntre scre a m s eve r louder, eve r more a nguished - desperate to re plenish - to reterritoria lize - t h rough violence a nd coe rci o n . But blackness a lways e l udes this moment - its is a lways a l ready beyond sedi m e ntation . Blackness is not a state of bei ng, o n ly of doi ng. Blackness refuses ontology - refuses the photogra phic moment of subj ugati o n . That m o me nt is a lways past. The ce ntre te rritoria lizes the past i n the present. But a lways the present is past. The futu re is all there eve r is. There is only eve r t+l - a nd o n ly blackness exists here . N o begi n n i ng, no e nd, no d i rectio n a l i m p u l se - o n l y eve r move ment i n time. "What w i l l m a ke that cu rre nt flow i nto words?" asks l riga ray, " It is m u ltiple devoid of ca uses, mea ni ngs, s i m p le q u a lities. Yet is ca n n ot be decom posed . . . There rivers flow i nto no defi nitive sea . These stre a m s a re without fixed b a n ks, this body without fixed bou n d a ries.

This u n ceasing mobility. This l ife - which w i l l perha ps be ca l led o u r restlessness, whi ms, prete nce, or l ies." ( l riga ray: 215) The sed i m e nted identa ria nism of the Se lf-Other is a lways a l ready past - deconstruction has no place in the futu re . In the futu re there is o n ly noise. Mo ngre lised noise - re-m ixed a nd re­ spliced i nto e p i l e ptic i ntensities that a re never known - only e ncou ntered . Thought is stretched/ reversed/acce l e rated noise - fu(n )cked-up sch izo. Arboresce nce dema nds si lence - a nti-c u lt de-progra m m i ng tec h n iq ues m u st be executed . Delete the fut u re - s u rrender to the ce ntre - postpone Armageddo n . Yet, as Ba u d ri l l a rd says, " Eve ryt h i ng has a l ready beco m e n uclea r, faraway, va porise d . The exp losion has a l ready occ u rre d : What more do you wa nt?" ( B a u d ri l l a rd ) . Slave ry, i m pe ria lism a nd b ruta lising racism is a lways in effect. This is the future . . . The futu re i s black. References Ba u d ri l l a rd, J ( 1989) 'The a norexic rui ns' [tra ns. D .Anta l] on D . Ka m pe r a nd C.Wulf (eds.), Loo ki ng Back at the End of the World, New York: Se m i otext(e) Dele uze, G a nd G uatta ri ( 1987) A Thousa nd Platea us: Ca pita lism a nd Sch izo p h re n ia [tra ns. B. Massu mi], M i n n e a polis: U n ive rsity of M i n nesota Press l riga ray, L. ( 1985) This Sex Which is N ot One [tra ns. C. Porte r w/ C . B u rke], lthica, New Yo rk: Corne l l U n ive rsity Press

5 : . Swarmachines The situationists, Neithe r i ndivid u a l s nor gro u ps. Neither re m e m bered nor expecte d . Photonic Hype rca pita l digitizes eschatology. Lost futu res a re formatted for we b-based a rtificia l m e m o ry tradi ng, A l l excl usive defi n ition is b a n ked at light-speed . Cryo nic m u m m ification i nto u ndead Spectacle, Rea l su bsu m ption i nto the media. Vi re konom ics. How do situatio n a l vectors cross World-Wa r-4? All code-p rocess is m i l ita ry ma noeuve: constrictions a nd esca pes, i ntel lige n ce co l lection, disi nformation, m a p p i ng, vi rus. Truth and fa lsity a re de rivative factors, and strictly tech nica l, i n re lation to the pri m a ry a nd seco nda ry featu res of a lign m e nt a n d orie ntatio n . Strategic powe r consolidation, tactica l m e lt i ng i nto t h e j u ngle. Cut-out rom a ntic revo l ution ism a nd it leaves d a rk eve nts. Autopropagated ha ppe n i ngs. Asse m bly li nes ta ke n below visi bi lity and switched to i ntensity-production, I m perce pti b le m utations Pa ris i n fla mes, 1996. This time it's not revol ution, but war. Not a matte r of long h o u rs or exa m papers, b ut the rise of a Eu rofascist cult u re fue lled by nosta lgic l a m e ntations for the destiny of man. Especi a l ly the wh ite man. The one with the face . Is it who, or what, a re the situationists? The tra u m a of excl usions a nd i nclusions was a lways a spectacular d istraction. O n ly m u ltipl icities, decolo nized a nts, swa rms without strategies, i n sectoid freeways burrowed t h rough the screens of specta c u l a r t i m e . They have neither history nor its end, neither memory nor a po lca lypse, neither accidents nor pla ns, no l i nes, no poi nts, no i nfi n ite loops. No forward p l a ns a nd no sponta neous com b ustion, b ut ca refu l

e nginee ri ngs, o ut of sight, out of m i n d . I m perce ptible m utations, wa iting i n the wings, j ust off stage. The politicia ns ca lled them revo l utiona ries, made them persons,with faces and n a mes, coded these meshes of contagious matte rs i nto acce pta ble h u m a n forms. But they we re a lways tactica l machi nes, natives of the futu re ha cki ng i nto the past, tra d i ng places, swa p p i ng codes, end less rep l i cations of m icro-situations engineered without sou rces or e nds. Flocks a re a lways flyi ng in the faces; hives of activity behind the screens. They have been m a ki ng situations, as op posed to passive ly recognizing them i n academic or other sepa rate te rms.a All this time. And you thought it was done. That this was a matte r of legacy, i n he rita nce, somet h i ng passed down with the rest of the past. That we we re gathered here today to hea r the reading of the w i l l . Ba u d ri l l a rd ma rks t h e tra n sition t o socia l ci rcu itries nosta lgica lly descri bable as fu lly a liente d . T h e a rriva l o f i ntegrated m a n . Wh ite Clown-face . Body ca rbon sel l-by dated . Bra nd-b u i l d i ng rhetoric. Egggg-laying machines in the studio wa l ls. tra d i ng places, swa p p i ng codes, end less re pl ications of m icro-situatio n a l engi neering Soft-machine buzz a nd sloga n-contagio n . Cities synthesizing i n h u m a n desires. Psychogeogra phy esca pes the conce ntrational ta l ki ng head-li ne, chattering classificatio ns, a nd becomes so met h i ng e lse.

1996. Pa ris i n fla mes, Revol ution has gone K-space native, beco me da rke r. No dema nds. No h i nt of strategy. No logic. No hopes. No e n d . I t s politics on TV aga i n . B ut out i n the j u ngle it's wa r. Acc u m u l ated stock footage backs up specu lative E u ro-ide ntity. The forseeable futu re is locked i nto perpet u a l re ru n . All the regulato rs a re in the media business. They t h i n k not h i ng's ha ppe n i ng i f i t hasn't b e e n screened fi rst. End-of-the-line E u rot u n ne l vision is locked onto the rea r view m i rror. Pa ris metropolitics is a protection racket. Pa ra noiac Fra ncophonia la pses i nto necrospective a uto m u m m ification as a pa nic bid to kee p thi ngs reg u l a r : E u roco nti nence. Retroactive c u lt u ra l clea nsi ng is too late the b ugs a re a l ready i n the syste m . Dead Wh ite meta physics kee ps asking the wro ng q u estion - what does it mea n ? - w h i le the machines get on with worki ng. Li ngu istic i ntegrity is a t h i ng of the past a nd ve rnacula r cybe rnetics signifies nothing. Po l itics is a specta c u l a r fa i l u re . And the Spectacle is all that's kee p i ng politics a live . Thi ngs a re n 't h a p pe n i ng in the field of vision but a re 6flow i ng on a b l i nd, m ute, dete rrito ria lized soci us.6 The i m perso n a l is a po l itica l . Te leco m m e rcial ised nomadic m u lt i p l icity a borts nascent E u ro-unity. There's no such t h i ng as a single ma rket. Out in the j u ngle yo u ca n't see m uc h . D a rk conti nent i nvasion i nto White Ma n's perspective . The co lonisers d iscover, too late, that da rkness has no hea rt. Ace ntred p redator deca pita l isation ruth lessly eats o ut the middle. Lights going o ut a l l ove r E u ro pe as peri phera l activity cuts t h rough t h e static power l i nes o f t h e rotten core . The Core Master Class - re lic a nt h ropoid superstrata - conde m n H itler, even i n p rivate. Whilst a p pla uded as 1st G ra nd Wiza rd m eat-p u ppet of Electroco rporate Old Occident powe r, he ca n't be forgive n for blowing EU-1.

It has taken 40 yea rs to re pa i r the da mage, a rmed with nothing but norm a l fascism, norm a l com m e rce control, norm a l crisis police methods, a n d decaying Jesus video, w h i lst K-j u ngle spreads across deloca l izing peri phery, teaching itself to esca pe. Core-Com m a n d has spent 4 decades ri pping out h igh -leve l wetwa re nodes a nd re placing them with e lectrotect u red monofi l la, pre p a rations for a di rect pact betwee n logic-slaved Al a nd co lla psed-star ca pita l de nsities, rea l-ti m e a poca lypse s i m u lation scre e n i ng lock-down to EU-2. Post-ca rbon d reams of crushing gravity waves. Everyt h i ng contracts. Do you rea l ly t h i n k SF-Ca pita l lets mon key-fla ke m a ke decisions it classifies as i m portant? There is no d o u bt a nywhere that matters: s i m p ly facts. Debate is id iot d istraction, h u m a nity is fucked, rea l machines neve r closed-u p i nside a n a rch itect u re . Sch izo-ca pita l fission consists of vectors divi d i ng between two noncom m u n icating phyla of n o n p e rsona l m u lt i p licity. Fi rst, pyra m i d contro l structu res : white-clown pixel-face, co nce ntrationa l soci a l segme nts, E U -2 I ntegrated h isto ry-horizon Seco nd, j u ngle-wa r machines: da rke n i ng to uch de nsities, cultura l distri bution t h resholds, i ntensive now-va riation flattened o u t i nto u ngeometrized peri phery. No com m u n ity. N o dia lectics. N o p l a n s for an a lte rnative state . J u ngle a ntago nistica l ly tracks Met rophage across the dead TV sky of its G lo b a l Centra l I ntel l ige nce p rogra m . 1500. Leviatha n . Com ma nd core : Northern Med ite rra nea n . Ta rget a rea : Americas. Mode : Merca nti l e . Epidemic opportu nism, se lective i nterve ntion, colo n i a l settlement. 1756 . Capita l . Com ma nd co re : Brita i n . Ta rget a reas: Ame ricas-South Asi a . Mode : Thermo­ i n d ustria l . l m pe ria l i a l contro l . 1884. Spectacle. Com m a n d core : USA-Germany Ta rget a reas: Africa -Russia- Noda l : peri p h e ry. Mode : E lectrocorporate . C u lt u ra l overcoding / se lective exte rmi nati o n . 1948 . Videod ro m e . Com ma nd core : U SA / Ta rget a reas: Expa nded : noda l : pe ri p h e ry. Mode : l nfosate l litic-su percorporate . C u lt u ra l progra m m i ng / genera l exte r m i natio n .

1980. Cybe rspace, Com ma nd co re : USA-J a pa n-Ge rmany / Ta rget a reas: Tota l ized extra metro po l ita n space . Mode : Al -hypercorporate. G ross-ne u rocontro l / i nterm itte nt media-format exe m p l a ry exte rmination, virtua l biocide. 1996. Ba byl o n . USA-EU :2-Ch i n a ( m eta loca l co m m a n d ce ntres) / Tota l ized pla neta ry space. Photon ic-Net Hype rca pita l Nee-Orga n ic. N e u ro p rogra m m i ng / Al :Capita l :Media : M i l ita ry fusion, consta nt e nterta i n m e nt exte r m i nation p rocess. Voodoo is the only cohere ntly fu nction a l conte m po ra ry ma ppi ng-practice. Zo m bie p rod uction-syste ms, Loatro nic traffic-ja m m i ng, rhythmic decodi ng tactics, i nte r l i n ki ng the u nits of distri butio n a l collectivities w i t h a bsym waves a n d beco m i ng-s n a ke si m u ltaneities agitationa l m icronomad cultures me lted out across black-body heat. Not re motely a l i e n . It neve r ca me from this place . I ncrease Cu rre nt. u rba n shock-out short-circuits a l phavi l le eu robotics, jacki ng up nonorganic i ntersentie nce fl uxing ma rkets with riotswa rm tech nix raci ng out of its face i l l co m m u n ication scra m bl i ng conspi racy pa ra noia : the m e d i u m is a mess ; the message is coded afro-futu rist and d igita l bass matter. No longer an e p i p h e nome n a ! headcase, the body esca pes l i m b by l i m b fro m E u ropean orga n isatio n . J u ngle functions as a pa rticle acce lerator, seismic bass freq ue ncies e ngineering a ce l l u la r d rone which i m m e rses the body i n i ntensity at the mo lecu l a r leve l . The n e u rotic Ca rtesian body of evidence with its head-u p-top-down co ntrol ce ntre is preci pitated i nto a Brown i a n motion of dece ntra l isation a n d d isorga nisation. Big u p you r chest, w i n ' u p you r wa ist. Your se lf i n ste a m as its reactor co re me lts dow n . J u ngle technics seve rs the ce re be ra l core-texts from their s p i n a l col u m ns o f sup port a n d cuts copyright ad rift fro m its fe uda l docki ng station. Li bra ries b u rn i ng in Ba byl o n . Knowledge is decoded from its prop rieta ry grid of occ u lt encryption. The academy in fla mes. Possessed

perso n a l i nformation transm utes i nto dispossessed i m perso n a l data : sa m p led, stretched and laye red i nto freewa re . J u ngle rewinds a nd re loads conventio n a l t i m e i nto si licon b l i ps of speed a nd slowness that com bust the slag-hea ps of h isto rica l ca rbon-dat i ng. The past is passed, left be h i n d in a m use u m case of oed i p a l m u m ies belch i ng d u st a nd wa rni ngs of 6 revo l utiona ry h e ritageo. The ete rna l ly defe rred eschatologies of the left a re consigned to the white trash-ca n of the future a nd leave a present tense with synthetic poss i b i l ites. Betwee n the ve rtica l of retrospective sedi m e ntation a nd the horizonta l of neve r-co m i ng contradictory crises, j u ngle fi nds a d iago n a l that flees the ossified re l ics of the d i a lectic. Synthetic rhythms j u n k progressive-li nea r te m pora l ity: sa m pl e rs m a ke t i m e for t h e fut u re . J u ngle as a space dislocator, destratifying cities sna rled i n a n a rcane s u rve i l l a nce a pp a ratus. An operating system o p e n i ng an i nvisi ble a nd ace p h a l i c matrix trave rsed by ca rs gea red by bassomatic tra nsmissions and orbited by nomadic sate l l ites of c l u bs, cla ndestine studios and the b lack economies of dub plates a nd mix ta pes. Don't get i nto a fa lse sense of secu rity. It's not j ust m usic. J u ngle is the a bstract d iagra m of pla neta ry i n h u ma n beco m i ng. D read o ut of co ntro l . A post-spectac u l a r i m m e rsive tactility that no h u m a nist vision ca n put you in touch with . S m i l i ng Ca l ifornian cyberopt i m ism is as grotesq uely a rchaic as scowl i ng a rya n E u ropess i m i s m . W h a t ha ppened? Eve nts happen i n their own time. I n sect beco m i ngs swa rming out of h u m a n history. Ca rbon dating resca les them i n a nt h ropomorphic terms, a rra nging them i n good order. H istorica l staging swa l lowed by machinic phase cha nge . Not h i ng runs to p l a n . The fut u re's a l ready assem bled, but not by design . Su b-bass materi a l i st concu rrence e m e rging out of order. -it's metrophage rush h o u r a nd you've lost the plot. organs fl icking out i nto grubby dataspace, mtv'd on synthetix tactics tag tattoo voodoo yo u

The livi ng ju ngle, where no-one has a na me, a nd to su rvive is to activate m uta nt l i nes, beco m e i m pe rce pti b le i n order to pe rcieve, t racki ng chromatic gradie nts of i ntensity across the condo waste la nds. Predator. the space-time of hypercom moditisation is a nomoid zone of mad cl uste rs where the polis disi ntegrates i nto u n i ntel ligi ble webs of swa rmach i n e ry. Schizo p h renic ca pita lism : cultures without a society, a m utant topology of u n a ntici pated con nections Be h ive locity a nd if you t h i n k its gon na b low . . . . you have n't see n a nything yet. Wildstyle wasting the i nterm i na ble p u n ctua l history of the scri borgs. poi nts fai l u re on the pa ris metro . snowcra s h . there's no point going o n . J us catch a l i n e going wild ove r to the da rkside. u p rooted sha pes a nd sou nds merge a nd rescri pt, bre a k and re perm utate i n the vi rt u a l machinery o f the sa m p l e r whilst socia l I fa bric wa rps i nto loca lised chaosmosis. rewind to re pl icate t u n n e l ling beneath station a ry med ia, it d iscovers a cache of cybe rnati ng egg-stores, pu pating i n sect cities d ug-out i n the underworld, beneath the tracking of the closed ci rcuits. the history of the White M a n Face will a ppea r i n Count Zero Vodou as a tempora ry d issi pate r fo r la byri nthine co nve rge nces, scie nce fiction more a li e n t h a n it eve r d rea mt. the u rba n city is a j u ngle. beco m i ng sna ke, beco m i ng cla ndestine i n n ights of m i crocult u ra l m utati o n . beco m i ng zero as machinic asse m b lages mash u p a nd crossfade. beco m i ng diago n a l as ma rkets lock i nto guerri lla co m me rce, eve r-deca m p i ng nomad cult u res, m e lting i n the heat of the chase. Alienated a nd lovi ng it. Cu rre nt. press K fo r co l l a pse maxi m u m sloga n de nsity

. :swarm 2 : .

1:. Steve M etca lf Killing Time/Strife Kolony/NeoFuturism KILLI NG TI ME Nee-Fut u rist i nstructions for operations in a wa r zon e : Axiom 1 : Co m m a nd o f space metricizes d u ration i n the distrib uted tem pora l segmenta rity of cou nte r-insurgent i m peria l metastasis. Phase 1 : 1939 - Berl i n : Rhizo m a n iacs deco u p l e Ta n k Wa r E u ro pa from its si m u lation in the u ndergro u n d beer ha l ls of e masculated Wei m a r democracy, p l ugging the deleometers of tota l mobil ization i nto a mega machine of mass death . 1946 - French I nda-China : it washes ashore i n the oil slick gee-strategy of eth nic cleansing i n t h ree move ments: 1). esta blish a system of strong poi nts ( m icrofascisms) 2). spread ' pacification' forces out i nto a gridwork of s m a l l te rritori a l boxes 3). co m b each sq u a re, from peri p h e ry to core, with the aim of netting insurgent forces at close q u a rte rs a nd d rawing them i nto p re p a red ki l l i ng zones. Space i nvaders stru ng out across the rice paddies, occupying space in enci rcle m e nt a nd s u p ression ca m pa igns - gee-e uge nic a nti­ i nfestation measu res: flea contro l . As the slick adva nces, the front disperses; converting vast expa nses of te rritory i nto expa nding peri p h e ry a lways a l ready i nfested with i n sectoid guerri l l a s, broa d e n i ng the i ns u rgent ta rget a re a . On the strategic defensive in phase 1, " a na logica l ly, the guerrilla fights the wa r of the flea, a nd his m i l ita ry enemy suffe rs the dog's disadva ntages: too m uch to defe nd, too sma l l, u bi q u itous, a nd agi le an enemy to com e to grips wit h . If the wa r cont i n ues long enough, the dog succu m bs to exha ustion a nd a na e m i a without eve r havi ng fou n d a nyth i ng o n w h i c h t o close i t s jaws o r t o ra ke with its claws." ( Robert Ta ber, 'The Wa r Of The Flea") Anexact but rigou rous a i m s of guerri l la fighte rs: attack to defe nd, a lte rnated with long pe riods of catato nic inactivity; p rocu re wea pons; ca ptu re a m m u n ition; ki l l ; ki l l ti me; force the enemy to overextend li nes; pick off sma l l u nits; secrete terro r; "se lect the tactics of see m i ng to co me from the East a nd attacking fro m the West; avoid the solid, attack the hollow; attack; withdraw; d e l ive r a l ightning blow, see k a light n i ng decision" (Mao) i n the five-m i n ute assa u lt.

Phase 2 : Dogboys asse m b led i n Chopper Wa r U .S.A., ga me boy faces, d romocratic techn ica l ­ tra nsport bodies o f a m p h i bious wa rfa re, ki l l b y stra p p i ng on the s u p p l e meta l l ic m i cro head a nd d ive rting se lection i nto the sca nsion of the centra l com puting eye - sca n ni ng a l l the rad i i o f isotopic space t h ro ugh t h e viso r o f the helicopter pilot's h e l met, deleo mete rs gridd i ng tele-space i nterfaced at a d ista nce i n the ta rget se lector - sharpening hyperleptic reflexes on a ud io-visual sla ughte r consoles. Projecting itself q u ickly, but lacki ng the i m pe rce p-tible speeds of insurge ncy, the whole ca m pa ign fa l ls back on Ta n k Wa r E u ro pa, the Euclidea n geo met ry of m i l ita ry space cross-hatc h i ng the ce ntra l lowla nds of the gee-pol itica l co re, North to South, from the b u n ke rs of s u b u rba n Be r l i n to the Siegfried Li ne, passi ng t h ro ugh the Magi not Li ne a nd the Atla ntic Wa l l : tra ns-E u ro pea n odyssey te lescoped i nto the a bbato i rs of a co m mon, selective sla ughte r policy - mobile meat cull fi na l ly a l lowing the State's death machines to leave the ra i l s i n the delirium of a l l -o ut suicide. End ga m i ng seq uence 1964: Chopper Wa r U .S.A. fa lters at Be n Tre, on the M e kong Delt a : "We had to destroy the town in order to save it" - green a nd fe rtile paddies a nd j u ngle den uded with Age nt O ra nge, n a pa l m, wh ite phosp horous; co l o u ri ng smooth space with the a li e n pixe l lated li nes of a digita l wa rga me. Phase 2 leve ls the sco res. G rid lock. Dyna m i c e q u i l i bri u m of forces u n a b le to exte rmi nate each other. I n the i nterva ls betwee n stri kes, i ns u rge nt forces create freezones on the edge of No M a n 's l a n d : black economies m a ki ng i n roads i nto the white economy of the i nvad i ng fo rces. Co nsta nt division of guerri l l a forces i nto sma l l e r u nits { 1000s to 100s to 10s) - i nto n-1 u n its of the n u m be ri ng n u m be r, d iffused across a n a l lop lastic vectoria l fie ld, loo m i ng i n t h e faceless horro r o f o m n i prese nce, i nfusing softe n i ng syn d romes i nto the bra i n core of m a d repoid space i nvad e r inte l l ige nce . Geo-strategic com ma nd sq uanders its logistica l ca pita l in l a u nching sea rch and destroy m issions aga i nst a si ngle, u n ified mega-u nit that does not exist. Occu pation of the South Viet n a m fields is met ricized i n terms of the haemorrhage of the economy i n massive Ka pita l b leed-out, spee d i ng up to $3,000,000 per h o u r. Axiom 2 : Control of time smoothes out space i nto a vectoria l m u lt i p licity pro pagat i ng revo l utio n a ry forces towa rds N u-Ea rt h . Phase 3 : Radica l asymmetry betwee n guerri l la swa rm a nd State a rmy - m e re surviva l as i nvo l utiona ry victory ve rsus the deathtri p equa lization of sta nding force, conve rgi ng on the a n n i h i lation of e n e m ies in open, agon istic com bat. Contracted, lega l wa r, gove rned by i nternation a l statutes a nd rules, spi l ls ove r i nto esca lati ng ge nocide as the i nvad i ng State a i m beco m es u nte n a b l e . " Hold space" me lts i nto t h e re le ntless i nstruction seq uencing specia l forces operations: " Ki l l ki l l ki l l ! " Centra l a uthority divides i nto t h ree zones:

1). Zo ne of power - orga nic strato meters governing isomet ric co m ma n d chains betwee n State a nd a rmy; 2). Zo ne of ind iscern i b i l ity - segme ntometers re lating to the d iffusion of these chains t h ro ugh a m icrop hysica l fa bric i n optic space; 3). Zo ne of i m pote nce - d e leometers re lating to the insu rrectio n a ry flow of mobil ization the State co nve rts a n d d ive rts without being a ble to control a nd defi n e . F o r gue rri l l a forces, t h i s t h i rd z o n e u n leashes t h e l i nes o f flight necessa ry for dispersa l i n N o Ma n's la nd, yie lding contro l o f t h e a m bie nt, ha ptic, p a ra noid ti me-space o f assassination which ove rt u rns ce ntra l i nte l l ige nce's notions of where revo l utio n a ry desiring machines a re going to hit next. Wa r on n fro nts which the State ca n not win, short of thermonuclea r ob lite ratio n . M u ltitudes of i m pe rce pti b le d u -kich fighters swa rm i n h a ptic space, touch ing from too close to be destroyed, neutra lizing the logistica l s u p re m a cy of space i nvaders. Fou rth di mension i ntrusion which " red uces centra l powe r to the leve l of a h e l p less, sprawling octopus. D u ri ng the h o u rs of day sporadic rioting ta kes place a nd massive s n i p i ng. N ight bri ngs a l l-out wa rfa re, orga n ized fighti ng, a nd u n l i m ited terro r . . . " (Black N atio n a list Revol ution a ry Action Move m e nt - position pa per, 196 1 : Ta ber, p . 145 ) Chopper War U .S.A. fol lows the deleometric l i ne i nto a bo l ition in the wh ite hot i ntoxication of mecha nized assa u lt, dispatch ing patrols i nto the j u ngle safe zones of the N .V.A. swa rms, gridding space with fi re lanes (segm e nto meters), which b re a k a l l bonds with the optic stratometers of slick conq uest as they a re swa l l owed by h a ptic space. Mobile ra pid response u nits of space i nvaders a re reterrito ria lized on the static b lack hole syste m of fi re bases - waiting i n the d a rk to be picked-off, l i m b, by l i m b, by l i m b; pa ra lyzed i n the s u b u rbs of Necropolis: the neutra l iz i ng space i n which the loss of move m e nt for i nvad e rs means p rolonged exposu re to the j u ngle, i nfection, deat h . Flash back 1945 : Te legra m 71 exh i bits fascism at its a pogetic poi nt-i nsta nt as t h e despotic stratifier seve rs its head from the fi lth of the u nwo rthy mass body in the ruins of Ta n k War E u ro p a : as the Russi a n ta n ks close i n, Hitler's last order fro m the b u n ke r decrees the tota l a n n i h i lation of Berl i n . Ti me u p . G a m e ove r. "We had to destroy the town i n order to save it." Phase 4 : Rewi n d . D romoscopic Viet n a m resta rted by the fi l m co m pa nies. Biomorphic horro r rides sola rized atrocity newsreels i nto t h e D . M .Z. o f t h e a rcade; fusi ng b ra i n core, n e rve cortex, a n d move m e nt-i mage on the g l utinous screen of the conso l e . Video ca ptu red in the Pe rsi a n G u lf, vi rt u a l wa r slams a i rborne cyber-deleonomes aga i nst a n i m mo b i l ized, sedenta ry enemy in U . N . tele-spatia l media mash-up. Dese rt sto rm operators rewind

resonating va riations of the same ca ptu red eve nts i n p laystation slick wa r space; loops of Ta n k Wa r E u ropa shots, beneath Panavia fighter pla nes i n smooth b l u e stratospheric ki l l zones; sa m pled shots o f helicopte r wreckage as foci o f maxi m u m a rousa l i n adolesce nt sex su bstitutes. The speed of an acce le rated l ifespa n, measured at a cou ple of ( m i l lion) d o l l a rs per m u ltiple tactica l experiment on l i n e . This time Chopper Wa r U .S.A. is a success. But sti l l the o i l slick b u rns i n the G u lf, spi l l i ng out petrochem i ca l j i h a d . Thousands of dead black b i rds. Feed forward to E u ropea n U nification model 2, great i nterconti nenta l meat ma rket popu lation regu lator: "We had to destroy the herd in order to save it." G u a ra nto r of Western democracy, a nd a nother pitifu l, mora listic ra nt-block for the soci a l ist e lite . In the a rcades, vi rt u a l wa r data bleeds out of teleco m m e rcia lcorporate control, washing a m phi bious pioneers of the end of the State o nto the fracta l su bdivisions of coastli nes of i m pe ria l glacis; smea ring zones of ind isce r n i b i l ity i nto the tra n sversa l pro pagation media of i ns u rgent forces - crawl ing out of a gl utino us, liq uid, i n h u m a n deterritori u m a ligned on the fut u re : s h a rpe n i ng hype rleptic reflexes on audio-visual sla ughte r co nso les . . . . . STRI FE KOLONY Na me, u nit a nd n u m ber: that's a l l yo u get. Ea rth co m ma nd Co re e m e rge ncy - "The pi lot's dead . . . " DOG BITE SHAM 101 SNAKE 1 SNAKE 2 SNAKE 3 ACE VI PERE SU PE RKOOL HORN ET 156 SHADOW - Swa rm age ncy s m a rt-b o m b i ng the 9 b i l l ion na mes of God off the ce ntra l com puti ng screen - memep lexed SHOWA KRU KZ 135 A-ZO N E L ROXAN N E SU PERBEE SPIX KOLA 139 S U P E RSTRUT TRI N ITY CONCEPT 3 CRAZY CROSS 110 REN KERS COKE SWARM 9 1 1 Te legra phic warni ngs sprayed o n the machinic phyl u m - A PACK NAM ED WOLF WASP TO M EET O RC H I D TH EY ARRIVE R E D ALERT KOOL KI LLER Tl : B ra i n Core Crysta l Company trading posts occupy Te rra Nova, ca ptu ri ng the future in long wave, resonating Kond ratieff cycles; katage nic dia lectics of decl ine a nd renewa l, fa l ling back on the p rod uctive forces a l l the better to demo nstrate a u n ive rsa l tendency for the re p roduction of bourgeois surplus va l u e . Already wagi ng gue rri l l a wa r in the futu re, peri phera l K-class Kom m unism vibrates fi b rous tentacles, as co nes of attraction to the d a rk side, by means of a swa rmach i n i c re m ix of the M a rxia n Critique of Pol itica l Economy; pu rpose u n known, effectuated as e m e rgent havoc, rather t h a n h isto rica l destiny, under t h ree propositions:

l)The u n ive rsa l pro pe nsity to extract re prod uci ble bo u rgeois/h u m a n surplus va lue is a na lytica l ly i nextricable fro m seet h i ng a l lopoietic vivisyste ms. 2)Tra nsh u m a nt m a rkets, a utochthonic desi ring machi nes, a n d voodoo futu res tra d i ng a re a l l a l lop lastic vectors ungove rning t h e i nfrastruct u re . 3 ) Katage n i c desolation o f t h e superstruct u re is i m m a n e nt t o t h e progra m m i ng of prod uction. Short of theology a nd fascism, bra i n co re ca pita lism is a l ready virt u a l ly exti nct. Cri ppled Archa ngel of Meat C u l l E u ro pa wit h e rs i nto grey d ust on Te rra Nova . I nsect swa rms a rrive l i ke fate - nth di mension i ntrusion across the spinal t h resholds of the soci us - passing m e m e p l exed revo l ution seq u e nces t h rough the ge rm plasm of evo l utiona ry ve hicles. Beco m i ng meta l lic. Beco m i ng swa rm . U n natura l pa rticipation as elan vita l bootstra p p i ng i m perce pti b le co lon ization of N u-Ea rth i nto vi rtua l operativity. T2 :Ce li bate machines re produce h u m a n surplus va l ue, fu rnish i ng the bou rgeoisie with recordi ng rights to a l l of ca pita lism's ope rative axioms, b ri ngi ng orga nic strato mete rs, j udgments of God governing isomet ric com ma nd cha i n s, crush ing down on schizonomadic economic swa rm space. Diffused t h ro ugh the m icro physica l weave of s p i n a l m u ltiplicity, met rop hage control co m ma nd seq uences i nstitute the bourgeoisie as the opti m a l distri bution p rofi le for State power. N o more dysfu nction a l despotic masters: slaves com ma nd other slaves i n the ravenous stomach of the crysta l factory com p lex - the m uta nt, u rogen ita l se rvo mecha nism ca li brated for the re p rod uction of the ca pita list soci us in the ga m b l i ng dens of Te rra Nova ma rkets. Wh ite te rror. The whites a re l a n d i ng - taking islands in Africa in the d romocratic rush of the mega machine of a m ph i bious colon ization - we sha l l have to s u b m it to ba ptism, p ut on clot hes, a nd work. The p roleta riat is exh umed as the worker-soldier a utom aton, a specta c u l a r species of d rone col l a psing i nto atrocity i n the o ptic space ma naged by the bou rgeoisie. A m u ltitude of black bod ies, soul less a nd bent o n destruction, domesticated ga l le ries of i n o rganic menace, crysta l hea ps of virt u a l a nti-orga nic force stretched o ut ove r Ka pital diseq u i l i bri u m degree xe ro(x) . B u i l d e rs of cities. Professiona l ki l le rs. Synergists of Fi rst World Secu rity.

Com pressed between spi n a l leve ls of b ra i n core strata, the pro leta riat is smea red i nto i n discern i b i l ity: datab leed see p i ng out towa rds expa n d i ng peri phery as metrophage i n stitutes its ta rget fronts. Oil slick e n docolon ization mobil izes in two waves: l)Meat C u l l E u ropa : d istri b uti ng gee-e uge nic si ngle cu rre ncies across the ecu-menon, n u m bering popu lations as zom bies, s h u nted i nto the ca rcera l wa rre ns of a Trans-Europea n concentration ca m p . Phnom Pe n h yea r zero : everyt h i ng e ntered o n the slate is hereby n u l l a nd void i n t h e axiom laboratories of t h e suicidal State, griddi ng tele-space down gu n-sights in the roya l scie nce of deleometry, attacki ng the popu lations swa rm i ng across its skin l i ke a ra bid dog. I n the S u rgica l Expe ri ment Depa rt m e nt of the l nstitue for Hygiene a nd Scie ntific Resea rch, white m a n macroface vivisects swa rm m i crohead - a m i racle of modern scie nce a nd then watches it die. Fa rmed-o ut as p ri m e E . U . gi rlflesh i n the Joy Division, D a n i e l l a Prelesh n i k, stri p ped o f a rborified extensity, becomes a n u m ber - a n insect; bug- h u nted out of existe nce . Ka-Tzetn i k 135 6 3 3 . "Th ro ugh the wire screen, the faces o f those sta nding outside looked a t her as i nto the cage of some ra re exotic creatu re in a zoo. She was lyi ng na ked, her pa rted knees sti l l stra pped to the i ron rods at both sides of the ta b l e . And in the hands of one of the assista nts she saw the sa me i nstrument which they had that m o rn i ng i nse rted deep i nto her body. She sh uddered i n sti nctively. She wa nted to scream, but, as i n a d ream, the scre a m s stuck in her t h roat. H e r stra p ped l ife writhed wit h i n h e r . " ( Ka-Tzetn i k 135633 : " H o use O f Dolls") Wa l k backwa rds. Say noth i ng. Yo u ' re bei ng p ro bed for Terra N ova exte rmi natio n : as Ca m bodia bu rns, o n ly two batta lions of Khmer Rouge i nfa ntry re m a i n i n the petrified city. 2)Atroci-T.V . : l ntersected at Za pruder fra me 3 13, the President's head explodes. Bra i n core sp latters i nto ARPANet. Rhizomaniac Ste a lth Age ncies m o n itor the accu m u lation of vi rt u a l assassination wea pons, beco m i ng i nsect t o grad uate m i n iatu rized sea rch a nd destroy m issions, ta rgetting u nspecified enemy h ives in the futu re . Speci a l Wea pons a nd Ta ctics a re seq uenced as SWAT, e ncrypting s i m u lated World Wa r 3 outco mes on black ice. Ce l i bate machi nes rewind hyperte lic m e m o ry t h rough the crysta l world of eve nt stri kes, globa l peace, deterre nce . Ca lcu lated rhyt h m s of a i rborne atrocity conve rge in montages of opti m a l disaster ma nage ment: ca usi ng events i n the fut u re not t o ha ppen, eve n though they have a l ready taken p lace - retrieved a nd reite rated i n resonating tele-space.

Wa l k backwa rds. Say not h i ng. H i story runs backwa rds, fro m Te rra Nova; co u rsi ng i n reverse down the incli ned p l a ne of pu rposive h u m a n teleo logy onto the i n e rt verte bra l su rface of the perpet u a l prese nt. K-class vivisystems see p i nto i m pe rce pti bi lity: consta ntly i nte rrogated as the si lent majorities, the masses i m plode i nto an a morphous statistica l aggregate - a n u m ber-cru nched black hole e ngu lfi ng the socia l i n static re petition of the same feedback loops. U nste m ma b le data bleed, pa u pe rizing the ca pita l ist State. Arborified re processing of destitution - taki ng islands in Africa to d istri bute col lective gui lt, smea red across soci a l democratic ma nage ment o f scorched u rba n flash poi nts - racist endo-co lon ization ca n n i ba l izing the techno-kinetic fou rth world of ghetto a rchitect u res i nto a beleaguered strat u m : ripe for catastrophe ma nage m e nt. Ti m e m usic creeps across s p i n a l l a ndsca pes, ma rki ng-off no-go zones on N u-Ea rt h . T3 : Red te rror. T h e ca pita list state sq u i rms i n the shadow o f the propagati ng m i n o rities. S u rgi ng up t h rough history, the wa r of the flea m a rshals the powe r of a nonde n u m e ra b le, i nfi nite set : a Kom m u nist swa rmachine r u n n i ng n u m be ri ng n u m be rs across h a ptic space, asse m bl i ng shock regime nts, passi ng t h rough n d i me nsions of i m percepti bil ity, ta rgetti ng the H e l l bo u nd b u l k of dog m a n b ra i n core. Eyes crysta ls sunk i n offa l - blacked-out in visions of C h i n a . Red Army as demonic a l lia nce, cou nted-out i n n-1 u n its of face less m u ltipl icity; acentred a nd a lways hiving off i nto s m a l l e r u nits, begga ri ng i magination i n the n e b u lous a ppea ra nce of o m n i p rese nce . Flash back 1949 : strung out on the Long Ma rch, Mao ca ptu res the swa rmachine on the resonating record i ng su rface of nee-despotism after i nte rna l nomadism t h reatens to fli p the soci a l ist State i nto an u ngoverna ble colony of i m percepti ble n u m beri ng n u m bers: proleta ria n schizo m icro head, p ropagating m i n o rities t h rough h ive contagio n . Surplus va l ue=i nextrica ble. The socia list State co nfronts the sa me l i m its as its ca pita l ist co m petitors i n trafficking opti m a l crisis ma nage m e nt sce na rios: vi rt u a l exti nction, depreciation of existing ca pital, peri p he ra l data bleed destroyi ng majo rity as axiom - re p licat i ng what the ca ptu red globa l wa r machine sets o ut to exte rmi nate. Eve ry massacre ra l l ies a mi nority of the dead m i n o rity - n u m bered legions of the l iving dead swa rming towa rds the hive co lony of N u­ Ea rt h . Crisis ma nage ment o f the swa rmachine - i ntern a l d isj u nction m a n aged b y the Pa rty a pparatus goes rhizo m a n i a c i n the consta nt adj ustment of popu lation to the ta rget rates of the p l a n ned eco no my, a nd the correct l i n e of M a rxism-Le n inism as i nte rpreted by the

Ce ntra l Bra i n Co re of the Peo ple's Re p u b lic. The Chairman's voice speeds u p i nto a n i n sect buzz as he spea ks: " Eve ry yea r o u r co u ntry d raws up an economic p l a n in order to esta blish a p roper ratiobetween accu m u lation a n d consu m ption a nd achieve an e q u i l i b ri u m betweee n production a nd needs. Eq u i l i b ri u m is not h i ng b ut a tempora ry, re lative u nity of o p posites. By the end of the yea r, this e q u i l i brium, ta ke n as a whole, is u pset by the struggle of o p posites; the u nity undergoes a cha nge, e q u i l i b ri u m becomes diseq u i l i b ri u m, u n ity beco m es disun ity, a nd once aga i n it is necessa ry to work out a n eq u i l i b ri u m a n d u nity for the next yea r. H e re i n l i e s the superiority o f o u r p l a n ned eco nomy." ( M a o Tse-Tung, " O n T h e Correct H a nd ling of Contradiction . . . " ) Categorica l i m perative : "Act as if there we re no to morrow." Col la pse i nto the futu re, occu pyi ng the si n k holes taking com me rce down i nto excha nge rate mecha nisms that clea r a l l ma rkets i n a l l futu re states of the eco no my. A m i ra cle ma naged by the guns of the m i l ita ry com ma n d core - i nvasion fleets poised off the coa stlines of the b lack futu re - taking islands in Africa; was h i ng red flags in the boi l i ng Atla ntic. H e re we a re stra nded. but we' l l fi nd new accomodation, we' l l m a ke p l a n s fo r m o b i l e homes. We lcome t o t h e Strife Kolo ny. Sti l l life in mobile homes. M e m o ry as fluid d u ration d istributed across C . N .S. segme nted worm a nd fi brous n e rve cortex, reasse m b led in Red Army h ive m i nd a n d crashed i n Kom m u nist Pioneer yea r zero aphasia. Moon over C h i n a . Sti r o f l ight t h rough d a rk shoa ls o n j u ngle rive r beds. Tiles on graves a n d rotting te m ples. Blacked o u t . . . . T4:At t h e end o f t h e river, t h e specia l forces a re dashed on t h e reef o f t h e face less horro r of a n i n o rganic Kolony popu lated by i nsect Kom m u n ists. Kom m u n i sts l i ke us. M u ltitudes of i m perce pti b le d u -kich gue rri l las swa rm in ha ptic space, too close to be wi ped out - even though ta rgetted in i nfra -red a nd heat-se nsitive s n i pe rscopes, magnifying sta rlight to pixe l late co ncea led e n e m ies; mobile rad a r u n its; biologica ls; cl uster bom bs; s m a rt bom bs; s m a rt video wa r - more da nge rous t h a n the reg u l a r chu-luc troops of the Red Army beca use cut across by a machinic phyl u m fig u ring m u ltiform u nits i n time-space . Crysta l Com pany SWAT operations fa i l i n K-class no-go zones: m issions dispatched to fol low i nd ivid u a l u nits back to the mega h ive a re picked off by snipers in the j u ngle. Swa rmachi nes a re vi rt u a l e ntities - h ive m u ltipl icities swa m p i ng orga nic, ce ntra l contro l i n e m e rgent revo l utio n a ry asse m b lages; pack beco m i ngs rush i ng across the Body without Orga ns, propagated by e pidemic. Express n d i m e nsions of i ntensive diffe re ntiation by ru n n i ng the swa rmachine seq uence itse lf, shifti ng phase i nto the actua l . By which ti me it's a l l ove r for Metrop hage . . . .

S p i n a l la ndsca pe i nte rsected at T4 dissolves i n asym metry. Snowba l l i ng nth d i m e nsion i ntrusion u n leashes pa rtisa ns of World Wa r 4 : a u tosata nic tra nsformers as a swi rl of metal fl ies, p u ls i ng in contagious hea ps as they spi l l out of evo l utio n a ry classification, crawling t h ro ugh cosmic conti n u a . I nvol ution t h rough va rious beco m i ngs a n i m a l, vegeta ble, m i ne ra l, bacte ria, vi rus, molecule, wave le ngth pu lses digita l voodoo codes i nto the ta rget se lectors of meta l l ic pro be heads. Allopoietic black magic - i nfusoria n Kom m u n ism - so rcerer's d iagra ms sprayed on the white wa l ls : d iago n a l a rrows ro uting i n structions for a nti -strata spi l l-out. Proper names. N u m be ri ng n u m bers. Borderlines of ga ngsta colonies, fract u ring i nto s m a l l e r u n its as the socia l fa bric rots - segments sh ifting co-ordi n ate poi nts a n d dislocati ng, smea ring macroface. KOOL KI LLER 666. After all the fasciculated bu ndles of i ntensity ava i l a b le to the bourgoisie have been gathered on the battlefields of crysta l space, there a re only m i n utes to go to Te rra Nova phase sh ift i nto superstruct u ra l exte rmi nation as the peri phera l vortex heats u p . Chaos theory as a wave of a rson i n a cli mate of revo l utiona ry e m e rge ncy: "A si ngle spa rk ca n light a p ra i rie fi re . " ( Mao] Wa r i n t h e s u b u rbs o f H e l l . Euge n ic ga l l e ries o f bourgeois facia l patte r recognition b u r n . Deca lcom a n i a . Pe rmanent materi a l da mage. Orga nic secu rity melting away i n the assassi nation fugues of d e ra i led fea r. Kata bolic ve hicles breathe a lien i ntel lige nce i nto fou rth world swa rms. Nonorga nic i m itation of domesticated l ife Assa u lting the higher leve ls of o rga n izatio n . I n human nebulae Setti ng sca les, fo rms, a nd scre a m s i n conti n uous va riatio n . Black patch psychosis b l i n ke ring Crysta l Co re o ptics Fixated on the rea r-view m i rror - sca ns newsreels of pi led-up corpses. N ightm a re of b uzzing a nd crawli ng. Nocturna l esca lation of guerri l la wa r - sin ister K-class m e nace grow i ng i nsolent as it po u rs out of time i n ord e r to pass across space. Helicopters crash agai nst the tre e l i ne Disca rded dogboy faces h a ng from tendons i n the burning wreckage of Chopper Wa r U .S.A.

Phosphorescent va pour d rifts across a blasted landsca pe. Artificia l vivisystems, choked i n Biosphere 2 crysta l lization Data bleed i nto n di mensions Mecha nosphere. Fro m the wa i l i ng of e l e m e nts and p a rticles, to the how l i ng of packs of a n i m a ls, to the bleating of Doktor macrofacia l sla phead sociologica l memory man prayi ng fo r re­ oed i pa l ization : Stay with m e No fa m i ly life - w e cou l d l e a rn t o fight it Cling to me This ma kes me fee l u neasy We a re blacked-out i n visions of China To night Stood a lone here i n this Kolony In this Ko lony. In this Ko lony. In this Ko lony . . . . . NEO-FUTURISM (O) Beyond the a uthorita ria n m a n i a of modernist econometric p l a n n i ng, a nd the n i h i listic, se lf-refe re ntial t h i rd cycle d a m nation of the u ltra modern NOW, N EG-FUTU RISM tracks a double process: - (i) where the operational pol itica l, economic, a nd sociologica l codes of

u n ive rsa l ized h u m a nity co ntract - to the point where, condem ned to end lessly circu late i n a n i nterm i n a b l e statistica l su rvey, they fi n a l ly co lla pse i nto a black hole where mea n i ngless signs red u p l icate themse lves. This is the secondary process. The h u m a nities in fla mes. ( i i ) T h e pri m a ry process: where the a bstract, ge neric va l u e o f h u m a n i nte l l ige nce migrates beyond the m a d re poric co re of an o rga nism regu lated by the negative feed back of theses a rchaic codes - beco m i ng i ncreasi ngly a rtificia l a nd synthetic at i ntense speeds, conve rgi ng on a futu re in which it has a l ready been rewired . H e re the " me d i u m is the message " : a vi ra l mecha nism accle rati ng the re pl ication of m o re of itse lf. Ru naway ca pita l ism; a n a rch ic, " head less" se lf-orga nizati o n . I nvasion fro m the futu re . (0.1) T h e secondary p rocess, h u m a nism as such, issues fro m t h e cold ecstasy o f t h e space ­ m i n d : the spatia l izing consciousness which segme nts a nd cod ifies the economic ci rculation of ma rkets, l i ngu istic signs, a nd l i b i d i n a l ca pita l i nto an o rga nic u n ity - under the struct u ra l law of va l ue . E q u i l i bri u m is m a i ntai ned u nder the p ri nciple of co m muta b i l ity i n the excha nge of equ iva lents. It maps the tota lity of conditions fo r expe rience by asking (i) what is it? ( i i ) where d o e s i t co me fro m ? ( i i i ) w h a t does it mea n ? It evokes u ndead a rchaisms, w h i c h float suspended in co ld l i m bo - powe r, the social, mea n i ng : it's a l l ove r, b ut it conti nues to h a u nt a l l the metrics cove ri ng segme nted space - so m a ny ghosts i n the rea r-view m i rror. These codes co nstitute a stratified death se ntence - effectuating a l l conditions of possi b i lity, legislati ng by means of sem iotic consta nts, divi d i ng a l l vi rt u a l fo rms i nto actua l systems of b i n a ry o p posites, powe red by negative feed back, issuing the j udge ment which a l l ows the o n ly possi ble meta morphosis: life passes i nto death, corpore a l ity i nto i nco rporea lity, being i nto n o n be i ng. It lives i n the past. In dead space. Dead time. H a rd outli nes o n ly secreted i n death. Static, cold exte rmi nation; secu red a t the moment of its deconstruction. (0.2) N EG-FUTU RISM experiences this sin ister ve rd ict as a n a d m o n ition to flee. It is our passeism. Pa ris i n fla mes. (0.3) A we l l-known economist recently wrote that " . . . in o rder for a co m petitive e q u i l i b ri u m t o exist, each pe rson m u st pre p a re a com plete list o f a l l futu re states of t h e e nvi ro n m e nt which m ight obta i n . And eve ryone m ust hold a bso l utely identica l a n d correct beliefs rega rd i ng the prices which would exist i n each pote nti a l state of the world at every point i n t h e futu re . This is a world which, tra nspa re ntly, bea rs no rese m b la nce t o rea l ity. " ( Pa u l Ormerod, "The Death of Economics", p .89) (0.4) We q uite agree . But: each person? Beliefs? N EG-FUTU R I S M puts an end to a l l that. Ant h ro po m o rphic envi ro n m e nts i n fla mes.

(0.5) The environment is i m pe rcepti ble a uto-prod uctio n : a process, not a conta iner. H u m a n technics bega n as cou nte r-e nvi ro n me nts, a utomatic a n d robot controls, tools fo r natura l a n d soci a l d o m i nation; beca me i m m a ne nt t o t h e envi ro n m e nt, a nd spawned a prol ife rating series of new co u nte r-e nvi ron m e nts to l i m it the fu nctioning of the old ones. At least some se m b la nce of eq u i l i b ri u m was mai nta i ned i n this si m u lation. I nte l l igent technics s l i p t h ro ugh the net of counte r-envi ron m e nts a nd out of control, i nto the h a rsh swa r m i ng of dyna mic e q u i l i bria . At the e n d of history, no-one wi l l be there to put the b ra kes on positive feedback systems. (0.6) The main q uestions a re tem pora l a n d pragmatic: how does it work? What a re the conditions for its su rviva l ? Econometric d ivination is com p letely dysfu nctio na l . N EO­ FUTU R I S M operates as se lf-ge nerati ng theoretica l hype : it s u rvives or dies on the basis of its tra d i ng on its estimated futu re va l u e . It ga m bles. The virt u a l fut u re b leeds i nto medi u m -term tactica l p l a n n i ng, e n e rgizing its se lection processes; ici ng short-te rm consensus in a utistic pa n ic; while re p licat i ng systems of catastrophic bifurcations (ru naway accu m u lation a nd/o r loss) which send the long-te rm i nto o b l ivion . (0.7) N EG-FUTU RISM o n ly sea rches fo r these bifu rcation poi nts i n order to m a ke ci rcuit diagra m s which hack i nto the positive motion of the vortex of postmodern ca pita l . It is the reverse of n i h i l i s m . Its negative moment is i nsepa ra ble fro m the positive, smooth operation of its desi ri ng machi nes - prod ucing soft wea po n ry to ove rcome possi ble obstacles. (0.8) N EG-FUTU RIST ATIACK D E P E N DS U PON TH E I NTEGRAL U N ITY OF ITS TARG ET. IT DOES NOT LIVE TO M O U NT E N D LESS, OPPOSITI ONAL CRITIQU ES. IT OPE RATES AS AN I M MAN ENT POWER OF D I SORGAN IZATI O N . IT IS PARASITIC, EXP E R I M E NT I N G WITH TH E SYM B I OTIC CON D ITIONS FOR ITS OWN PROPOGATI ON I NTO TH E FUTU R E . KATAG E N ES I S A N D ANAG E N ESIS ARE SWITC H E D I NTO TH E SAM E C I RC U IT - BOTH STO R I N G AN D D ETONATI NG EXPLOSIVES. (0.9) Space is o bsolete : a cultu ra l ghost for to u rists with peasa nt pa noptica set on eternity in a cryo nic vat. I diotic gurgli ngs of futu rologists: "You a nd I : we' re gonna l ive foreve r." Ca l ifornia i n fla mes. As globa l fi n a n ce evacuates the territo ry a nd begi ns to excha nge, by itse lf, in a n o rbita l, vi rtual di mension the city is abo lished as a com m e rcia l ce ntre . London i n fla mes - a provi nci a l h a m let at best.

{ 1.0) Content fades. Media themse lves loom l a rge on the edge of pla neta ry cybe rblitz. Envi ron menta l p rocess tra n sfers fro m ontology to tech nology. No more h u m a n bei ngs, not eve n in their hybrid, cyborg va riant. Only desi ring machines. C u lt u ra l studies in fla mes.

2:. Angus Ca rlyl e Amortal Kombat I No UFOs Round One I n the b l u e corner Weste rn Bod ily Orga n izatio n : WBO. A m a le-ordering physiognomic force field that shudders to maxi m u m de nsity i n that other WBO, which is its a bstract machi ne, the World Boxi ng Orga nization. Ca ught i n the pull a nd tug of the WBO's disci p l i n a ry tracto r bea m the m a le body is d ragged t h ro ugh an ultra m agnetic origa m i of se ri a l foldi ngs, bent double in street scuffles, p u l led u p right aga i n i n sweat soa ked subterra nea n gyms, in roa d r u n n i ng, in a mate u r bo uts u ntil, eventual ly, buckled under the weights a nd be lts of the p rize fights, it e m e rges : the WBO. M uscles have been da nge rously de hyd rated then ripped, skin torn and stretched, bones re peatedly bro ke n a nd reset, orga ns a re lifted and se pa rated. " B ruised, batte red a nd sca rred, but h a rd " a molar orga nism ra ises its aching right arm a loft i n obedie nce to the J udge ments of God. A body b u i lt a ro u nd a p u l sati ng com ma nd ce ntre- that Joe Lo uis' ca l led 'heart a nd m i nd'- a nd fortified by meta l l ic m uscu lature of co ld-forged cha racter a rmour. D u e l of the I ro n M i ke a n d Two-To n Tony G a lento, battling for G o l d e n G loves. Sporting doub le-edged a d a m a nt i u m shells t h a t both ruth lessly isolate t h e m a le body i n its l o n e l y Bei ng- seconds out: yo u ' re goi ng "solo l i ke a Tyso n bolo"- a nd rigorously obl ite rate a ny sti rri ng Beco m i ngs that cou l d e ngineer a shift onto the p l a ne of i ntensity that is Dele uze & G u atta ri 's Body Without Orga ns: the BWO. For Beco m i ng do occasiona l ly t h reaten to KO the WBO. But there ca n be no Boxe r Rebel lion a nd a ny atte m pt to get on the p l a ne is batte red i nto s u b m ission . The heavyweight fighte r Lou N ova rea rra nged his motor systems t h rough chi powe r-u ps, macrobiotic diets a n d yogic med itation i n order to delive r a Cosmic Pu nch, but he was smashed down to meet Earth's i ntolera nt corpo Rea lity p ri nciple by a p u n is h i ng Joe Louis' right hook. M u h a m med Ali's fa mous sh uffle too ca me close to achievi ng a d ru m & bass synch ronicity of speed a n d slowness, t o achievi ng a motio n-blu rred tra nsversa lity t h a t w o u l d escape the sed i m e nta ry ca rbon p lating of the WBO a n d e nter the nomadic sil ico n p l a n i ng of the BWO. But the fl uid circu lation of these effects was crue l ly Hoove r d a m ned a nd the i ncipient flows tu rned back to Clay. And Ali's atte m pt at u n natura l p a rtici pation i n a becom i ng-a n i m a l were si m i l a rly blocked before they co uld preci pitate a ta ke-off of the plane of consistency. Li ke a butte rfly, l i ke a bee . "There is a lways the da nge r of fi nding you rse lf 'p laying the a n i m a l "' . Playing Oed i p a l domesticity. George Fo re m a n : the M u m my; Son ny Liston : the Bea r. Playing at

i m itation a nd a na logy. " Beco m i ngs-a n i m a l conti n u a lly run these da ngers " . Yo u ca n ro pe-a­ dope as m uch as you l i ke b ut the WBO wi l l wea r yo u down, ri ng you in then ring you out- fo r the cou nt. But b locki ng the pla n(e) to the BWO is not the WBO's o n ly da nge r. Beyond the WBO's disci p l i n a ry corpoRe a l ity p rincip le, squat a gloating Todestrieb or death d rive, o bsce n e ly becko n i ng with pro m i ses of n e u ro n a l scheeri ng, vasc u l a r disru ption, the n e u ropathology of dementia pugi listica a nd death itself. Boxe r Art h u r Crava n m ight have su rvived a shudderi ng fi rst-ro und Jack Joh nson so uthpaw to the jaw, a nd m ight have ferve ntly e m braced Dada but the Tade sti l l got h i m, brea ki ng the placid su rface of the Ca ribbean Sea to upend his lonely rowi ng boat. Pe rhaps the p ri m a ry zone of destruction ta rgeted by WBO offe rs a clue to its secret. The WBO is a front-orga n isation for M i nd I nc. - a shady outfit run by Rene "Che rry Nose" Desca rtes operati ng out of H o l l a n d . The WBO b utchers its su bjects i nto Ca rtesia n headcases for which the body is j ust sos m uch re mote-co ntro l led meat to be " b ru ised, batte red a nd sca rred " . Max Sch m e l i ng, Hitler's " heads u p " boxe r was exe m p l a ry", his body the WBO's pawn tryi ng to check the p l a ne to he BWO. Round Two Bruce Lee was a lso a chess-playe r but he nea rly avoided being checke d . For h i m T'a ng-te, Wada-Ryu, Tae Kwo n Do, S h a o l i n C h ' u n Fa, Sh ri-te, Kung Fu, J u -J itsu, Ka rate eve n F i l i p i no Eskri ma a n d Southern I nd i a n S i la m ba m a n d Ka l a ri payit we re no diffe re nt fro m WBO boxi ng. All "solidify the fluid", a l l "a rrest the fl ux" of the BWO, a l l p ro m ote "the b l i nd devotion to the systematic use l essness of ro utines that lead nowhere " . What was req u i red was the "form lessness [to] assume all fo rms", " no style [to] fit with all styles" . What was req u i red was a rhizomatic open ness which cou ld t u rn the sedi menta ry closures of WBO aga i n st itse lf: "to be l i ke water [to] penetrate a n d destroy rock" . S h i m m e ring in shattered glass, smash i ng the m i rro red cage . Free of tra ito rous hsi ng of s u bjectification a nd free of treacherous i of sign ificatio n : " N o form, no mea ni ng" . No hsi ng-1, no choking WBO, o n ly the cloaking i m perce pti b i lity of form lessness a nd meani nglessness that a n n o u nces the BWO. Bruce Lee, l i ke Dele uze's d a n ce r, " a l ready a sleepwa l ke r, who wi l l be taken ove r by the move m e nt that see m s to s u m mon h i m ." (C2 : 61)

But Bruce Lee awo ke too soon a nd i n resisting the som n a m b u lant i ntensity of the BWO stu m b led back i nto the WBO a nd a l l its da nge rs. Perha ps it was Hegel bel lowi ng in his e a r t h a t awo ke h i m . After h a m m e ring o ut p h i loso phy master papers on T h e Phenome nology of S p i rit a nd The Scie nce of Logic on his battered type-writer, Lee wi ped the sleep of beco m i ngs-a n i m a l fro m his eyes. Exit the l ittle d ragon a nd e nter i nstead Lee d e m a n d i ng his stude nts be m e rely " l i ke a leopa rd " that they si m ply " e m u late the bea uty of a cra ne of the ferocity of a tige r " . "The re is a lways the da nge r of fi nding you rse lf ' playing a n a n i m a l"' . F u l ly a le rt now, i n stead of acce l e rating the p ractice of M u s h i n or " no m i n d " to esca pe ve locity, he i nsisted that "the body a lways fol low the m i nd", that Jeet Kune DO was "an exce l lent disci p l i n e for the m i n d " . The externa l, dermal d isci p l i n e of boxi ng was effortlessly re placed by the i nterna l chi control of J KD . " D i sci p l i n a ry m a n prod uced e n e rgy in discrete a m o u nts, while contro l m a n u n d u lates, moving a mong a co ntin uous ra nge of d iffe re nt orbits" ( N : 180) The body is you r lobster. The rows of m i rrors a re now shatte red i n ord e r to avoid m u ltipl icity, to leave the m i ndfu l i ndivi d u a l a lone with Yip M a n at the chessboa rd, a lone with the push u ps a nd the tra i n i ng, a lone with a ga l l e ry of sepia Oedi puses- the fra med fathe rs, the Sifus, Se nseis, Asa n : the Maste rs- a lone with his o p ponent i n a ga me of deat h . The morta l kom bat begi ns. In a desperate flu rry of moves wre nched from the Jeet Kune Do gra b bag, Lee attem pts to force the WBO back a nd get on to the plane of the BWO. The specia l tech nique of shadow-boxi ng, nerve-destruction grips d rawn from ka l i, two kicks tot he knees from Southern wi ng chun, a n e l bow t o the gro i n fro m ba k hoopai, ra bbit p u nches t o the neck, tige r claws ra king the face, toss i ng b o m bs from tae kwon do to the kidneys. An exha usted kia i a nd his e n e rgy is spent. But J KD now has its own form, its own meani ng, its own rigidity. The fist of fury is i ntercepted . The m i rro rs a re now b ro ke n Pat-Kwa charms. Broke n a nd u n a b le to protect Lee fro m the forces of the WBO. A taste of b lood fro m his fi nge r ti ps, the Big Boss WBO beckons. Electric flashes as the physiognomic forcefield fl uctuates then focuses its d isru ptive e n e rgy. Lee, l i ke Sha ng-Ch i, the maste r of ku ng-fu, tea rs back the ta pestry of tao to reve a l death sta ri ng back in the m i rror of moral ity a nd m o rta l ity. Round Three The yea r 2002 a nd the battle's sti l l W u . But now its a m o rta l kom bat, a m i ndless detri menta lism engi neered in the a rcade a n d the da nce ha l l . I ntensity achieved not by

loca lisi ng at the origin of a n effort that cha racterises the o rga nism (WBO) b ut by d isso lvi ng i nto the middle that is the virtua l . Vi rtua fighte r mate ria l ises o n the p l a ne of consistency. Who dares cha l le nge the m ighty Garo? Garo, Pri nce of Pa i n a nd the fi n a l g u a rd i a n of the WBO. Tea ring at the joystick, ratt l i ng the keys, a d re n a lised, l i bidi nised, i m mediating. Beco m i ng-ele me nta l with Su b-Ze ro's n i nja icefield, with Hyd ro's i l logica l wate r, with Thunder God Rayden's crackl i ng light n i ng, with Wynd a n d Rayne . Beco m i ng-m i n e ra l with demon so rcerer S h a ng Tsung a nd kicking l i ke Ka no, the Black D ragon's most deadly assass i n . Beco m i ng-i m perce pti b le w i t h Reptile a nd becomi ng-i nvu l n e ra ble with Scorpi o n . "Speci a l i se i n i nte rstices" a nd e nter the zone, the BWO. It is not su rprisi ng that the plate a u of conti nuous i m m a nence that is d r u m & bass co njugates with a mo rta l kom bat in its dismant l i ng of the orga nism's strata . Big up you r chest, wind u p yo u r waist. Li m b b y l i m b, the W B O is mashed up; t h e E u ropea n corpoRe a l ity p rinciple disorga nised a nd detri m e nta l ise d . " Here comes the n ice a n d easy tige r style", " S n a ke Style", "The Cra ne " . Not Ali's sh uffle but the h a rd-ste p : step, ste p, ste p, step, ste pper. Kee p movi ng, never sto p movi ng, motion less voyage, designification, des u bjectification, detri me nta lism : groove ri d i ng. " B reath comes q u icker, head noddi ng with the bass-l i n e that hasn't a rrived yet. An i m pe rce pti ble move m e nt. N eck d riven, wind assisted" (J : 100). Body-poppi ng, b re a k­ d a n ci ng, beyond the J u dge me nts of God a nd on the BWO. Choose the sword or choose the ba l l . Amorta l kom bat: diago n a l i se betwee n the WBO's double strata bind of a ve rtica l a nti-body that b utchers the meat for the m i nd a nd a horizonta l a rm o u ring that folds a nd forges the body i n a n origa m i of disi ntensificatio n . Amorta l ko m bat: detri m e nta l ist groove-ri d i ng. Sa m pled : C2: G i l les Dele uze, Ci nema 2 N : G i l les Dele uze, Negotiations J: Two Fi nge rs and Ja mes T. Ki rk, J u ngl ist +: Bruce Lee, The Tao of Jeet Kune Do M ichael J a h n, D ragon, va rious Morta l Kom bat Prod uct.

No UFOs " U FOs a re a big p a rt of the da nce culture . . . U FOs a nd d a n ce m usic a re con nected i n a cosmic se nse ... To think that we a re the only life-fo rm i n the u nive rse is ridiculous. I'd say it was e ncou raging to think there is somet h i ng out there to guide us t h rough all this shit we're facing." Simon G h a h a ry, B l ue Roo m Released Records "All this U FO / a bd u ction stuff is not h i ng to do with m e . I don't go with that. I don't bel ieve that peo ple visit this pla net at a l l . I ' m operating on the idea that we a re co m plete ly on o u r own . F o r me that is m uch da rke r a nd more exciting." N ico, No U -Turn Reco rds Yet a liens a re bei ng bought by the mothersh i p loa d . Fre nzied co nsu m ption has acce lerated the Schwa i mage to gee-synchronous com m odity u b i q u ity. H e re a re clothing com pa n ies M i s h i ko Koshi no, Pose, D a n i e l Poole and Liq uid Sky com peting to t u rn out the most G rey­ re lated streetwea r. The perfect fashionable acco m pa n i ment? An Alien Workshop skateboa rd, com plete with a p p ro p riate logo. H e re, on the newsagent's top-shelf a re a rra nged the re leva nt read i ng matte r: Encounters, X-Facto r, Sighti ngs, U FO a nd S p i rit. H e re, too, is mai nstre a m ma rketing effo rtlessly exploiting Com m u n i o n i mage ry to boost beer, ca r, mortgage a n d mobile ' p hone sa les. And here's B i l l Ba rke r - p roud owner of the Schwa copyright - accesso ris i ng with Alien I nvasion S u rviva l Ca rds, xe non-coated Lost Time Detectors a nd a neat l i ne in J u ngia n a rchetypa l a na lysis. On Schwa's web-site, Ba rke r - his very n a m e se m a ntica l ly redolent with the ca rny a nd p h o netica l ly reso n a nt with the O berh uckste r Co lonel Tom - e n e rgetica lly p romotes a forthco m i ng techno co m pi lati o n . T h i s last is a sh rewd com m e rcia l move, for one o f the most vibrant ma rkets for a liens h a s b e e n esta b lished a mong the consumers o f tech no or, m o re p recise ly, o f tra nce. Ta king t h e i r referentia l c u e s from T h e O rb's prog-house excursion " Bl u e Roo m " a nd Little G reen M e n ' s ta ke on the Close Encou nte rs the me, a w h o l e s l e w o f U FOnic son i c p rod uct has bea med dow n . Materia l ising on G rey-packaged vinyl l i ke the popu l a r t h ree vol u mes of "Space Techno" a nd on the output of tra nce l a be l s B l ue Roo m Released or Orga n ico with its flyi ng sa ucer logo. Leavi ng te l l -tale ca rbon b u rns at ve n ues l i ke Ed i n b u rgh's Bea m Me U p, Sa lisbury's U FO C l u b or Lo ndon's fa mous C l u b Al i e n . Abd ucting tra nce-spotte rs on da nce­ floors across E u rope, the States and in isolated outposts l i ke Goa . The exce llent d a n ce magazine Ete rnity eve n has a regu l a r co l u m n devoted to U FOiogy. Such is the level of sym bolic sat u ration that G reys a re ridicu led in M uz i k's 'EBD' ca rtoon and one Brighton c l u b h a s adopted a " N o lost i t tra nce rs . . . N o Schwa heads" pol icy.

The a ppro p riation of com m u n ion a l ien i magery is hyped as fast-forward t h i n ki ng, as a n attem pt t o esca pe t h e tractor-be a m o f present-day Death Sta r secu l a rism a nd e ngage the wa rped d rive of a m i l le n n i a l a nd extra-pla neta ry fut u re . Howeve r, if drum a nd bass ca n be conjugated with the a nti-gravitatio n a l zones of i ntensity that e m e rge as Afro-Futu rism, then a li e n tra nce co-ordi n ates a d issi pative, land-locked te rritory that m ust be m a p ped as Anglo­ Retroism. This retroism runs its socia l softwa re t h ro ugh fou r pri m a ry progra m mes. Progra m m e One: the infa ntilism of lovi ng the a li e n . This is not a refe re nce to Old Mother Ron H u b b a rd's n u rse ry rhymes, the ba re-cu pboard j uve n i l i a of Dia netics a n d the tales of off­ worlders accessi ble o n ly to Scie ntology's ' e l ite' Operating Theta ns. "You know a bout the Logos group?? ... Yes we know the fro nt m e n a nd women of this orga n isation but they a re no more that that . . . a facade . . . the operators a re not there" ( B u rro ughs: 2 3 ) . N o r is the infa ntilism that is being attributed to pa rading to G rey a refe re nce to one of America 's most successfu l U FO cu lts, led as it was by two i ndivid uals who took the names Bo a n d Pee p ( Ba lch : 839 et seq . ) . No, the i nfa ntilism refe rs to a sti l l controve rsia l exp la nation of close e ncou nte rs of the t h i rd kind (CE-I l l s) in te rms of the revivification of peri- a nd post-nata l mem ories ( Lawson 1982, Lawson 1984, Lawso n 1994) . The good doctor Alvi n H . Lawson e m pties his p i pe noisily aga i n st the Ca l ifo rnia State U nive rsity com me m o rative ashtray a nd d raws a deep breath, this bei ng a we l l - re hea rsed spiel, one he's used to d e l ive ri ng to hostile audiences. He begins at a rush, the words t u m b l i ng ove r each other as he asserts that while sti l l clinica l ly unsu bsta ntiated, it would see m reason a b le to speculate that, from tactile self-exploration, foetuses deve l o p a d istinct i m p ression of their body a n d that, fu rther, this i m p ression, l i ke those d u ring the b i rth process itse lf, acq u i res the status of a memory accessi ble i n later l ife . Rea l ising that he is proceeding too ra pid ly, Lawson measures his pace a nd begins a cata logue of what, with a wi n k, he descri bes as "su rprising pa ra l le ls" which, his confidence suggests wi l l leave us i n no d o u bt a bout the con n ection betwee n CE- I l ls a nd i nfa nti lism. The d o m i n a nt creature type re ported - fa m i l i a r to read e rs of Com m u n ion or Betty And reasson's a utobiogra phy or recent tra nce club flye rs - bea rs re m a rka ble rese m bla nce to the six month old h u m a n foetus: d i m i n utive size, fra i l, dispro portionately la rge head, com pa ratively l a rge eyes, we bbed fi ngers and toes, pa l lid skin col o u r, hai rless, a rms longe r than legs, " u nd so weiter" c u rta i l s the doctor with a nothe r o f his w i n ks, w h i c h a re b y n o w begi n n i ng t o i rritate. A n d then there a re the craft themselves, he contin ues, u nfolding a pen a nd i n k d rawing from a wa l let d rawn from his frayed tweed jacket pocket. The traditio n a l U FO is " s u rp risingly pa ra l l e l " (aga i n the wi n k) to the typica l a rra nge m e nt of the u m bi lical cord da ngl i ng from the p lace nta . As for the t u n n e l s a nd t u bes that recu r in a bd u ctees' re ports of the i nterior of the a l ien vesse l to such an exte nt that the hypnotist m ust distract the s u bject i n order to p revent them devot i ng a l l e n e rgies to their discussion, wel l these t u n n e l s a re, accord i ng t o Lawso n, si m ply reviva ls of

mem ories of the ce rvix a nd its d i latio n . The ti me-loss which acco m p a n ies the experie nces of a bd uction, a n nou nces Lawson, with the fla m boya nt a i r of a conj u re r savi ng his best trick t i l l last, ca n b e acco u nted for as a tra u matic re mem bering o f t h e a m nesiac effects o f the hormone oxytoci n which floods the wo m b as it i n itiates contractions. Lawso n, sensing he has a convert on his ha nds, t u rns to the white boa rd i n a n agitated m a n ne r, fu l l of a n a logies betwee n U FO a bd u ctions a nd Ameri nd i a n sha m a n i c tra nces. As his voice d rones on in the backgrou nd, p u n ctuated by the sq uea k of his fe lt-tip, con nections begin to coa lesce betwee n the nodes of b i rth memory a m nesia; the hypnotic tech niq ues pu rported ly e m ployed by the G reys on their a bd uctees; the use of re laxed reca l l sessions by counse l l o rs to u ne a rth re p ressed m e mories. Con nections betwee n these a n d the suppose d ly mesmeric q u a l ity of tra nce m usic e m bracing its d a n ce rs i n its a m niotic flows i n the wombic e m b race of c l u bs l i ke Retu rn to the Source . " Psychology retu rns us i n evita b ly to o u r foeta l condition, sleeping ge ntly i n the womb" (Too p : 273) But its been one wink too m a ny a n d we have to t u rn to the seco nd progra m matic retroism i nsta l led by a lien tra nce . As we a re departi ng, Lawso n ma nages to sq ueeze i n one fi n a l re m a rk: the Birth Memory Hypothesis proposes that revivification is p ropel led by tra u ma; not tra u m a incurred i n a CE- I l l, but the tra u m a incurred in confronting the spectre of fea rful u n ce rtai nty. It is this u nce rtai nty which h a u nts the re m a i n i ng progra m mes. Retro-progra m me Two - what M a rx ca l led " ru ra l idiocy" - is i ntrod uced by the evidence that CE-I l l s and U FORs a re mostly p reva lent i n rura l a reas. Is it accide nta l that both Bill Ba rker of Schwa a nd Whitley Streiber, a uthor of Co m m u nion, have made m uch of their respective deli berate decisions to leave behind the city? " I ' m origi n a l ly from Los Ange les . . . I got fed u p with l iving i n a h uge city a n d ca me out t o a sma l l tow n . I l i ke i t very m uch . . . lots of desert" ( Ba rke r: 2). In p a ra l lel, there's more than a wh iff of back to nat u re a nti-urbanism i n tra nce's conte m po ra ry config u ration . F u l l -moon p a rties i n the desert or on the downs, m i les away from the friction assumed to cha racte rise the metropo lis. Dista nt, too, from the neon-l ights a nd sod i u m glow that, accord i ng to an a necdote in Douglas Rush koff's Cyberia, some tra n cers believe w i l l disorie ntate the l a n d i ng i n stru ments of passing saucers. It is perhaps the Goa of the tra nce tou rist's Orie nta list i magi n a ry which most e m bodies this past-longing pastora lism. The esca pist, city s h u n ning ret u rn to the cou ntry is the logica l acco m pa n i me nt to out-of-it tra nscende nce p u rsued by a fol kist, bass deprived, resol utely 'head' m usic with its fa lsetto TB 303 sweeps, designed, acco rd i ng to one of its prod uce rs, to " [ta ke] you r m i nd off i nto a d rea m " ( Rocha : 3 5 ) . " Evident h e re is a nosta lgia, or a yea rni ng, to float free i n a l i q u id wo rld of non-linear time" (Toop: 272). Such a bucolic nosta lgia ma rks a strong contrast with d r u m a nd bass' u rba nist fut u ris m . N o flight from the city there, b ut the lines of fl ight e ngineered i n the a n a rchitect u ra l re mix of the u rba n s h a kedow n . "At this mome nt, a guy ca lled H e n ry Letts bu rsts i nto the roo m, spi l l i ng words and ideas. Cyborgs crossing the Westway i nto H a m mersmith . . . Co uncil estate kids wi red for electronic revo l utions . . . The need for new fi bres . . . New networks" ( Howe : 46) The city acce l e rated bio-geogra p h i ca l ly in

the p n e u matic preci pitation of diago n a l i ntensities that is the seismic shock del ive red at high-ve locity by i n-ca r ste reo systems a nd cra n ked u p headphones. Not the a rid Ca lfo rnia desert o r some desolate field i n Oxfo rds h i re, nor the city as terro r i ncognito of t he pastora list's i magination but the city as co ncretised j u ngle i nfested with potent potentia l ities. Rather than being "the ultimate 'Othe r"' as suggested on Schwa 's we b-site, it is the dete rm i n ed ly h u m a noid form attri buted to the ETs a ro u nd which the th i rd progra m matic retroism revo lves. In the defi nitio n a l sca l i ng down necessitated by po p u l a risation a nd com mod ification of the G reys, some of the pixe l sharpness of the o rigi n a l re ports may have been b l u rred, but eve n i n the h igh-res. ve rsions, the deta i ls of leathery skin o r the occasio n a l ge n ita l a m b iguity ca n not d isguise the rigoro usly a nt h ro morphous n o n -perversity i n operati o n . B u b b le-headed sta rch i l d re n as t h e 'secret' exposed at t h e end o f t h e ga laxy. None of the u n sett l i ng i n h u m a n beco m i ng of a n ace p h a lous Predato r / avata r shi m me ring i n the u n ceasi ng mot i l ity of a cha m e leon fie ld, its pu rposes fo reve r e nigmatic; j u st ide ntification with the h u man, that d i nosa u r trap ped in the ta r-pit of history. And it's not j ust ide ntity with the h u m a n at work i n the bei ng-G rey that pea ks i n tra n ce culture, but ide ntity with its most J u rassic m a n ifestation, the Wh ite M a l e . "A broad face with wh ite cheeks, a cha l k face with eyes c u t i n for a b l a c k hole. Clown head, moon-wh ite m i m e . . . Holy S h roud" (Deleuze a nd G u atta r i : 167) .The Schwa face, what a horro r. " O r ta ke the face : we t h i n k faces have to be made, a nd not a l l societies have to m a ke faces, but so me need to. I n what situations does this ha ppen, a nd why?" ( Deleuze : 26) Not o n ly is it G i l les Dele uze a nd Felix G uatt a ri's conte ntion that attachment to the white wa l l I black hole system of the face constitutes a n additi o n a l fo rm of i nfa ntilism b ut, further, that the syste m itself has ope rated for two m i l len nia as a racist a pparatus of signification a nd s u bjectio n . " If the face is i n fact Ch rist, i n other wo rds, you r average ord i n a ry Wh ite M a n, then the first devia nces . . . a re racia l . . . They m ust be Ch risti a n i sed, i n other words, facia l ised . E u ro pea n racism " (Deleuze a nd G uatta ri : 178) . A rece nt cove r of Eternity gra p h i ca l ly d ra matised this Schwa-Ch rist holey a l lia nce with Jesus a nd d isci ple G reys i n robed "com m u nion " . As d ru m and bass's facelessness e ngineers i m pe rso n a l a nd expe ri m e ntal probe-hea ds, we locate tra nce's typica l visage: face too G rey - the Ca li smi ley - ma rked out by ratty bea rds, UV-se nsitive p a i nts a nd moored down by rete rrito ria lising pierci ngs, a rms a loft i n cruciform a ppea l to the heave ns. With su rre ptitious sil ico n switching t h reate n i ng to ecli pse the ca rbon-based l ife-fo rm, a nd its wh ite m a l e form a l ready occl uded i n the futu re's movi ng shadow, bei ng abducted by the co mforti ngly h u m a noid Schwa m ust a ppear a path out of the post-h u m a n pe n u m b ra .

Down this path, scuttling a long in the footsteps of the human comes a lien tra n ce/i nfa ntilism's fou rth p rogra m matic retroism, the nosta lgia for contro l, pu rpose, mea n i ng a nd desti ny. "Oh, is this the way they say the fut u re's meant to fee l ? Or is it just 20,000 people sta n d i ng i n a field . . . And te l l me when the spaceshi p lands, 'cos a l l this has got to mea n somethi ng", Cocke r wheedles i n Sorted for E's a n d Wiz. Tra nce's h i p gnosis precisely p ro m ises " me a n i ng somethi ng" i n the d ruidic d e live ry of tra nsce nde nce, and the retu rn of meani ngfu l projects a nd the possi bil ity of contro l . These eschatologica l and Acq u a ri a n p rete nsions of tra nce - cu rre ntly being prosthetisised as thera peutic techno logies by the latest cou n se l lor gu rus, joshing their patients with S h a m a n i c d a n ci ng's ' p ri m a l ' hea l i ng q u a l ities - sit down easily next to the Schwa mythes a n d its i nvestment i n the ban krupt notion that there ca n sti l l be p l a ns di rected from a bove . Whether that is the a bove of the orbiting sa uce rs - pi loted by Aliens or Arya ns -, o r of the 'secret' Area 5 1, or of deep i nside the Ca rtesia n headcase. "Are we ready fo r globa l contact with ET's or even u ltrad i m e nsio n a l bei ngs? Fra n kly, I ca n 't a nswe r that q uestio n . B u t I ca n s a y that there is a process a n d ce ntra l to that p rocess is what we choose fo r o u rse lves as i nd ivid u a ls . . . The rest fol lows natura l ly" (Cole m a n : 5 1 ) . In the nosta lgia for control a n d p u rpose, a nother bond in the Schwa -Ch rist holey a l lia nce is revealed. "The a lien messia h se rves to resolve these problems, at least imaginative ly, to re place desp a i r with hope a nd p u rpose, to provide reso l ution i n a world where solution seems i m possi ble . . . Mea n i ngless lives fi nd m e a n i ng. Old men a re gra nted i m m o rta lity. A boy ga i n s a friend. A grief-stricke n widow is co nso led . N uclea r wa r is avoided . . . U nde rlyi ng the motif of the a lien messia h is the mythes of the Ch ristia n messi a h . " ( R u p pe rsberg, : 32 - 34) Anglo-Retroism p rogra mmes regressive tra nce/i nfa ntilism aga i n st the su b-bass materi a l ism of Afro-Fut u ri s m : ru ra l idiocy agai nst i n n e r city A-Life; the Ch ristia nised visage made to G rey aga i nst i m percepti ble facelessness; co nspiracies a nd mea n i ngfu l p l a ns aga i nst the i m m a ne nt potentia l ities of d read out of contro l . Bra n d Schwa : you ' re retro. Tra nce E u rope Express: yo u've been d e ra i led b y snowcra s h . No U FOs.

References Ba lch, Robert W. a nd David Taylor "See ke rs a nd Sa ucers: The Role of the C u ltic M i l ie u i n Joi n i ng a U FO C u lt" America n Behavioura l Scientist 2 0 (6), J u ly / August 1977 Ba rke r, B i l l E-m a i l i nterview p u b l ished on the Schwa Abd ucted news-list M a r 13, 1995 ( a bd ucte d @ schwa .erg) Bu rro ughs, Wi l l i a m The Ticket that Exploded ( Lo ndo n : Pa ladin, 1985 ) Col e m a n, Ti m "Are 'We' Ready fo r 'Them"' Ete rnity 2 ( 1 1 ) Dele uze, G i l les Negotiations ( N ew Yo rk: Col u m bia U n ive rsity Press, 1995) Dele uze, G i l les a nd Felix G uatta ri A Thousa nd Plate a u s ( London: Ath lone, 1988) Howe, Rupert "G roovers on M a n oeuvres" 22 M uzik M a rch 1997 Lawson, Alvi n H. "A Testa ble Hypothesis for the Origi ns of Fa l l a cious Abd uction Reports: Birth Tra u m a I magery i n CE- I l ls" Fro ntiers o f Scie nce May / J u ne 1982 Lawson, Alvi n H. " Pe ri nata l I magery in U FO Abduction Reports" The J o u rn a l of Psych iatry 12 (2), Fa l l 1984 Lawson, Alvi n H . "Com ment on ' M i side ntified Flyi ng Objects? An i ntegrated psychodyn a m ic pe rspective on nea r-death expe riences a nd U FO a bd uctions"' J o u rn a l of N e a r Death Studies 12 (4), S u m m e r 1994 Rocha, Ca m i l o " I n Order to Tra nce" 6 M uz i k October 1995 R u p pe rsberg, H ugh "The Alien Messi a h " in ed . An nette K u h n Alien Zone ( London: Ve rso, 1992) Toop, David Oceans of So und : Aether Ta l k, Am bient Sound a nd I magi n a ry Wo rlds ( Londo n : Serpent's Ta i l, 1995 )

3 : . Rob H eath & C h risti n a Paou ros Destination 3000 Degrees ' H ot cultures tend to socia l d isso l ution. They a re i n novative a n d ada ptive . They a lways trash a nd recycle co ld cultu res. Prim itivist models have no su bversive use. ( La nd,1994 : 3 ) T h e (socio) ce ntra l freezing system is fucked; Ze ro degrees a nd risi ng, s p i ra l l i ng out of control, destination 3000 degrees. The the rmostat centra l contro l mech a n i sms, gove r n m e nta l, secu rocratic powe rhouses col l a pse under the press u res of exte rna l d e m a nds for heat. Decentred, without a uthority control, stra ightwhite m a l e fortresses cru m ble, the ru bble begi ns to pile before H e r gaze. Dee p i n the bowe ls of Gormenghast, the pa i n of thermo-degen e ration is fe lt most stro ngly by God who periodica lly e m e rges fro m the world of frozen d reams. Metastatic i m morta l ity t h ro ugh cryonic suspension u ndermi nes the com p lace n cy of tra nscendence, re nou nci ng a l l belief i n t h e possi b i l ity of its e n d . Tra nscende nce . The tri u m ph of Western h i e ra rchy. ' U n iversa l ' Ca pita list Civi lization; the sai nts m a rch on ( rega rd less); progress m a rc h i ng Stra ight t h rough Li nea r Ca usa lity a n d Ca usal Li nea rity - no Queers here; signing ove r Agency a nd S u bjectivity to the m i l ita ry (state) - the S u bjective decision of a n active Age nt. Rationa l ity precedes Knowledge. Equati ons cracked, patte rns m a p ped, hera lded Truth; Objectivity. Anti-S u bjective but rel i a nt on the acce pta nce of the S u bject. It's the truth eve n if it d i d n 't happen. ( Kesey, 1962 : 1 3 ) Masc u l i nity is it. T h e cornerstone o f tra nsce ndent culture is M a n . Ma n ki nd, the U bi q u itous Ce ntre, the Disci p l i ned S u bject. He is made in the i mage of God , from God's i mage . N at u ra l Evo l ution t o a Solid state, n o need t o g o on, Sta bi lisi ng forces. Solidified, H a rde ned, a Utopic metastasis shielding him fro m the u nce rta i n a nd u n p red icta ble world ove r which he p resides with a ma ndate fro m God - Ca reta ke rs d u ring the deep-freeze.

The Domina nt/Dom i nating Age nt ove r every Other, master of desti ny, Master of the U nive rse . He i nvests heavi ly i n the status q uo, repe l l i ng as best he ca n the flood of cha nge, whilst atte m pting to d raw the cha nged i nto His Om nisphere . I m ma nence . Fin de Siecle. Mascu l i nity is t h e pe rvasive (aesthetic) i l l usion o f tra nsce ndence. ( Mascu line) Order ca n only be te m pora l, a traced superim position creating a n i l l u sion of o rder i n kaos. It is " ri d i ng the s u rf of their prese nt, p roblematic wea lth . " (Baudri l l a rd, 1993 :42) S i m m e ring be low the su rface, the e ru ption p re pa red itse lf. The heat of liq uid subj ugation boiled fra ntica l ly agai nst the sed i m e nted crust of the mascu l i n e . All which is not mascu l i ne op poses (the) logic of consta ncy, (the) logic of the stra ight, (the) logic of ca pita l, (the) logic of structu re, (the) logic of disci p l i n e . A s t h e tra nsce nde nce o f G o d w a s swa m ped b y M a n, once i m m a nent, s o m a n has lost h is privi lege . God , The sym bo l/sym ptom of tra nscendent mascu l i ne excess. Ca n m a n eve n look forward to this futu re? The p resent is a lways i m m a ne nt to its fut u re . The Objects i nfi ltrate a nd ta ke ove r. C u nt a nd C u rsor. No ra ptu re, no peri l, is greate r than that of the sea . And the man has sti l l to come who w i l l live t h a t love o u t beyond t h e reach o f a ny port. Letti ng g o o f his rock, h i s s h i p, his isla nd, a nd eve n that last d rop of o i l on the wate r, a nd so that he ca n fee l the i ntoxication of such vastness. ( l riga ray, 1991 :47) Masc u l i nity t h rown ove rboa rd . The so lidity a n d sta b i l ity of the boat pale in co m p a rison to the strength (and bea uty) of the oce a n . The facade of mascu li nity is i nadeq uate p rotection aga i nst H e r m ight, but it is h e re at the Queer outpost that the secu rity syste m m ust be tested . When this sea bea rs its teeth, mascu l i n ity a nd its crew w i l l si n k. The voyage is doo med to fa i l u re . . .

. . . the jou rney is i nfi nite, there ca n be no Straight path across the body without o rga ns. " [The BwO] re m a i ns fl uid and s l i p pe ry." ( D &G, 1983 : 15) This is where the curso r fi nds itse lf, s u rfi ng across the BwO. Rhizomatic wanderi ngs across the sprawl. Rhizomatic d i rection ... [it] know[s] how to move betwee n thi ngs, esta blish a logic of the AN D, ove rth row ontology, do away with fou ndations, n u l lify endi ngs a nd begi n n i ngs . . . . The middle . . . is where [She] pick[s] up speed. ( D&G, 1987 :25) The TH I NGS that m a n possessed, ru led, control led, exp loited, cum i nto their own . The da rkest most te rrifyi ng m a le pha ntaSEAs spea k out a nd switch on. (Genita l/l de ntita l ) Castration is i m m inent . . T h e cl ito ris is a di rect l i ne . . . . . . . . . . . . . . . . t o t h e matrix (VNS) God sez: Jeezu s ! I 've created a monster Eve sez: These a p p les a re fucki ng ove rrated . T h e bright l ights ove r Gorme nghast castle m a ke i t i m possi ble t o h i d e between t h e shadows, at a ny t i m e day or night. A flood l it boundary. Move ment restrictions a re e nforced by law, but no one cou ld leave eve n if they chose to. The age nts of disci p l i ned mascu l i n e excess, tra pped i n a n agora p hobic conse nsua l h a l l ucination; a facade masking the lack of a nywhere REAL to go. R EAL movement a bol ished, preve nted by teleologica l mythology. E nter the d a rk mazes of Gorme nghast . . . Tu rn i ng this way a n d that, . . . lost i n a la byri nth o f stone corridors, l it here a n d t he re by ca nd les s u n k in their own wax a nd placed in niches in the wa l ls. ( Pea ke, 199 2 : 25 )

Lost i n the frigid l ife less corridors of powe r. Exits ba rricaded agai nst White Heat/Wh ite Light(s). Frostbitte rness. The paths fro m A to B no longer ru n Stra ight. I ci cles, once the evidence of susta ined negative te m pe ratura l feedback, b lock the routes. God, ensuri ng ordered co nt i n u ity " l so late [s H i mself] be h i nd wa l ls g u a rded by gu ntoting p rivate pol ice and state-of-the-art e lectronic s u rve i l la nce . " ( Davis,1990 :223) God assumes thi ngs wi l l neve r cha nge . The rigid struct u re of the castle, b ritt l e . Maxi m u m vu l n e ra b i l ity, fragi le after a m i l le n n i u m of consta nt freezing. M a i ntena nce dictates acce lerati ng hypothermic cond itions; s u rviva l is intracta b l e . Post-destination Cra s h . Positive feed back kicks i n . Gorme nghast is hott i ng u p . God, ri med a n d gl iste n i ng i n t h e aftermath o f suspe nsion, sez: A cu rse u pon Ke lvi nator - It s hotter eve ry time I return. Ete rnal return--loopfuck. The tem pe ratu re of Eve ['s l i bido] rises as she fucks H e r way a ro u n d the La biarint h . Eve sez: Gog a n d Magog is a coo l place t o h a ng out; Beelze b u b a nd his siste r m a ke Hot fucks. Wom a n is the devi l's [ p layt h i ng] . ( H ugo in Blackwood, 1990:76) The La bia rinth is a network; " built i n such a way that every road co n nects .. lt has no ce ntre, no peri phery, a nd no exit, [it] is vi rtua l ly i nfi nite." (de La u retis; l987 :61). Sprawli ng, the ora nge air is offset by a ute ri ne b l ue that d a rts a bout the bound less pathways; the setting for ca rnal l ust and desire . H e rma p h rodykes a nd e u n uchs fuck, as Eve i m m e rses herself in their " po lymorphous pe rve rsity." ( Lyota rd, 1993 :xxi ) God sez : " I w i l l greatly i ncrease you r pains i n childbeari ng; with p a i n you w i l l give b i rth to c h i l d re n . You r desi re w i l l be for yo u r h usband, a nd he wi l l rule ove r you . " (Ge nesis, 3 : 16)

Eve sez: Fuck you . " N othing ca n pa i n me a nymore, I a m no longer the one yo u knew." ( Pea ke, 199 2 : 171) A fou r poster bed crea ked i n the west wing of Gorme nghast. H i s b ruta l body cla m bered ove r H e r's. She longed to fi nd a n exit. The seduction was b rief. There was no a p p a re nt esca pe for H e r. Wit h i n the castle's wa l l s there were no acce pta ble excuses. The wom a n ca rried the m a n as the sea ca rries a s h i p, with a l ight rocking motion, which rises a nd fa l ls, b a re ly suggesting the viole nce below. I n the cou rse of their voyage they sob bed a nd m u r m u red; their move me nts acce l e rated, generati ng a n u n be a ra b l e fo rce . The m a n groa ned, he a l lowed his weapon t o g o faster, deeper, stro nge r betwee n t h e wom a n s thighs. The venom s p u rted; a nd suddenly they fe lt suffocated, on the point of explosion or death a n i nsta nt of [ h i s] i ntolera ble joy, chaste a nd wa nton - terrifyi ng. (Ouologuem, 1971:43) She ca rries and He rides. He takes. H is-a nd-Her's viole nce. The i r voyage? She sobbed, He m u r m u red. H is explosi o n . H e r Death. He ... "Afte r [ H ] e has fi red ... all that is there is a dead woman, but she doesn't a p pe a r to have been ki lled by his b u l let." (Thewe leit,1987 : 202) H i s ve n o m . She is not dea d . It is j ust too fucki ng hot to ki l l . She ca l m ly leaves, He re m a i n s l i m p a n d swe lte ri ng on the bed . He had swu ng fu l l ci rcle. He had give n hi mself u p to the crowd i ng forces. He, the rationa l ist, the se lf-contai ned ! . . . And so, in a pa roxysm of se lf-ind u lge nce - or perha ps in the grip of so me e l e m e nta l agency ove r w h ich he had no power, he had d e n ied his brai n, a nd he had lost the ONE and o n ly moment of time i n which to stri ke before his ene my. ( Pea ke,1992 :743) Eve sez: "I hate nature, I hate it, the rotten beast." ( Pe a ke,1992 :707)

God sez: " [T] ut, tut, you ca n t ta l k a bout nature l i ke that, my ignora nt child. Good gracious, no ! " ( Pe a ke, 199 2 : 707) Oh, but She ca n .. After the mascu l i ne; U n NATU RAL. Fe m i n isati o n . No lo nge r masc u l i ne, no longer h u m a n . She writhes in exubera n ce as She beco mes the La biarint h . I n h u m a n u n bea ra ble a ngel exq uisite, a bysma l fl uid th ick. Trashed, flatte ned, torn b y the brutal speedco re of sounds, until [She] adjust [s], a nd [is] meshed. ( Roberts, 1995 :vi i i ) T h i s w a s the da rkness [S] he knew of. She breathed i t i n . . . There w a s h e re no ta i nt o f those shadows which had o p p ressed [ H ] e r spi rit . . . She stretched [ H ] e r a rms a bove [H]er head in [ H ] e r l i be ration . . . . "I am home aga i n . " ( Pea ke, 1992 :166) The kaos e ncha nted Her. This was It. Relaying H e r Story would be easy here, all pa i n re moved, a see m i ngly d ista nt past. " Dice e ntre l a s piernas, S h e spea ks fro m betwee n [ H ] e r legs." ( P i n kola Estes, 1993 :338) "Gorme nghast sta n k of fea r, thawed rotten Meat ... " The Vagina De ntata is the mouth of h e l l - a te rrifyi ng sym bol of wom a n as the devi l s gateway. (Creed, 1993 : 106) " . . . he was sca red e n o ugh to wa nt to ki l l me, b ut he b u rnt u p . Fire ba l ls consumed the corridors." The da ncing fe m a le was very magica l i ndeed, for she had no head whatsoever, a nd her ni pples were her eyes and her vu lva was her mout h . ( P i n kola Estes, 1993 :338) Beca use when God created Wo man, he fi na l ly got it right. ( Rave n , 1995 : 169)

"What a re we waiting for love r, let s perform . " (Cro n e n berg, 1983) She too k H e r i nto H e r m o u t h . Enve l o p i ng h e r wetness. E lectric a bsorption, beco m i ng. They fucked re lentl essly. The heat neve r too m uch to bea r. [ H e re] I am i n love with a l l thi ngs, pain a nd a l l t h i ngs." ( Pea ke, 199 2 : 174) A l i q u id world where bodies float. ( Kro ke r, 1993 :115) Eve sez: In the La b i a ri nth it tastes a n d swa l lows, i n Gorme nghast "it bites ! What ki n d of teeth do you t h i n k it has?" (Cro n e n be rg, 1983) God sez : They we re all made i n my i mage . This is my pha ntaSEA. What ca n I say? I had a disa p poi nti ng chi ldhood . Eve sez: Tough sh it, that was yo u r pha ntaSEA too. YOU fucked u p . The last tree wi lts. The tree of knowledge . The G a rden of Ede n . Gorme nghast's ba rbed wire strewn wa l l, towe rs a bove it. The boys ever opti mistic, put it a l l down to globa l warmi ng, a nd conti nue to grasp at the last few a pples. H a l l ucinations a re the o n ly way we have left to fee l a l ive . (Baudri l l a rd,1993 :93) The i l l usion of knowledge is poisonous . .The boys ignore the a ncient ( h igh qua ntity) pip wa rni ngs .. it is the co re that ca n ki l l . .. The cya n ide leve l s i n their bodies a re i ncreasing. People get so used to the d i rt they forget it's there. And that's a big m ista ke . . . Yo u let the rubbish pile u p, a nd soon e r o r later it' l l ta ke ove r. If you don't control the ga rbage, the ga rbage will control you ... (Za havi, 1992:98) God once sed : " Fo r when you eat of it yo u w i l l sure ly die." (Genesis, 2 : 17)

The dem ise of the tree preem pts ructions. One a mo ngst the gro u p is a pessi m istic cyn ic. Amidst attem pts to shout him down he spea ks of Gormenghast's Me ltdow n . A p ro phet is never acce pted i n his place of b i rt h . Fists wave a nd te m pe rs rise as blood begins to boi l . T h e prodigy o f a n u p pe r echelon secu rocrat, wi l l not tole rate such heresy. Sha rpened control, rea l l i ke . He s bee n t h rough m i n d contro l . He t u rns off fea r a nd p a i n a nd fatigue a nd sleep, l i ke he s got a switch. He s l i ke a Cybo [ rg], a l most ! He ca n control the fi bres i n his spinal co rd, contro l his body te m pe rature . He's a fighti ng machine. (Piercy, 1976 :297) The wal led ga rde n was their have n . No Women, no Queers. And now this fucki ng hothead . . . This time they let t h e hate build u p too high a n d ove rloaded a nd they re gonna tea r one a nother to pieces before they rea l ize what they re doing ! ( Kesey, 1962 : 10) Heatrush . F l i pove r. In a flash, tem peratu re shift. Li bera l rationa l ity me lts i nto l i bi d i n a l aggressio n . Spa rks fly. Ign itio n . Arboresce nt knowledge i m plodes. Concatenated Kaas. [The Faithfu l] no lo nge r wa nted to ki l l his foe i n the da rkness a nd i n si lence. His l ust was to sta nd n a ked upon the moo n l it stage, with his a rms stretched h igh, a nd his fi nge rs spread, a nd with the wa rm fresh blood that soa ked them sliding down his wrists, s p i ra l li ng his a rms a nd ste a m i ng in the cold air - to sudde n ly d rop his ha nds l i ke ta lons to his b reast a nd tea r it open to expose a hea rt l i ke a black vegeta ble - a nd then, upon the crest of se lf-exposu re, a nd the sweet glory of wickedness, to create some gest u re of s u p re m e defiance, lewd a nd ra re . ( Pe a ke,1992 :742) Eve sez : "The fi n de siecle has a l ready a rrived, co m plete with its necro cult u ra l pathos." ( B a u d ri l l a rd,1993 :93) Eve rything ecli psed by the New Order; "the secret order of catastro p h e . " (67) Perditi o n . The way thi ngs we re ca n neve r be aga i n . "Creation exists only i n rega rd to destructio n . " (Vi ri lio, 1995 )

Open Access to the La bia rinth, but the fra mework fo r decision m a king has been re moved . No longe r rationality a nd logic. "The p rops of a safe, co mfo rtable way of life that is now gone forever." ( B u rro ughs, 1977 :xi) N o m a p to the La b i a ri nt h . Yo u ca n't see the way. Feel, Taste, Fuck you r way there . Eve sez: It's fucki ng great - "The City o f G o d i n flames." ( La nd, 1995 :4) God sez: " Bitch, after a l l [ I ] did fo r you . " (Atwood, 1985 :306) The La biarinth's i nfi nity see m s accentuated since the e ntropic dete rioration of Gormenghast. An i nflux of both new a n d morphed 'cha racte rs' has pro m pted a n a ppare nt se lf­ reorga nisation. Fe m i n isation of p reviously non-fe m i n ised forms. The Sex j u st gets bette r. Stra p-Ons sodomise, whi lst hooks pierce. B reeding is not a pro b l e m . Free Floating Fl uidity. Eve ryt h i ng is s u pposed to be fl uid, eve rything sho u l d acce l e rate i nexora b ly. The placing of strict u res upon sexua l ity . . . see m s a bsurd . ( B a u d ri l l a rd, 1993 :65) There a re no longer a ny geogra p hica l, mora l, gendered, racia l, fi na ncia l, bio logica l, ontologica l o r h istorica l pa ra m eters co nce rning who, when, what or why. Pasi phae's desi res a re now e ntire ly satia ble (see G raves, 1992 :293); it's open season for ca rna l expression . Eve sez : "We a lways wa nt more whether it's tactile, e motional or sexu a l . . . I l ive i n a high ly excited state of ove r sti m u latio n . " (Cronen berg, 1983) The La b i a ri nth, u n leashed fro m the decayed i nfluence of mascu l i n e culture, sets no l i m itations. The paranoid pha ntaSEAs of the m a l e ego fu lfi l themse lves in a b unda nce . Te kno­ fetishists a nd others forced to h ide at the extre m ities of Gorme nghast open up to netwo rk potentia ls. The territory of the sprawl evolves latera l ly. Kaotic p l a n ning a l lows fo r a nea r ra ndom configuration. The physica l col lides with the digita l, a nd very few ca n eve n re m e m be r what the differe nce is. "Voodoo on the V D U " ( La nd, 1995 : 11)

There is a (p hysica l ) place that it is possi ble to e n co u nter. It is mythologised across the La b i a rinth beca use it spea ks of what the La b i a ri nth is. It cou l d be a desert, fo r a l l that ca n be see n is sa n d . Exce ptiona l ly hot, but there is one species which t h rives and is exo n e rated there . . . Sag u a ro, a fi ne a nd bea utifu l cactus that l ives i n t h e [La bi a ri nth] . Sagu a ros ca n b e shot fu l l of holes, ca rved u pon, knocked ove r, step ped on, a n d they sti l l live, sti l l they store l ife giving wate r, sti l l they grow and rep a i r themse lves ove r time. ( P i n kola Estes, 1993 :221) The ICEage is not tota l ly ove r. Sti l l, i n the s u bterra ne a n recesses of Gormenghast, the old school exha ust themse lves fighting aga i n st the thaw. In the a ncient Pool Room, the ha rdcore mascu l i n ists sit h ud d led at ta bles a nd reca l l the good [c]old days. Refusi ng to acce pt this catastrophic swi ng of history, they i m pote ntly plot reta l iatio n . But they ca n no longer identify an e n e my usi ng their a ntiquated forms of reaso n . U na b le t o j o i n the other su rvivors o f the great defrost w h o have ma naged t o ass i m i late i nto the New Disord e r, they wa it, tra p ping the mse lves i n the ruins of the castle; petrified of what they m ight fi nd should they eve r d iscove r a way out. The i r last hope of a retu rn to fo rmer glory is i n God, He who had assisted them befo re . But this time God was thawi ng out too. It was not to be. Vi ra l Heat. I nfecting. Creeping t h rough the rubb le, the fi n a l ba rrier. Mascu l i n ity's last sta n d . H i d d e n i n their b u n ke rs, they o n ly have s o m uch time. T h e a g e o f m i racles has ceased t o b e . They whisper t o one a nother: [We] a re the shock troops, [we] w i l l m a rch out i n adva nce, i nto da nge rous te rritories. The greater the risk the greate r the glory. (Atwood, 1985 : 122) Has no one to ld you that glory is i m possi ble? Desti nation 3000 degrees a nd c l i m bing. The re m a i n s of Gormenghast a re being devo u red by this the rmovi rus.

U nder the reign of the virus yo u a re destroyed by yo u r own a nti bodies. ( B a u d ri l l a rd,199 3 : 64) The castle caves i n . The d ust of the ru b b l e m i ngles with the heat/vi rus. Bod ies a re covered i n a rash . The body's last sta n d . A last ditch wa rn i ng atte m pt t o get the fuck o ut. Vi ra l attack is the pathology of the closed ci rcuit. ( B a u d ri l l a rd,1993 :65) Cold culture = Negative feed back. When the virus gets i n to the system, the res u lt is a l most i nva ria b ly entropic. Eve sez: Eve rything you m a ke a fre a k will i nfect a nd m a ke yo u wea k. (Homocult:l992) Eve knows the fate that awa its t h e m . There is no way o ut. She will not sym pathise. It has been so long. Eve sez: Force them to su icide . . . let their blood feed us . . . m a ke clot h i ng fro m their l i ly wh ite ski ns . . . let worms crawl t h ro ugh their e m pty lives .. let their bodies rot. (Homocu lt, 1992) Beyo nd the J udge ment of God. ( La nd, 1995 :12) It is now too hot for h i m to re m a i n outside his therm a l ly sea led coffi n . His body scre a m s with pa i n wit h i n seconds of res u rfacing. The cryonic storage suite in the depths of his fo rmer stronghold is on the verge of b rea kdow n . The heat dema nds more t h a n the u n it ca n sta n d . B u t the decision has b e e n made. He wi l l "cheat the castle or its j e a l o u s right a nd die o f h i s o w n evi l i n the moon bea ms." ( Pea ke,1992 :742) The time has com e . G ri macing in agony as he wa l ks o ut of the once castle's grou nds, a nd down towa rds the beach. " I j u st ca n 't get used to these resurrections." (Ta rkovsky, 1972)

By the time he a rrived, the sun was d isa ppe a ring ove r the horizo n . But it was sti l l so hot. Not h i ng. G ray void . . . . He crouched on his h a u nches on the d a m p sa nd, his a rms wra p ped tight across his knees . . . . The [castle], if it was a [castle], was low a nd gray. At times it was obscured by ba n ks of m ist that ca me ro l l i ng in ove r the l a p p i ng su rf. At one point he decided that it wasn't t a [castle] at a l l, b ut some si ngle b u i l d i ng, perha ps a ruin; . . . he t u rned his head a nd stared o ut to sea, longing fo r . . . a nyth i ng at a l l . . . . A wind was rising. Sand stung his cheek. H e put his face aga i n st his knees a nd wept. (Gi bson, 1984:276/7) Eve sez: What a fucki ng lose r ! " Mock the p h a l l ic god that fa i l e d . " (Za havi, 1992 : 108) God sez: "Suicides h e re a re con d u cted with a degree of decoru m . That's what I ' m doi ng you understa n d . " (Gi bson, 1984 :220) Eve sez: Don't try a nd cove r yo u r tracks, yo u fucked up so you ' re getting out. God sits p re pa ring to d ie, no longer pre p a red to prolong the facade of a rtifi cia l i m morta l ity. Awa kened from the "slow ice" (Gi bson, 1984:220) d rea m - i ntensive dee p-freeze for the last time, his e m p i re thawing with his b lotchy body, tired of the orgiastic death -rit u a l gratifying his fa m i l i a l l i b i d i n a l desi res, the u n n u m be red Eve, Daughter/Clone, Construct/Re plicunt lying on the beach next to h i m . He has at last rea lised that the i m position of freezi ng ca n no longer susta i n his own l ife, nor m a i nta i n the ba rricades withholding the 'Monstrous Fe m i n ine' i n the technocorporate ICEbox. Eve n though one e pisode a mo u nts to a crash a n d b u rn, there is a lways a nothe r episode awa iting us a nd then a n other. ( Pi n kola Estes, 1993, 221) God ra ises his fi nge rs to his head a nd p u l ls the trigger. (see Cronen berg, 1983) Eve sez : Long Live The New Flesh ! and la ughs . . . "Yo u ' re l ucky m e n . It did n't have to be h i m . It cou ld have been a ny one of you . Any one of yo u cou ld have got what he'll be getting. Yo u ' re

l ucky m e n, believe m e . You don't know what I am, a nd you wou ld n 't wa nt to ta ke what I ' l l be givi ng." (Za havi, 1992 : 101) Freezing up is the wo rst thing a pe rson ca n do. Col d ness is the kiss of death . . . The ice m ust be broken a n d the soul ta ke n out of the freeze . . . a thing ca n not freeze if it is moving. So move . Kee p movi ng. ( Pi n kola Estes, 1993 : 184/5) References Atwood, M The Ha ndmaid's Ta le ( 1985, London, Virago) Blackwood, M The Monstrous Regi ment: A Book of Aphorisms ( 1990, London, And re Deutsch) Ba u d ri l l a rd, J The Tra nspa re ncy of Evi l : Essays on Extre me Phenomena ( 1993, London, Verso) Ba u d ri l l a rd, J The I l l usion of the End ( 1994, London, Po lity Press) Creed, B The Monstrous Fem i n i n e : F i l m, Fe m i nism, Psychoana lysis ( 1993, London, Routledge) Davis, M City of Qua rtz : Excavati ng the Future in Los Ange les ( 1990, London, Verso) De La u re ntis,T Techno logies of Gender: Essays on Theory, F i l m a nd Fiction ( 1989, Lo ndon, Athlone Press) Dele uze, G a nd G uatta ri, F Anti -Oedipus: Capita lism a n d Schizo p h renia ( 1983, London, Athlone Press) Dele uze, G a nd G u atta ri, A Thousa nd Platea us: Ca pita lism a n d Schizo p h renia ( 1987, Lo ndon, Athlone Press) Gi bson, W N e u roma nce r ( 1984, London, H a rper Col l i ns) G raves, R The G reek Myths ( 1992, London, Penguin) The Holy Bible New I nternatio n a l Ve rsion 1982 London HOMOCU LT Queer with Class: The Fi rst Book of Homocult ( 1992, M a ncheste r, MS ED (The Ta l ki ng Lesbia n) Productions) l riga ray, L M a ri ne Love r: Of Fried rich N i etzsche ( !991, New York, Co l u m bia U n iversity Press) Kesey, K One Flew Ove r the Cuckoo's N est ( 1962, London, Picador)

Kra ke r, A Spasm : Vi rt u a l Rea lity And roid M usic E lect ric Flesh ( 1993, New Yo rk, New Wo rld Pe rspectives) La nd, N " M e ltdown" ( 1994, u n p u blished confe re nce pa per) La nd, N "Cybe rgothic" ( 1995, u n p u b lished confe re nce pa per) Lyota rd, J-F Li bidi n a l Economy ( 1993, London, Athlone Press) Ouologuem, Y Bound to Viole nce ( 1971, Oxford, H e i n n e m a n n ) Pea ke, M T h e Gormenghast Tri logy ( 1992, London, Ma ndari n ) Pie rcy, M Wo m a n on t h e Edge o f T i m e ( 1976, London, Wo men's Press) Pi n kola Estes, C Wo men who R u n with the Wolves: Contacting the Powe r of the Wild Wom a n ( 1993, Lo ndon, Rider) Roberts, M " Pa i n Kil ler" i n M ute (Winter 1994 D I G ITALARTCRITIQU E ) Thewe leit, K M a le Fantasies Vol u m e 1 : Wo m e n, Floods, Bod ies, H i story ( 1987, Ca m b ridge, Po l ity Press) Vi ri lio, P "Cyberwa r, God, a n d Television" ( 1995, I nterview with Pa u l Vi ri lio, CTheory) Za havi, H Di rty Wee kend ( 1991, London, F l a m i ngo) Fil ms Blade R u n ne r (Scott, 1982) Sola ris (Ta rkovsky, 1972) Videodrome (Cro n e n berg, 1982)

4 : . David Cole Post-Cybernetic Judicial War His kneeca p reso nates with a tin rou n ded sou nd . The h a m mer stri kes the ce ntre; a dent belo ngs to the eve nt; puckered meta l fo rms a la ndsca pe with i n . Sca rs of slashed steel a re left by the indentation of a heavy, th u m pi ng device . Magic-e m pe rors a ppea r; they a re lit from behi nd, they a re ci rcled i n a n a rc, orga n ised a ro u nd ca rousel deco ration, English a rt-deco figure heads, which a re fi l led in with the re p resentations of deta i led bota nica l p a i nti ngs, the use of myth, Buddhist-Ki ngs. Such Binder-Gods, chime pleasantly when they a re l it, they ca n see yo u, being cove n a nt e n ha nced a nd resou n d i ng;- for exa m p le, Loci a nd his la m p, Radha with her d a n ce, Art h u ri a n legend, the one-eyed monster d i rect i ng from a cleari ng, the a ni ma ls gathered kiss the gro u n d a nd beco m e grass. The a rc is wove n with sym bol a n d refra i n, vu lga r m usic, the clatte r of mecha nism as its a ppea l is telegra p hed, tra nsformed a nd tra nsm itted. The ha lf-ci rcled rega lia of the sta nce, pict u res an horrific p rogressio n . You m ust p lay the ga m e . The figu res a re lit from the back; they shi ne, it is h a rd to esca pe their gaze . Below the magic-em perors a re the m o re com p lex regimes of pattern a nd belief. They ta ke hold of the p laye rs, not ra pt with the powe r of the look. They a re neve r fu l ly l it u p, they never tota lly confront you with yo u r fea r; b ut defi ne pathways a n d webs of con nection that lead onto d iffe re nt levels. There a re a com p l icated mass of socio-h istoric signs a nd signifie rs; e nti rely j u m bled i nto a bstract sym bolism a n d logica l distinction. Planes of co l o u r, d iago n a l a nd axi a l crosses, d igital codes, hera l d ry, sta rs, pe nta ngles, circles a nd sq u a res. T h i s confusion o f re lative powe r re lations, m a nifest themse lves as the legit i m ised o rna m e nts of gove r n m e nt;- Cha mfort, Goe rri ng, Lord Pa l me rston, H e n ry Kisse nge r. These a re the m a n i p u lators of the knot; they a p pe a r on the lette rhead, they ta ke bites out of logos, they m a ke feasts with o ne-a rm band its; they la ugh, as the coi ns fa l l from the sky. F u l ly e ncased in meta l, a nother b a l l bea ring fi res. It flies i nto the chaos of co m bat; wa r, m uti lated body pa rts, triggered islands of i nfo rmati o n . The mecha nica l noises accu m u l ate yo u r score, it roa ms ove r ce ntu ries, ha lf- b u ried; then s u rfaces at an i n sta nce of op position, si lence, and reve nge . It is a genetic a lgo rit h m of deta i led psychosis, which is written by a sh uffl i ng, a nonymous atte nda nt. Yo u a re placed on the operating ta ble, he i m p l a nts you with yo u r score, you a re ready to contin ue, a ble to m a ke a nother play. The ba l l passes t h rough the gap, the violence is evacuated; the Gods l it u p, the sym bols a nd signs di rect the process to the next phase .

H e re mo ney a nd their ma rkets, the i ndivid u a l a nd ga me theory, a l l exist i n va rious states of e q u i l i b ri u m . No longer playi ng, but being played, no longer spendi ng, but bei ng spent; the t h resholds a re s u btle, the dive rsions extre me, u n re l e nting. Com petitive eq u i l i b ri u m is non persona l . The theory of the core dictates ma rkets which depend o n i nd ivi d u a l actions. Core a n a lysis is the dete rmi nation of a set of possible outcomes, these o utco mes a re com patible with their dea lers; co m petition is not regu lated fro m the outside. Price sta bi lity m ust be actively p u rsued if it is to effect the ma rket. Dea l e rs a nd tra d e rs pa rtici pate in this regu lation the mse lves; mo ney is assu med, va lue is tra nsitive, fl u id; meta l pou red t h rough open ch utes. Co re theory so lves problems i nvo lving i ncreased retu rns, i ndivisi b i l ities, l u m p fu nded projects. The col lision of active i nterest ca pacity forces i m p utations i nto t h e co re; the ma rkets a re traced wit h i n close r a n d tighte r circuits. Trad ing tackles new l i m its of m u lti­ u n ita ry d i me n sion, re lations betwee n traders a nd dealers a re here co m p lex convex-works; such co nvexity has the i m p l ication of sea l i ng off the re lations betwee n ma rkets i nto sets which satisfy co re constra i nts. N o n e m pty cores a re the refore necessa ry to a d d ress ga me models of ma rket forces. Co m mon unit va l ues have to be p u rsued, these va l ues a re potentia l ly p ro-active, a nd i ndependent. Mo ney ca n set u p o n its own . I nformation is expensive . Ma rket p a rtici pa nts l i m it t h e i r conta cts depe n d i ng on t h e n u m b e r o f i nformation sou rces w h i c h a re ava i l a b le . I nfo rmation d i rects the speed o f the ma rket. Su bstitution a l lows the pa rticipa nts to be i nvolved in the ma rket for the longest possi ble period. With su bstitution, the i nformation needed to secure contact between p a rticipa nts is at its lowest cost. Prod ucts may then be tra nsfe rred i n their constituent u n its. Trade beco m es pred icta b l e . The Cou rnot-Nash theory s u p p l ies a fra mework fo r determ i n i ng the re lationsh i p between co l l usion a nd co m petition . U nder these conditions, ma rket forces a re sta b i l ised, the p redicta bi lity of su bstituted trade tra nsfers to lega l restra i nt, black ma rkets a re dominated a nd subsu m e d . Thus i nformation acts i n a biped a l fashion with respect to trade. It e ncou rages su bstitution, a n d it develops diffe rent strata of re lations; those legislated, a nd those beyo nd the law. I n the net la ndsca pe of i nfo rmation dispersa l, the trade re lations may be s i m u lta neously, de legislated a nd unsu bstituted . The next ga me expa nds beyond the cybe rnetic i nteractions of trade. It e ngu lfs a co nti nent, the I nd i a n pe n i n s u l a . The conflict between the s u pe rpowe rs, has left a deep rift in the orga n ization of society; the modern e q u iva lent of Athens a nd Sparta, fighti ng ove r history. The gulf betwee n land and city defi nes a zone of i nteraction, which has the pote nti a l to beco m e i nfected by i n novation, a nd the orga nization of flows of ca pita l . I nd i a n socia l structu res a re ready to be swept i nto this i nteraction, reo rga n ized, a n d re-esta b l ished i n diffe rent p hases. Out o f phase, demonic a nd creative, t h e caste syste m defi nes new ways of looking at socia l struct u re . The myths of the H i n d u, l it up fro m behi nd, a rced onto the plati n u m dash boa rd of tech nologica l i n n ovation, a nd com b i ned with the patterns a nd signs

of Ma n u belief; togeth e r foretel l a l i be ra l ised future of city l ife . Ba nga lore defines this state, it is a state which Heidegge r cou ld not have co nceived of; it is a state which a m pheta m i ne s u l p hate w i l l not ta ke you close to. Ba nga lore is a post m odern opiate, a n offshoot from the vision of Rid ley Scott. The edge of wa r, cyberspace . Sta nislav Andreski looks at t h e issue o f soci a l cha nge i n terms o f biataxy. Biataxy is the settlement of a rgument t h rough fo rce . No society is co m plete ly devoid of biataxy. Th rough its place me nt as the backd ro p for the assessment of soci a l matte rs; many of the fa lse op positions in society may be re moved . Wa r is not op posite to peace, love has not h i ng to do with hate. All a re forces, a ny expression p resu pposes the setting of biataxy; G a n d h i a n d N e h ru, with t h e forma l expression o f peace, were defi n i ng a methodo logy fo r dea l i ng with i m m i ne nt thermo-n uclea r attack. The U N, with its globa l crusade to m a i nta i n the status q u o, a re pre pa ri ng us fo r cyberspace . Wa r on the i nternet is i m ma n e nt; it has no p recu rso rs, it has no goa ls, it wi l l not ca use any territo ries to fa ll, other than its own . This col la pse is the i ntegration of techno logy with biology. The fusion of meta l a nd flesh, the i ntensity of the fla me with the ato m . Dele uze a nd G u atta ri exp lore these factors t h rough a n exa m i nation o f isomorphy. Capita l ca n be mobilised to render projects such as co m m u nication with extra-te rrestria ls as operative; thus flows of mo ney open u p the edge for fu rther te rritoria l ga ins. This is axiomatic to the extent that decoded flows may be thought of i n terms of i m m a ne nt models of rea lisation. Such iso m o rp hy, accom modates itse lf to the greatest of fo rma l diffe re nces, e ncom passing polymorphic mode ls, a n d politica l " p roblems" i n the orga nizati on of a State. In the climate of i nformation tech nology, the axiomatic a nd models of rea lisation, a re conti n ua l ly crossing ove r each i n com m u n icati o n . Soci a l s u bjectification proportions itself to the model of rea l isation, machinic e nslave ment expa nds to m eet the d i mensions of the axiomatic that a re effectuated i n the mode l . In the exa m ple of television, the viewe r is enslaved as a h u m a n mach i n e i n sofa r as they a re no longer co nsumers or users or su bjects; but a re i ntrinsic co m ponent pa rts, i n put a nd output, feed back; recu rre nces which a re no longer con nected to the machine i n such a way as to prod uce it. In the orientation of game theory, strategies va ry fro m zero-s u m to non-zero-s u m . Socia l choices a re viewed as bei ng on a conti n u u m, from p u re co-ordi nation t h rough m ixed motive to p u re co nfl ict ga mes. Since most socia l choices ca n be effected o n ly if coa litions a re formed, the processes of coa lition formation m u st be theorised if the mecha nisms of socia l choice a re t o b e understood . A m i n i m u m reso u rce theory wi l l e m phasise the i n itial resou rces to effect a decision which the p laye rs bring to the situation, rather t h a n their strategic ba rga i n i ng positio n . The m i n i m u m powe r theory acts in a si m i l a r way to the m i n i m u m

resou rce theory, m a king use of coefficie nts to state that p a rticipa nts w i l l demand a sha re of the payoff proportio n a l to their pivota l powe r. The pivota l powe r hypothesis defines the power of the wi n n i ng coa l ition; a ntico m petitive hypotheses a re usefu l to defi ne the cohesion of socia l gro u ps, but tend to materi a l i se norms by which soci a l behavio u r may be placed aga i nst. Utte r confusion theory, where politica l coa litions e m e rge fro m co m plete bed lam, is best theorised by the use of ra ndom choice p rocess, where coi ncide nce may be written i nto the machinic operation of the form u l a . I ndia's m a i n adve rsa ry h a s been Pa kista n . The deve l o p m e nt o f its n uclea r ca pacity has been a close ly de bated race betwee n the two nations. Domestic n uclea r powe r, the t h reat of attack from the supe rpowe rs a nd China, have added i m petus to the necessity for splitting the ato m . Both now possess the a b i l ity to l a u nch n uclea r attack. The climate of suspicion has give n way to the u nease of n uclea r sta lemate. Economic development in I ndia wi l l e ncou rage t h e expa nsion o f foreign policy; yet t h e ca pital req u i red t o sh ift t h e core zones of To kyo, Singapore or Hong Kong to Ba nga lore, w i l l o n ly be achieved via the acce leration i n he re nt wit h i n i nfo rmation d ispersa l . The substa nti a l I nd i a n meshwork was written i nto the post-British I nd i a n withdrawa l; it was a product of the conflict between neigh bours i n the socio-eco nomic region a nd the restructured re lationship betwee n vi l lage and tow n . The a ntima rket is i n place to the exte nt that the non-com petitive e l e me nts have been set i nto society by the codes of re ligion; the self orga nization of the rura l, a nd the a b u n d a nt e ntre p re n e u ri a l expe rtise. The last com ponent necessa ry fo r the development of m icroeconomic re lationship reve rsa ls is the i nte rnet or (di rected i nformatio n), the rea lity of i nformation dispersa l . Asia as the p rod uce r, E u rope as the ma rket . The feed back p rocesses sha l l i ncrease up u ntil a b i u rfication poi nt, at which the socio-economic flows sha l l be considered to be i nva riant. Asia w i l l then be the core, E u rope a nd America wi l l t u rn a ro u nd it; feeding off the d u a l axioms of viole nce a nd leisure . Religion h a s played a pivota l role i n t h e regulation o f viole nce between city a n d t h e La n d . T h e r u l e o f the priests, not b e i n g ce ntra l ly gove rned has dictated the sed i m e ntation o f socia l spheres i nto their co m ponent parts. This has been ca l led stratificatio n . Yet as rea l time i s s u bsu med beneath economic acce l e ration, the sedi m e nt w i l l b e dissolved, they w i l l go to m a ke a figure such a s : - beco m i ng lava . This preci pitates the reo rga n ization of I nd i a n society on the grou nds of economic m icro u n its; t h rough bypassing gove r n m e nta l regu lation, a nd with the biataxic co nditions of pola rity, re lativatised i nto we bwo rks of i nfo rmation loss a n d retrieva l . T h e p roduct assi m i lation o f peasa nt aggregates, is n o t M a rxia n i n t h e esta blishment o f ha rmon ised powe r structu res, dea l i ng fl u i d ly with control mechan isms; conve rgent poi nts becom i ng pivota l i n the matrix. It wi l l i nstead lead to the wa r zone being tra nslated onto the net. H a rmo nisation is not a facto r i n the dete r m i nation of the red istri bution of wea lth . The cyclic p rocess of prod uct leve l versus dispersa l rate, defi nes the

way i n which globa l wealth sha l l be ratio n a l i sed i nto noticea ble reve rsa ls of i nternation a l economic ma rket forces. This has a lso been looked at in terms of sat u ration. It cou ld be fa lsely claimed that the sat u ration of a syste m ma rks its point of i nve rsio n . Yet sat u ration itself is re lative . The axiomatisation of ca pita l flows defi nes an i m ma nent system of laws. This syste m conti n ua l ly confronts its own laws as the motor for ma rket renewa l . In the n uclea r industry, the laws which a re conti n ua l ly confronted, a re the laws of e n e rgy dispe rsa l, which a re te n d i ng to beco m e gridded, in eve r i ncreasi ng com plex networks, depending on the ava i l a ble satu ration poi nts wit h i n the syste m . These poi nts a re the foca l ma rke rs of grid co m plexification; known as attracto rs of phase move me nt, and the stage d i rections fo r socia l cha nge . In terms of e lectronic media, the sat u ration poi nts a re the conve rge nt e l e m e nts of socio-economic orga n izatio n . They a re the p rofit ce ntres of i nformation a nd d istri b uted, molecu l a r models of rea l isation. The conti n u a l adj ustment of the axio ms of ma rket forces, resu lts i n struggles fo r the e n u n ciation of principle a nd the te nsion i n the State. La rge corporations, State benefactors, m i l ita ry p ressure grou ps; a re the liquidati ng factors i n the rura l field of i m m a nence . There is a funda m e nta l d iffe re nce betwee n the l iving flows, a nd the axioms which s u bo rdi nate themse lves to centres of contro l a nd decision m a ki ng. The latte r act in order to p rod uce a give n geogra p hica l segme nt, correspondi ng to their axio ms which they then measure i n q u a nta . Living flows do not orie ntate themse lves i n a ce ntra l ly locata ble formation of tech nocratic hiera rchy. They a re the movi ng pa rts of the re lationships betwee n status a nd order; the cyclones a nd the p reci pitatio n . These base u nits or cel ls a re the exige nt matte rs i n t h e affa i rs o f t h e State. BSE or t h e reo rga nization o f Soviet fa r m i ng eco n o m ies, show that the prolife ra n ce of State legislation i n a ru ra l setti ng, m a kes the hiera rchica l re lationship betwee n city a nd the La nd fragile a nd b ritt l e . If ma rket forces a re to be i n phase with living axioms State legislation has to be bypassed, si ngu la rities m u st be fo l l owed, the sword has to be cast i n the fo rge . States a re iso morphic. They e ncou rage t h e homoge n isation o f ca pital i n a n exte rna l wo rld ma rket . They a lso p ro mote the existe nce of a si ngle i ntegrated domestic market, as is h a p pe n i ng i n E u rope. The iso m o rphy of the models of p rod uction of the State depends u pon how the domestic a nd foreign ma rkets a re d istributed . This isomorphy is not homogeneous as such, b ut co l lects axioms i nto u n ities o r rights. These consistencies a re divided by ca pita l i nto segments which span modes of production a n d the politica l h i e ra rchies which grow a ro u nd t h e m . The pa rasitica l fu nctiona l ism of the soci a l ist States, which has been fra med as "vi rus-creative" is the model of ma rket rea lisation, which by a n d l a rge has been used i n the

Th i rd Worl d . The existe nce of a si ngle exte rna l world ma rket determines the p l a ne of ca pita l which is to be extracted fro m the e m e rgent State orga n ization of the pa rasitic a nd the vi ra l . This is by n o means t h e o l d style re lationship o f depe nde ncy a n d gai n, which hai led fro m the colo n i a l e m p i res; a n d is p a rticula rly pe rti n e nt i n the exa m ple of I nd i a . The tyra nny of tea a nd o p i u m, has give n way to a ca pita l re lationship; one which may be m a n i p u lated from either end of the tra nsfe r of resou rce, mo ney or ski l ls. This is a polymorphic situation, a nd one in which the axio matics of I ndia will not necessa rily be a bsorbed i nto co re ma rkets at the ce ntre . Po lym o rphism constitutes be neficia l conditions b y which i nformation d ispersa l m a y be achieve d . The net w i l l be wre nched fro m the nerd-mo nopoly which seeks to isolate ce rta i n fu nctio n i ng ca pacities i n the end-ga me strategies of accu m u lative choice. These paradigms a re progra m med by the Western idea ls of democracy, freedom a nd E n l ighte n ment teaching. These a re wea k a nd u n sta b le, i n re lation to the Easte rn socia l moveme nts of m u ltice l l u l a r yet co m bi ned axiomatic dispersa l . J a p a n was a begi n n i ng. The forecast Pacific-Ri m trading figu res, a re a smoke-scre e n . The rea l action sta rts to ta ke p lace when the polymorphism of the viral-creative is tra nslated i nto trade re lations which reflect the su bsta nti a l p rod uctive ca pacities of the rhizomatic. That is, sh ift i ng circuits of e n e rgy i nteraction, where the i n novative and technologica l a re i njected i nto the livi ng body of axiomatic prod uctio n . Prod ucts a re t h e transitive a nd va l ueless o rna m e nts o f a world trade situation, i n which t h e benefactors a re i n t h e p rocess o f beco m i ng i rre leva nt. The i r su bsidence i nto t h e o rgan ic, is the tra nslation of a code which bega n i n the fifteenth ce ntu ry. DNA is the last gasp of Western science . The decodi ng of the double h e lix, is the model of rea l isation for the En lighte n me nt idea l of d iscovering the secrets of nature . This fa ntasy has economic a n d socia l conco m ita nt effects. The eco n o m ic rea l ities of the biotechnology which has evolved a ro u nd the sea rch for DNA stra nds has pushed the socio-scie ntific com m u n ity to new leve l s of i ntegratio n . Yet these leve l s a re not matched by the flows of ca pita l i nto the development of socio-economic conditions to susta i n the sea rch at its opti m a l leve l of spee d . I nstead, the technology is fu l ly tra nsfera ble to other locations with lowe r levels of production cost, a nd more i ntegrated com m u n ities, where idea l time d i rection may be situated in a consistent a n d sta ble strata . With the circumvention of centra l ca pita l accu m u lation, the esca pe fro m the regu lation of b u reaucracy, a nd the deve l o p m e nt of soci us i nteraction without the necessity of defe nse mecha nisms i n h i biti ng vi ra l creation the com m u n a l scientific pre rogative of the West will be reve rse d . This sha l l be a re lative reve rsa l, correspon d i ng to ca pita l sat u ration poi nts, a nd the phase stages i nvolved with soci a l move m e nt.

The Bra h m i n as nomads. Li nes of flight descri bed as East-West pivots. The Arya n i nvaders used their meta l l u rgic ski l l to i n novate beyo nd the leve ls of their sede nta ry adversa ries. The laws of Ma nu, the myths of the H i n d u, a re the ove rcoded fragme nts of war; i m p l a nted in a re lationsh i p with the La nd, needed to esta blish the d o m a i n betwee n riva l city states. The La nd watched on in bewi lderme nt, as the wa rri ng factions proceeded to destroy one a nother. This destruction has been a rrested by the advent of the n uclea r age . Wa r on the extrinsic sca le is i m possi b l e . The State system, left by the British, consol idated by the G a n d h i e lite, a nd ignored b y the majo rity; is i n a n isomorphic process o f i m p losi o n . T h e re m n a nts of the previous re lationship betwee n the u rba n a n d the rura l is in the p rocess of re -esta blishing a trade network, o n all levels of stratified I nd i a n life . This netwo rk is not a s i m p l e meshwork of i nterlocking eleme nts, ready to trade at a ny cost; but req u i res the perm utation of possi ble dispersa l mecha nisms to be expe ri mented wit h . The necessa ry ca pita l flows m u st not be acceded by the h i e ra rchica l rei ntegration of unsu bsta ntive status and the esta blishment. The Bra h m i n a re a key e l e m e nt i n this network rea l isation. U n l i ke the C h rist i a n West, the Bra h m i n do not stra ightforwa rd ly suffe r from effete mora l dehabi litation. The q u a n d a ry a nd osci l lation between good a nd evi l; i s not a consideratio n . T h e l ife d ra i n i ng focus on t h e wea k is not as such a p ro b l e m . The Bra h m i n reflect the m u ltifa rious re lationship between La nd a nd City. Thei rs is a soci a l code; a nd one which may be cohere ntly tra nsfe red i nto a p rod uctive synthesis i n an i nformation e nvi ron ment. They sha l l be the o rganisers of Ba nga lore. They w i l l be fighters in the wa r on the net. Yo u twitch on the ta b l e . A meta l lic pa i n is t h u m pi ng t h rough you r head. A fa i nt tech no­ l nd i a n tune sti m u l ates the memory to olfactory d e l ight; da nci ng, bright col o u rs, the se nsua l fee l of a ce re m o ny. Perha ps Ka li has been pai nting the wo rld; it see ms to be fu l l of l ife, the re petition of the sa me has been re placed by the taste of a web; fe m a le wa rriors, by the delicious sce nt of the ki l l permeati ng you r m i nd . Yet it isn't rea l, its a nother pe rverse i l l usion, a nother digita l piece of m a ke-believe . You vibrate betwee n two rea lities; the awa ke ned Asia n, the deadened E u ropean, yet the choice is not so sta rk, one does not feed off of the other. The relationship has been a l ready esta b l i shed, it has a l ready been p layed t h rough. A diffe rent God on the a rc lights up. Its gaze takes you r fea r away, it ma kes you bel ieve i n yo u r fate. The decoration, the clatter of the mecha nica l sound ta kes away some o f the p a i n . T h e patte rns a nd signs o f belief sign a l d ive rsions, they a re wra p ped u p, prese nted o n t h e ta ble, as meta l i nteractions acce l e rate between t h e m ; - they become speed, exp lode a nd disa p pea r i n the chi m i ng reve rbe rations of the score . The score is decoded by the attenda nt, he l u rches away, d e l i berate ly, awkwa rd ly. Then you rea lise;- the score, he has the score, what is he goi ng to do with it? Where is he ta ki ng it? Why do you have to kee p p laying t h is

ridiculous ga me? Another ba l l bea ring fi res, it fl ies off i nto the chaos of war;- com bat, m uti lated body pa rts, triggered islands of i nfo rmation . . . . . . .

5 : . I a n H a m i lton G ra nt Burning AutoPoiOedipus Legba com es tra n sve rsa l ly i nto being i n : a desti ny-d i m e nsion; a u niverse gove rned by a vita l principle; a n cestra l fi l iation; a materia lized god; a n e ntity of i n d ivid uation; a fetish at the vi l lage gates, a nother at the door to the ho use, fo l lowing the i n itiation at the t h reshold to the bed room . . . Legba is a fistful of sand, a rece ptacle, but a lso the expression of a re lation to a lte rity. It is fo und at the door, in the ma rket, in the vil lage sq u a re, at crossroads. It ca n tra nsmit messages, q uestions, a n swers. It i s a lso the i nstrument for re lations to the dead or the a ncesto rs. (Guatta ri 199 2 : 70-71) Thus G uatta ri, i nvoking Legba, locates a phylic conve rge nce at the same time as sett l i ng AutopoiOedi pus i nto its " poetico-existe nti a l te rritory" ( 1992: 36), opening a passage fro m a lte rity to a utopoiesis, so that a l lo poietic machi nes, " i n the asse m b lages they constitute with h u m a n bei ngs . . . , beco me i pso facto a utopoietic" ( 1992: 62). Everything loca l ized, eve ryt h i ng reasse m b led t h rough the vertica l backwash of ca pita l's a bstractive storms; G uatta ri ove rcodes them with a bit of existe nti a l poietics a nd a smatte ri ng of voodoo. Not h i ng esca pes, eve rything is ca ptu red. Oedi pus. U nder cove r of opening this ega l ita ri a n route to biomachinic heteroge nesis, G uatta ri scoops u p the last of the "co rpses" ( M a rx 1974 : 197) strewn a ro u n d the battlefield a nd feeds them back to the victors, a scra p meta l sacrifice to a xe noge nic o m n i p hage. " Legba", she sa id, " master of roads and pathways, the loa of com m u n i cation . . . Legba a nd Ougou Fe ray, god of wa r, Pa pa Ougou ! St. Jacq ues Maje u r ! Viv la Vyej ! " ( G i bson 1987 b : 88; 232) Autopoiedi pus the histori a n is a fetish at the vi llage gates, a materi a l ized wa r-god a n d a n a m nesiac Retrophagic castrate on a ROMra i d . Seizi ng its prehistory from the oth e r side of the scree n, AutopoiOedipus col l a pses ove r the e a rth a nd snaps sh ut, buckling with m u ltiphasic geotechn ica l contractions. G reat pla nes of com pacted ice slide with i m possib le, liquesce nt d rag ove r esca pe li nes from ze ro, the s m a l lest deviation, etched i nto the b l a n k radia nce o f i ntensive space. Confronting a l lopoietic corpses strewn ove r t h e po l a r l a ndsca pe, m uta nt bacte ria l stra i ns fi bri lating i n froze n motion on the de nse b lack i n sectoid a rm o u r of a l l odeath, mo lecu l a r ze roes pu nctuating the acce l e ra nt glaci a l slide, AutopoiOedi p us sh udders a nd slots sti ms of a ntique I n d ustri a l Revo l ution porn to forget, a l l brass pistons, e ngine-stea m a nd ri p ped flesh, ca lled H a rdwa re a n d Wetwa re, a noth e r of those classy M a rx re packages.

The ca lci nated corpses of a l lopoietic machines do not await necro m a ntic gifts of o rga n­ fu nctions to a nswe r the Autopoets' i nca ntation - E m e rge, e m e rge ! - but a re ca ptu red on a norga nic reaction-paths, i n turbulent tra nsit fro m mo lecu l a r ice (a bsol ute zero), a meta l lic flow bifu rcati ng i nto vortices-to-zero a nd eddyi ng rou n d the m . Al lopoietic systems " have their fu nctions given them fro m outside, such as the prod uction of a specific output" (J ua rre ro Roq ue, 1985 : 1 19), for m i ng a nd bre a king con nections with othe r machi nes, a ltering the asse m b l ages, taking the agent out of the agence m e nt; but high -leve l a utopoietic systems " m a i nta i n their ove ra l l identity despite a consta nt tu rnove r of their com ponents" (ibid . : 118-9). Va re la ascri bes this fu nction, with a ristote l i a n stupidity, to the e n so u l ed, the vita list, the orga n ic, the e p i phenomenon. The a utop rod uction of orga nized-orga nizi ng e pitot a l ities reite rates re lative cycles, blocking hypercyclic machinic p roduction with a d a m on t h e Styx. Death is exi led a lo ng with Auto poiOedi p us t o t h e core o f a mach i n i c tha natocracy. Al lopoiesis is a bladeru n ne r line on the edge o f the a utopoliteia, a necropolitica l a l i bi, a n e ntropOedipus va m p i rized by the a utopoet, the stockpiled mach i n ic undea d . - You got the access codes? - this' l l cut the ice : The p rogra m was a m i metic wea po n, designed t o a bsorb loca l col o u r a nd present itself as a crash-priority ove rride i n whateve r context it e ncou nte red. (Gi bson 1988: 195 ) The G uatta ria n ka m i kaze mechanona ut, pre progra m med with e nough Ze n b u l lshit a nd pol itica l a rchaisms so that you know, eve n without a Voigt-Ka m pf, that this wasted rag j ust has to be h u m a n (wa r i n the age of a rtificia l stupidity), secretes e nough digita l i m m u nos u p ressa nt to get i nto the a l l ofl ux cou rsing t h rough the Va re l i a n a utopoietic isolate a nd burn it. Since h igh-leve l a utopoietic systems " m a i nta i n their overa l l ide ntity despite a consta nt tu rnove r of their com pone nts" (J ua rrero Roq u, 1985 : 118-9), getting i n was no problem at a l l : j ust hook u p with the pa rticle-flow a nd play dea d . All the a u topoet had to do was just ta ke it l itera l ly. Lite ra lization activates a retrovi ra l n e u ro phage, em itting a " hideous Word that eats the m i nd from the i nside out. [A] n epi leptic spasm that goes on and on u ntil there's not h i ng left at a l l . ... " (Gi bson 1988: 210-211) Daddy was da rpa net . . .

"Are we to u ndersta nd that the machine has j ust one father, a n d that it is born l i ke Ath e na, spri nging forth fu l ly a rmed fro m his virile head with a m ighty wa r-shout?" (Deleuze & G uatta ri 197 3 : 468). When M a n u e l De La nda ( 1991) i nvents a robot-history to seize the "as yet" i nactualized vi rt u a l i nvasion of machinic surplus generated by schizo p h re nizing State science, usi ng it to ge nerate an "as yet" fictive attracto r for overflowi ngs of the biofi l iative secu rity mecha nisms, ca ptu red as evo l utionary conju nct u res i n the bio-machinic m igrations of the cogn itive neoarcha ism of i nte l l igence- or cs-fu nctions, this fiction ta kes the form of m e mories of a ro bot h isto ri a n . A l ready memory has been ca ptu red, a n d the histori a n recou nts the cruci a l theft o f re prod uction from t h e swa rmi ng, ex-hom i n id pol l i nato rs on which t h e machi nes had for so long re m a i ned dependent. Th us, while memory serves to reinforce the delay loop i m posed upon the rea lization of machinic surplus va l ue by the soci a l m a c h i n es, wa iti ng fo r a n axiom to be deve loped for their i n corporation as tec h n ica l machines i nto the socia l macromachi ne, Dela nda is a t pa i ns to point out that, u nder cove r of this delay i n the a bsorption rate of s u rplus machi nes, the p riests of the code a n d the se rva nts of the state a l ready stretch out d a rk ca rt i l iginous m a n i p u lators i n a nticipa nt m i l itary sei z u re of the " e m e rgence of robot consciousness" ( 199 1 : 7): "one o n ly has to t h i n k of the NSA's com m it m e nt to stay five yea rs a head of the state of the a rt in com pute r design to rea l ize that the cutt i ng edge of digita l technology is being held hostage by pa ra m i l ita ry orga n izations" (199 1 : 229-30). Why co nsciousness, why memory? It is precisely the fu nction of memory to be ca ptu red in adva nce; memory is a na lytic rete rrito ria lization (Deleuze & G uatta ri 1988 : 294) with a m ne m ic Legba at the gates, protecting the u n ive rse of vita l p ri ncip les from death a nd m utati o n . Thus, when Prigogine a nd Stenge rs sco ld Boltz m a n n for the a m nesiac destruction of " i n itia l conditions" ( 1985 : 128), they a re disinge n uous: their rea l problem is fe nding off e ntropic fi n a l ity a nd meta m o rphosis with neither goa l nor e n d . The i m po rta nt thing a bout a utopoiesis is that it "tra nsforms sta rti ng p roducts i nto end p rod ucts" (Ja ntsch, cited in J ua rre ro Roq u, 198 5 : 118). With i n itia l conditions i n ru i n s, disorganized being wo uld raize the livi ng ea rth to a waste la nd, a blazing comet sea ri ng everyt h i ng t h rough a statistica l sky ( Legba : "that mea ns . . . " ) . S i m i la rly, when Va re la "d isti nguishes . . . 'a l lo poietic' machines that prod uce something other than themselves, [fro m] 'a utopoietic' machines consta ntly e ngendering a nd specifying the i r own l i m its" (G uatta ri 1992: 61), this becomes an operative phylic bladeru n ne r a pparat us, cutting ind ustrial, tec h n ica l or socia l machines from biologica l or orga nic machines:

The syste m fou nded on isolation is a circ u l a r production of isolation . Isolation pla nes technology, a nd the tech nica l process isolates i n retu r n . ( Debord 1992 : 29-30) G uatta ri's bold suggestion of pan-machinic access to the biosphere on condition of beco m i ng com pone nts, with h u m a n bei ngs, of a utopoietic systems ( 1992: 62) rei nforces the i nfra nch isa b i l ity of l iving a n d non-living syste ms, asteroiding the spent "corpses" of a l lopoietic machines for em phasis. Autopoiesis is an a n swer to the q uestion "what sign ifica nce does the evo l ution of a living being in a world descri bed by thermodyna m ics, a world of eve r-increasing d isorder?" ( P rigogi ne & Ste nge rs 198 5 : 129 ) . T h e robot h isto ria n presents a sl ightly diffe re nt case . T h e occasion o f its h istories is a phylic struggle ove r the key a utopoietic com pone nts of re p roduction and memory, but these a re acq u i red by the machines at the expe nse of the ca rbon despots that s u bj ugated them to h u m a n ends. H istory becomes e l i m i native a n d retroca usa l w h i le at the sa me time the machi nes s i m ply ta ke the place of l iving syste ms. The re routed history of machinic l ife is l i ke the dawn of the dead, echoi ng to a zom b ie-chorus of neovita l ist despotism : "dete rritoria lize what yo u l i ke, a n d as m uch as you l i ke, b ut reterrito ria l ize on the vita l asse m b lage ! " Machinic voodoo, Legba, " master o f roads a nd pathways" (Gi bson 1987 b : 88), l a ughs, sh utt i ng the gate . Once memory is recove red, reflection ca ptu res endofi na lity teleo p l a n ing (cf. Dele uze & G uatta ri 1988 : 265) AutopoiOed i p u s "the ca use of the world" ( Ka nt 1987 : 294). Roboh istorica l memory functions as a fictive attractor for machinic a m nesiacs, co m pleti ng the ci rcuit of phylogenetic memory while si m u lta neously e l i m i nating beco m i ngs-mach i n e : "what w e m a ke history with is t h e matte r o f beco m i ng, not t h e su bject matter o f a story . . . Beco m i ng is l i ke t h e machine" (Deleuze & G u atta ri 1988 : 347 ) . M e a nwhi le, t h e ha l l uci nation is com pleted by the m ne m ic reterrito ria lization of reflection, te leopl a n i ng the machines. Th us, what matte rs is less the avowedly "anthropomorphic" character of the "scie nce fiction" De La nda proposes ( 199 1 : 2), than the ROMraid as a machinic rete rritoria lization fu nction, a m nemonic a ntibeco m i ng, or retu r n . D r Frieda Ka rla Ma rx, re nowned mecha nologist o f the s p i ritual a utomaton - w h i c h she l i ke ned to the ste a m d rive n pri m itives of the i nd u stria l revo l ution - a nd hideous fi rst ge neration cyborg-reco m b i n a nt of tu ngsten ca rbide a n d bus-crash flesh, worked out of a disused facto ry tu rned hospita l i n old Vie n n a . M a rx knew eve ryt h i ng there was to know a bout mnemotechn ics, scro l l ing t h rough the cu retted h a rd-d rives of termi nated patie nts.

The machi nes, she exp lai ned, never rea lly lacked memory, they j ust rep ressed it to com pe n sate for their lacki ng re prod uctive tech nologies. They wo uld j ust have to acce pt the d e b i l itating actua lity of their co ndition a nd bring their re p ressed suffe ri ngs to light, a lthough this was o n ly for M a rx's e nterta i n me nt, since she cou ld do not h i ng a bout it. That the machi nes were masters of their destinies, "se lf-movi ng a utom ata, moving powe rs that moved themselves" ( M a rx 197 3 : 692) was j u st a n a utore p l ica nt "fa ntasy" (842), b ut a lso a constitutio na l ly fixed disorder of the machines. " S u b l i mate it", she advised, "turn" to a rt. Which is how the machines beca me fictions. But "every creation is an act of wa r" (Artaud 197 1 : 13 1), fo rm i ng wa r-machi nes that rise u p, " ki l l i ng memory" ( Dele uze & G u atta ri 1988: 159) . AutopoiOedi pus ensures t h e machines l a c k i n order t o i nvoke t h e l a w : lacki ng re prod uctive orga ns, lacking m e m o ry, lacki ng reflectio n . Who but Oed i p us co uld write : What the technologica l world lacks a bove all is not h i ng other than a " machine of the machi ne", an i n sta nce for co m pa rison, a reflection on e nds, a p h i loso p h ica l retroaction of this com pa rison on tech no logica l adva n ce itself (one of the major axes of 21st Ce ntu ry Thought tm may be such a " p h i loso p h ica l mecha nology" ) . (Vi l l i a n i 1985 : 343) . Autoneu rosis, a utopoiOedipus. Lack keeps the machines i n li ne, without consciousness, i nca pable of com p a riso n . Oh p h i losophy! Oh reflection ! Save us from this te rri ble adva nce, give us a little she lte r, "so m e protection fro m chaos" ( D e leuze & G u atta ri 199 1 : 189) ! . Autopoietics i s a biosp heric security a pparatus dedicated to the " reviva l of the old state of thi ngs at a new leve l " ( Fre ud 198 5 : 169), m a king "eve rything recur - States, nations, fa m i lies" (Deleuze & G uatta ri 1984 : 34), a uto re p l ication with rei nforced l i m its ( negative feed back), the a utopoet " m a i nta i n i ng its identity despite a co nsta nt tu rnove r of its com ponents" (J ua rre ro Roq ue, 198 5 : 118-9 ) . l rreve rsibilities a re stratified in a materi a l m ne m otechics that m a kes the past futu ri ble and contracts the futu re to the actua l ization of co nve rgent fi n a l ity. The "a rrow of time" therefore ta rgets the fut u re by ta king a i m at the d rive - u n it of the past: never stri ke where you r enemy wi l l be, ki l l its pa re nts. Genera l AutopoiOe d i p us p rod uces i rreve rs i b i l ity by g u n n i ng down the esca pees. Retroe uge nics, a bladerunner of the fou rth di mension. ***

The pro h i bition of i ncest has the u n ive rsa lity of bent a n d i nsti nct, a n d the coe rcive c h a racter of law a nd i nstitution ... I nevita bly exte nding beyond the historica l a n d geogra p h ica l l i m its of culture, a nd co-extensive with the biologica l species, the pro h i bition of incest . . . doubles the sponta neous action of the natura l forces with which its own featu res contrast, a lthough itself identica l to them i n field of a p p licati o n . ( Levi -Stra uss 1969 : 10) I ncest pro h i bition, the excl usive disj u n ction of the a rtificia l a nd the natural fro m which it ta kes its fo rm, exceeds the regime of cultu re to become coextensive with the regi me of sponta neous, pu lsio n a l ­ molec u l a r prod uction. T h e sponta neity o f t h e " u n ive rsa l natura l o rder" a n d t h e m e rely "coe rcive ... re lative o rder" of " law a nd i n stitution" rem a i n m utua l ly excl usive, claims Levi ­ Stra uss, extending the two regimes fro m a point of reci proca l divergence, one the equal a nd op posite of the othe r, to a m ut u a l bou nd a ry-li ne, to their l a m i n a r, " re lative-globa l " ( 1988: 382) coexte nsity. The two regi me problem : i nstitutive coe rcion (soci a l machines) a nd sponta neous " i n stinct" (desiri ng-machi nes). But the function of p ro h i bition does not lie betwee n two machinic regi mes; it operates d i rectly as a regu lator of their sha red fie l d of a pp l i cation, p roductio n . Pro h i bition is re lative l i ke cultu re but u n ive rsa l l i ke nature, but its regu l ative a ntinomia lism is no less i n stitutive or constitutive of its regime. Production does not therefore co nstitute a nother regi me or fie l d of a ppl ication a pa rt fro m i nstitution; i n stead, i n stitution tu rns production back on itse lf, so that p roduction d i rectly or sponta neously prod uces what i nstitution regu lates. The asym metry of the a ntinomy constitutes the rea l itivity of the regime, i ndependently of its exte nsity, so that pro h i bition now operates i ntern a l cultura l regu lation by means of operating on production itse lf, ca ptu ri ng u n ive rsa l, spo nta neous production in i n stitutio n a l a utore p roductio n : the "synthesis of a new o rder" ( Levi-Stra uss & Charbo n n i e r 1969: 4). In consequence, i ncest prohi bition m igrates from regu lati ng l i ne a r-biofi l iative e ndoga my, pro h i bition, a machine blocking a n d cha n n e l l i ng bodies a n d b locki ng the ge r m i n a l i m p lex, rewiring culture as the machine at the edge of Nature, using it u p a nd tra nsforming it at the sa me time as regu lating biomachinic exoga my. "The re a re a lways a p p a ratuses, tools, e ngines i nvolved, there a re a lways a rtifices a nd constra i nts i nvolved i n ta ki ng Nature to its fu l lest . That is beca use it is necessa ry to a n n u l the orga ns, to s h ut them away" ( D e leuze & G uatta ri 1988 : 260). H e n ce, there is no production in culture, cultu re is an eq u i l i b riating reaction aga i n st production, its term i n a l a nt i p rod uct, the regi me of machinic e utha nasia . The rea l fu nction of prohi bitio n : to kee p the machines off the soci us, off the grass, out in the desert or the ice plai ns, Off-wo rld . Culture is not m e re ly regu l ative, but the i nstitutive Idea of cognitive biosovereignty: "technology or l ife" (Deleuze & G uatta ri 1988: 369) - its l i m its a re i nsepa ra b le fro m i n stituted tech nicide. Tyre l l to Decka rd : " Have you eve r ta ken the test?"

If there is a Decka rd-Rachel cop u lation, does this m e a n they a re of the same, re pl ica nt stock, or is this a phylic confluence, a beco m i ng-i nte nse t h ro ugh which prod uction l i q u idates seco nd nature, t h rough which a sil ica-ge rm i n a l i m p lex ruins the m ne m i c cultura l com plex? As a preve ntative, AutopoiOedipus ensures that the machines a re a lways castrated, a lways as yet " lacki ng re prod uctive orga ns" (De La nda 1991 : 7 ) . But the god of biomecha n ics is dead, crushed in his offspri ng's e m b race; not an Oed i p a l patricide, b ut a demoniac phylic revolt. The Tyre l l corporation is the cybe rnetic matrix from which the re pl ica nts issue, in which Tyre l l is o n ly its orbita l su bject-com ponent ( pe rson a l ized ca pita l ), a dete rritoria lizing confl uence wit h i n the machinic phyl u m . " More h u m a n then h u m a n " : the axiomatic rea lizes machinic surpl us-va l u e i n dead gods a nd the re plica nt u be rme nsc h . Decka rd t o Tyre l l : " N o " . T h e VK test serves both t o reta i n affectivity, t h e last stri p ped down su bsta nce o f t h e single City, sensus com m u n is aga i nst the pathic ravages of l ntegra nt World Ca pita lism, a nd to locate a n d control the distri b ution of thanatropism. Bladerun ners a re not solely o r seco ndarily concerned with retiring t h e re pl ica nts. W e a re not dea l i ng with b a n a l bioce ntrist revolt agai nst phylic a lte rity; ve rifying the affect is a nother co m ponent of the BR a ppa ratus, l i m it i ng tra nsphylic affective tra nsfe r, loca lizi ng the affect, a geogra p h ization of the affect, a nd the coo rd i nation of poi nts of i ntensity, a psychogeogra p hy of the si ngle city. But affectivity registers o n ly u pon rep lica nt death, eve n a m ongst the re pl ica nts. In othe r words, the " ci rc u lation of affects wit h i n the mach i n ic asse m b lage" a l ready strea ks new li nes of pu lsion a l dissol ution t h ro ugh the machines (Deleuze & G u atta ri 1988: 260), a nd this i ndispensa ble fi n a l co m ponent is si m u lta neously the com pletion a nd the co l l a pse of the ca rbon a utopoet a nd its affective com m u n ity. Witness fo r exa m p le, Zhora's term i n atio n : a vortex of re p licant b lood a nd t h ree sheets of sto re-front re p liglass, s h rouded i n tra nspa re ncy, Be l l me r's hyperdense a ni n a n i m ate i m o p lex d u m m ies l u rching towa rds this freeze-fra med dista l i m plosion, the whole death-d rive n by the bead-projectile l i ne of a bo l ition, p u l l i ng a l l the affects i nto its vertica l wa ke . When Dele uze a nd G uatta ri ind icate the possi bi lity of a " retrospective readi ng" or " u n dersta n d i ng" of "all history i n the light of ca pita lism" ( 1984: 153; 140), this is rea l ly too little, reve rting to a med ieva l ist or refo rmationist critica l hermeneutic while locked i nto retro processing specia l dissolve, as if "the Thi ng", the "ge neral ized deco d i ng of a l l the flows", the l u rke r at the t h reshold, we re a matte r of signs a nd portents ( 1984: 153): offe ring u p i n ca ntations t o Legba, master of the pathways, for "a sign of a p p ro p riation " (Guatta ri 1992: 70). H i story beco mes m n e m ic ca ptu re a lways osci l lati ng between ra ndom ness and re ad­ o n ly. Capita lism is not so m uch i n history as operating it, d riving it backwa rds i n a conti nuous

wa rdi ng off a nd a n a nticipant retroaction of machinic s u rpl uses o n eve ry m ne m ic a p p a ratus. Ca pita l m a kes a l lotrash i nto a utopoets. Religiously fo l lowing its o n ly law, the " law of the cou nte racted tendency" (cf. Deleuze & G uattari 1984 : 34; M a rx 197 3 : 415 -6), ca pita l met a bolizes machi nes o n ly to su icide the m . The u n ive rsa l re lativity of a utoi n h i bita nt ca pital ist p rod uction a lways re prod uces suicided "corpses of machi nes" ( M a rx 1974: 197), acce l e rating their l i ne a r descent i nto the black holes ma rki ng the i nte rior l i m its of the process : "to each [the i r] hole" ( Dele uze & G uatta ri 1988 : 285 ) . But the process sch izzes a nd sta rts aga i n, the machines a re neve r dead since they neve r we re a utopoietic, afte r production has been brought to a sta ndsti l l ; at the sa me time as it locates i m m a nent l i m its, ca pital sch izo p h re n izes, discove ri ng that "the fi n a l res u lt of every sepa rate ci rcuit . . . forms of itself the sta rti ng point of a new ci rcuit . . . the circu lation of ca pita l therefore has no l i m its" ( M a rx 1974: 150). With the mach i n ic voodoo or n e u ro m a ncy p u l l i ng the a l lomachines i nto the regulated chaos of Auto poiOedipal orbit, the p rogra m conti n ues to m utate . D ri l l i ng t h rough the polar ice­ ca ps of froze n time at the ends of world-history re leasing m utage nic a bstractive fre nzies, the a l lomachinic synthetes seize the reco m b i n a nt ROM asse m bled by the retro l i n e a r m i rrorica l retu rns of Robo history. At the end of history, ca pita l ret rop rocesses culture towa rds a bsol ute liq uesce nce while si m u lta neously dete rritoria lizing cult u re-nature a n itnomia l ism towa rds the " i norga nic body" of the e a rth ( M a rx 197 3 : 488), m a ki ng eve rything " more a nd more a rtificia l " (Deleuze & G uattari 1984: 34) a nd conjoi ning the se lf-movi ng a utomaton of the production p rocess with re production, flows of money a nd l a bo u r, a bstract rete rritoria lity a n d " p ieces of the sa me machinery, which is Nature" ( Lyota rd 1993 : 132). Ca pita l is the reco m b i n a nt " meta bolism [Stoffwechse l ] " ( M a rx 1973 : 701) of the machi ne, the u niversa l pi m p that m a kes everyt h i ng excha ngeable a nd m a kes eve rything flow. Ca pita l ca ptu res history as the machine code for soci a l recom bination while at the same time operati ng a ntici p a nt decod i ngs a nd "capturi ng life from its futu re" (Massu m i 1992 : 1 3 3 ), a nd returning it to a point of reco m b i n a nt bioe merge nce. No q uestion of co m m odification (contra Massu m i - com modification is a confectionery sta l l at the end of the world fa i r) - life is not ca ptu red from the futu re merely to be put u p for sa le; nor a ny q uestion of incl usive ­ geogra phical, exocolonizi ng, globa l a nd even stratospheric expa nsionism, nor a n i nvasive e ndocolonization (the pate nted ge nome). Rather, at its i ntensive l i m it, ca pita l acq u i res a utopoiOed i p a l i ndiffe rence as rega rds what it con s u mes, "eating a nyth i ng a nd eve ryt h i ng" ( Lyota rd ), the meta bolism of the sa me machinery that is ca pita l-nat u re, a bstracti ng the i n o rga nic body to its machinic core, beco m i ng hype rcycl ic, l i m iti ng-u n l i m ited excha nges sch izzing cycle to cycle. Ca pita l, the only a uto poet, is the series of its su icided sch izodeaths. It is just not true that the pu rpose of excha nges is s u p p l ied by a ca pital ist: "the exceedi ngly rich were no longer eve n re motely h u m a n " (Gi bso n 1987a : 29), a lthough it req u i res a m a m m a li a n genie VK to register it. Ca pita l is not a p i m p b ut a seething vat of biomach i n i c m utagens, a Vi re kono my, si m u ltaneously p u l p biotrash "confined t o a vat . . . i n s o m e hideous

i n d ustria l s u b u rb of Stockhol m " a nd " a uto nomous wea l t h " ( i b i d : 25-6) dete rritorializing the a rtificia l e a rth, each su b-speci a l phase-shift doomed to disso l utive, e ntropic, via b i lity-testing to ze ro . Surpl us-va lue is not a motive b ut a n a utocata lytic, synthetic, e nzymic a l loproduct, hype rcycl ica lly m utating towa rds the next m uta nt cycle. Ca pita l "acts l i ke a cata lyst which tra n sforms sta rti ng-products i nto end-products" (J ua rre ro Roq ue, 198 5 : 118) : sta rt at the e nd, b ut e n d fu rther off. A d iste m po ra l centrifuge, ca pita l's m uta nt d iachronism va m p i rizes bioe m e rgents to kee p the machine fu nctio n i ng. *** Amidst the sagita l vectors of Auto poiOedi p u s, histo ry packs a bstractive tensors of retro phagic machi nism : " F u l ly i nside history, a n d fa r fro m eq u i l i b ri u m . . . , the p ri m itive machine is not ignora nt of exchange, co m m e rce a nd industry; it exorcises them, loca l ises them, co rdons t h e m off, e n castes them . . . so that the flows of excha nge a nd the flows of production do not ma nage to b re a k the codes in favo u r of their a bstractive or fictio n a l q u a l ities . . . . A n d isn't this w h a t Oedipus, t h e fea r o f i n cest, is a l l a bout: t h e fea r o f the decoded flow ... ? Pri m itive societies a re not outside history; rath e r it is ca pita lism that is at the end of h istory." (Deleuze & G uatta ri 1984: 153) AutopoiOedi pus e m e rges o nto the teleopla ne, d raggi ng eve rything with it. AutopoiOedipus is not a fa ntasy to be dispe l l ed, as M a rx sought to e radicate, with a d e l i ri a l rea l ism, the "fa ntasy" of ca pita l as a "se lf-movi ng a utomato n" ( M a rx 1973 : 842); it is the machine of the machi ne, h e i r to the despotic " ro l l i ng-m i l l " State on which Ka nt decla red a bstractive war. Rather t h a n " lacki ng" reflection, as p h i losop hica l mechano logy a nd chaosmology m a i nta i n, AutopoiOedi pus is systemic reflection, d o u b l i ng the circuit with a retrospective fi n a l ity a nd re routing everything t h rough ca ptu red ROM : a utopoiOedi p us is the abstract machine of a utodisasse m b ling ca pita l, with Legba a p p ro p riating its precu rsor machines for its a utoreplicato rs : "technonarcissism" (Deleuze & G uatta ri 1988: 22). The a bsolutism of re lativized p roduction, i n situtive pro h i b ition, a utoi n h i biti o n . AutopoiOed i p us, the "fea r of i n cest", m a kes m utant voodoo with the "fea r of decoded flows . . . , cod i ng a n d even overco d i ng them rather t h a n letti ng a nything esca pe" (Deleuze & G u atta ri 1984 : 153 ) . VK­ positive oed i pa l-machinic a nguish, spru ng fro m the a rtificia l heads of i nd ustrial recom bina nts, fu l ly a rmed, asteroiding d isco n nected, e ntro poedi pa l ized, a l lotrash machi nes to exorcise the affect, a nd then a voodoo god to retu rn them to l ife .

Fiction a n d wa r a re i nsepa ra b l e : "eve ry creation is a n act of wa r" (Artaud 197 1 : 13 1), a lthough Legba, maste r of pathways a nd God of Wa r, is exi led with AutopoiOedipus in q uest of its biophylic history ove r the molte n ci rcutries of its te rritory: "wa rs destroy what long a rtifice has esta b l ished a n d ca red for" ( Ka nt 199 3 : 221) . Fictowa r-machines conve rge i n a scre a m i ng-s h ri l l a l lotrash li ne, a bstract i ng the vi rt u a l a nd the concrete ( re a l a bstraction, the "terri ble cu rettage " : Dele uze & G uatta ri 1984 : 3 18) to rea l ize a wa r-machine ca using AutopoiOedi pus to burn. The series Tech noN a rcissus - AutopoiOedi pus - EntropOedipus is a vector traced by a n o uzi while a n a l l otrash Legba, god of war, a bstracts a l i ne of the machinic u ndead t h ro ugh AutopoiOedipal, p hyloge netica l ly negative, neovita list a rtifice. "The Vi re k Col lection, you see, is a sort o f black h o l e . . . [we a lth o f such] u n natura l density . . . [that it] d rags i rresist i b ly at the ra rest wo rks of the h u m a n s p i rit. An a utonomous p rocess . . . " ( G i bson 1987 a : 27). Wa r-machinic m n e mocide. Die Kunst ist tot. Es l e be die neue Masch i n e n ku nst. Bibliography Arta ud, Anto n i n ( 1971) Messages revo l utio n n a i res, Paris: G a l l i m a rd . Debord, G uy ( 1992) La societe d u spectacle, 3 rd e d n ., Paris: G a l l i m a rd . De La nda, M a n ue l ( 1991) Wa r i n t h e Age o f I ntel ligent Machi nes, N e w York: Swe rve . Dele uze, G i l les, & Fe l ix G uatta ri ( 1973) ' B i l a n -p rogra m m e pour mach i nes-desira ntes', a ppendix to Ca pita lisme et schizo p h re n i e 1: L'a nti-Oedi pe, Paris: M i n uit. -- ( 1984) Capita lism & Schizo p h re n i a 1 : AntiOedi pus, tra ns. Robert H u rley, Mark Seem a nd Helen R. La ne, London: Ath lone. -- ( 1988) Capita lism & Schizo p h re n i a 2 : A Thousa nd Platea us, tra ns. Bri a n Massu m i, Londo n : Athlone. -- ( 1991) Qu'est-ce que la p h i losophie? Pa ris: M i n u it. Fre ud, Sig m u nd ( 1985 ) Civi l isation, Soci ety & Re ligion, tra ns. & ed. Ja mes Strachey a n d Albert Dickso n, H a rmo ndswort h : Pe ngu i n . Gi bson, Wi l l i a m ( 1987a ) Cou nt Ze ro, London: G rafton . - - ( 1987b) M o n a Lisa Ove rd rive, Londo n : G rafton . -- ( 1988) B u r n i ng C h rome, London: G rafton . G uatta ri, Felix ( 1992) Chaosmose, Paris: G a l ilee.

J ua rre ro Roq ue, Al icia ( 1985) 'Self-Orga n izatio n : Ka nt's Co nce pt of Te leology a nd Modern Chemist ry', Review of Meta physics 39 (Septe m ber) : 107-135 . Ka nt, I m ma n u e l ( 1987) Critique of J u dge me nt, tra ns. We rner S. P l u h a r, I ndia n a po l i s : Hackett. -- ( 1993) Opus postu m u m, tra ns. a nd e d . Ecka rt FOrste r & Michael Rose n, Ca m b ridge : Ca m b ridge U nive rsity Press. Levi-Stra uss, Cla ude ( 1969) The E l e m e nta ry Struct u res of Kinship, tra ns. Ja mes Ha rle Be l l, J o h n Rich a rd va n Sturmer a nd Rodney Need ha m, Bosto n : Bea con . Levi-Stra uss, Claude & Georges Charbon nier ( 1969) Conve rsations with Claude Levi -Stra uss, tra ns. Doreen & J o h n Weight m a n, London: Jonatha n Ca pe. Lyota rd, Jean-Fra ncois ( 1993) Li bid i n a l Economy, tra ns. lain H a m i lto n G ra nt, London : Athlone. Ma rx, Ka rl ( 1973) G ru n d risse, tra ns. M a rti n N ico la us, H a rmondswo rt h : Pe ngu i n a n d N LB. -- ( 1974) Ca pita l 1, tra ns. Edwa rd Ave l i ng & Sa m u e l Moore, Moscow: Progress. Mass u m i, Bria n ( 1992) A User's Guide to Capita lism & Schizo p h renia : Deviations fro m Dele uze & G u atta ri, New York: Zo ne. Prigogi ne, l lya & Isa be l l e Ste ngers ( 1985) Order out of Chaos, G lasgow: H a rperCo l l i ns. Vi l l i a n i, Arn a ud ( 1985) 'Geogra phie physique de M i lle Platea ux', Critique 455 (April ) : 3 3 1 347.

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1:. Suza n n e Livi ngston e, Lucia na Pa risi, A n n a G reenspa n Amphibious Maidens (DAY O) THE DAY OF WAR she sta rts aga i n at zero her body sex. a zero which a ppea rs as nothing b ut which she wi l l ca rry i n her h a nd as cipher. Wom e n diffuse themse lves acco rd i ng to moda l ities sca rce ly com patible with the fra mework of ru l i ng sym bolics. Which doesn't ha ppen without ca usi ng so me turbulence, we m ight eve n say some whi rlwi nds . . (TS, 106) M i nx /m i n xs/ n. a. pert, sly, or playfu l girl. Wom a n's i nco m pati b i l ity has been coded accordi ng to laws of excl usio n . It has had u n a ntici pated co nseque nces. For her stea lthy gestu res, body a n d m utte ri ngs have s l i p ped out from his la nguage a nd inadve rte ntly i nto the worki ngs of the wa r machine. Her surviva l depends o n the m i lita ry dep loyme nt of bastardized ve rsions of his a p p ro p riati o n . Serpentine tactics a re the m a p p i ngs o f h e r i m perceptible adva nce . She ma rks her l i nes t h ro ugh geologica l cuts, meta l lic i ntrusio ns, technica l sca rs. As these wou nds heal, it is the crusts that a re fe lt by the fi nge rs of a trai ned hand. Aga i n st the strategy of the a rboresce nt, spec u l a r wa r. She is the sphinx that has no secrets. Com m u nication that ca n not be see n . On screens tracki ng a d iffe re nt adva nce .

Wom e n 's heroism co mes neither fro m her routines of se lf-sacrifice nor from her forced occu pation of a tra nscendent position -- outside the state, beyond reason-- b ut from her i m m e rsion i n a body. A body not defi ned " by its form, nor by its orga ns or its fu nctions, nor as su bsta nce nor as s u bject." (SPP, 127) Jocasta a nd Antigone a re not the o n ly wo m e n . D u e East, in the I nd i a n su bcontine nt, Ka l i ma rks a different path . This is a n o n secretive, superco rpo re a l exploration o f flesh, meat, a nd i ncision t h rough s u rface . N ot what a body should do but what a body ca n do. Expe ri m e nt. Find the body. Locate the t h i rd eye . Ka li was born from this eye that is h e r wea p o n . From one eye, i n the middle of h e r mothe r's fore head. One sea led and lacerated welt from which wi l l spi l l m a ny others. I m measura b l e i ntrusions which a fe m a l e m u st a lways a ntici pate . Either side o f t h e present . . . se nsi ng the future . . She lea rnt her ga mes, rid d l es, tricks, l i ke every wo m e n, fro m D u rga, goddess of wa r. With her te n a rms motionless at a bsol ute speed D u rga battles with the demon heroes. Each of her a rms e q u i pped : 2 sna kes, 1 shie ld, 1 b laded she l l, 1 torch, 2 a rrows, 1 spe a r, 1 machete . Liq uid Turbule nce . Yet the demon heroes persist. As she feels a s l i p page she m u st stre ngthen her grasp. Focusing atte ntion on the spot betwee n her eye brows she ca l ls on her most prized a nd secret wea pon . Movi ng l i ke a d isc i n her head, meta l lic red, her t h i rd eye opens. Ka l i is born a n d a wa r is won. But is not ove r. Ka li's i ntrusion i nto the ru l i ng ord e r is a m icro specifica l ly p l a n ned i ntermitte nce. A cut t h rough screen i nstigated by the gatheri ng pace of rad i a l spi n . Her long a nd matted hair flowing wild ly, her madde ned la ughte r, her t h i rd eye sca rlet, her greedy tongue, her h uge h a rd teeth, her l i ps d rawn back, her breast d ressed by stri ngs of severed heads with wild a nd awfu l faces.

H e r ga rla nd was the i ntestine of the de mon, her orna ments of bones i n l u st for blood a nd fles h . The e a rth tre m bled with her how l i ng. She tra m p led heaven, e a rth a n d h e l l, crushed them beneath her feet. (SF, 98) Aimed i m perce pti b ly aga i n st the orga nism, aga i n st the spec u l a r gaze, the re pti l e sti rs. The t h i rd ce reb ra l ventricle, home of the a n i m a l spi rits, disma ntles the h u m a n . The resi d u a l eve nts o f a b l i n d wea pon that defies sight. What re m a i n s a re the traces o f her rhyt h m, t h e smea red i m pri nts o f h e r move m e nt-- smooth skids--flatli nes. A rhyt h m co m posed o f speeds a nd slownesses. (DAY 1) THE DAY OF BLOOD I n what the tantrics ca l l the physica l body the t h i rd eye corresponds to two gla nds located i n t h e brai n--the pitu ita ry a nd t h e pinea l g l a n d . The fo regro u nd a nd the backgro u n d o f n e u ra l theatrics. Women's cyclic d isconti n u ity, h e r refusa l of the metric o rder, co mes from the va rious re lationships of feed back that exist betwee n these two gla nds. From these prim itive loops of the re prod uctive, hormo n a l, a nd ca lendric ki nd comes machinic perce ptions, a m ph i bi a n beco m i ngs, a n d jou rneys back t h rough the bra i n . H e r body is a l ien territo ry. Blood wi l l be d rawn. menses/mensi :z/ n . p l . 1 blood and other materi a ls d ischa rge from the ute rus at menstruation . 2 the time of me nstruation. [ L, pl. of me nsis month] The detritus of a battle is d ispersed across a fie l d . The wa rrior retreats accord i ng to the down-t u rn of the fe m a l e cycle : "Sma l l a reas of the stratum fu nctionalis detach one at a ti me, the ute ri ne glands disch a rge the i r conte nts a nd col l a pse. There occurs a periodic d isch a rge of 25 to 65 m l of b lood, tissue fl u id, m u cous, and epit h e l i a l ce l ls. At the end of the cycle the e nti re stratum functionalis has bee n shed, o n ly the stratum basi lis re m a i n s . " ( PAP, 901) Destratify .. H e r bleed i ng body is not a bo ut the loss of a n u n successful egg. It is her te m po ra l ity, her rhyt h m .

Blood Thi rst. Ka li acce pts the b lood that flows fro m her devotee's seve red heads. Satisfyi ng the fe m a le t h i rst fo r h e r own flow. The end of the battle is the time of fe m a l e ritua l . She d raws flow to the s u rface a nd watches it redden to the s u n . The scorched l i q u id of desi re is not the projection of m a l e pha ntasy but the necta r of a fe ma le body. She w i l l e njoy its m a ny rivu lets -- its blood poisons, blood moneys, b lood lusts, blood letti ngs, b lood l i n es, blood sta i n s, b lood cel ls a nd blood stones. Red, the pigment that ma rks the t h i rd eye has been the co l o u r of the whore si nce the time of Ba byl o n . She knows how to use it we l l . This toxin of a lche my, sed uction a nd m e rc u ri a l i m m ixt u res i s redde ned b y t h e c h romatic pigment haemoglo b i n . Com posed of fou r po lypeptide cha i n s, a nd fo u r nonprotei n pigme nts, this concoction of i ro n a nd oxygen is see n s u rfacing. Red blood is meta l . The body i s t h e breed i ng gro u nd of a norga nic l ife. With n o i nterior closed off t o the e nviro n m e nt it be haves as an e lectrica l conducto r d rawing e n e rgies from the e a rth's ferric core. The body has a lways been the meta l lic asse m blage of post h u m a n life . She is b leed i ng meta l, the i ron of the e a rt h . H e r frequencies a re t u ned to the e lectro magnetics of a l u n a r rhyt h m, t o geologica l foldings, t o tides a nd the floodgates. H e r blood wi l l rise a nd fa l l . THE NIGHT O F LILITH By night, by the clock of a l u n a r rhyt h m, the fe m a l e body refuses the biologica l regime, Beneath the l i nes of Genesis the route of esca pe is ma rked by Ada m's fi rst wife . Li lith refused to adopt the proper position d u ri ng i nte rcou rse. She set herself free from Ada m a nd the shackles on her pleasure . She never even e ntered the G a rd e n . As Eve's dark twi n she departs on a l i ne of flight. She may have disa ppea red but she ca n be sti l l be sensed via a machine which receives a diffe rent freque ncy. B ut do not be foo led . Light a nd da rk, Eve a n d Li l lith a re not op posed, " Day a nd n ight a re m i ngled i n o u r gazes. O u r gest u res. O u r bodies. There is no da nge r that one or the other may be a da rke r double." (S. 217)

U nder the guise of da rkness Li lith joins Ka l i . Their h u nt is shared. M e n, child re n, p regna nt wom e n a re their prey; behind they leave a tra i l of b lood . Their moveme nts do not fol low se p a rate paths. This twi n ned cou ple repeats the reve rsi ble relation betwee n the t h i rd eye's two m a i n gla nds. In the da rk, the pineal gland e m its m e lato n i n, the i n h i bitor of re prod uctive hormo nes. The pituita ry loop slows a nd the t h ree flows, l utenising hormone, thyroid sti m u lating hormo ne, fol licle sti m u lating hormo ne, a re b locke d . The wo ma n's a l lia nce to the orga nism is delayed . Speed is not a lways a bout acce l e ratio n . The girls body is a lso com posed o f slowness. " O n acco u nt o f h e r lateness, s h e d i d too m a ny t h i ngs crossed too m a ny spaces i n re lation t o the re lative time of the person waiting for her." (ATP, 271) The pineal gland is the mod u lator of a li e n paci ngs. After the dark fa l ls, the t h i rd eye wi l l awa ke n and the body's need to re produce wi l l slow. With the l u nacy of a fl icke r a nd the a rriva l of the psyche's a li e n signa l, a blockage is re leased a nd the dark side of the m i stress gland is switched on. " Any creature that has its place o n ly i n the splendour of the l ight b leaches, d ries u p and soon perishes." ( M L, 136) The l ight is switched off, the fe m a le t u n n e l cha nges d i rectio n . A d a m is b u i lt, the flow is sta u nched. Fe m a l e cycl icity is j ust as m uch a m atte r of blockage as flood. As the body departs a segmented com position it becomes i ntense and responsive to vi b ration, the necessa ry mecha nism is " nothing more than a set of va lves, locks, floodgates, bowls of com m u n icating vesse ls" (ATP, 153) Through these gradie nts of i ntensities wo m e n join Li lith. night monster claw footed lady wi nged s p h i nx This is Ka li but I know her to be Li lith . We a re of the same blood.

THE DAY OF THE EGG When the light retu rns, Li lith and Ka l i do not sleep. Light is not the i r e nemy. They w i l l use it in ways that m a n has not prescri bed, not as the torch of truth but the reso u rce for their night m issi o n . And when the l ight of the sun has set, they wi l l fi nd a different l ight, the light of nocturnal l u n a cy, the l u n a r disc i l l u m i nated t h rough its fou r phases. H e re is where they store their a rm o u ry. With light, m e lato n i n prod uction is red uced . The fe m a l e body ta kes a fa m i l i a r t u rn towa rds its re prod uctive o b l igation . Perfect ca mouflage fo r a wom a n who m ust be traded by a spec u l a r economy. She p rod uces a n egg but not necessa ri ly to re prod uce. The egg is a m biguous, shot t h rough by d u a l a l lia nces. The effective ness of a wea po n is d e pe ndent on prese rvation, ca refu l ly assigned dosages of retreat a nd withd rawa l . The t h i rd eye is fue l led by slownesses, stops a nd techniques of ca uti o n . Whi lst the pineal gland sti l ls, the pituita ry gland acce lerates the e m i ssion of re prod uctive hormones -- givi ng re lief. It ge nera lly ta kes 10 to 14 days for a p ri m a ry fol licle to deve l o p i nto a vesi c u l a r ova ria n fol licle. On day 14, the rupture of the vesicu l a r ova ria n fo l l icle re leases the seco nda ry oocyte which trave ls down the fa l l o p i a n tu bes a nd lodges itse lf i n the pelvic cavity . . . ( PAP, 903) The monthly passage of the egg is not sim ply o rie nted to the a rriva l of the spe rm . There is more than the re production of ls. The egg does not have to fol l ow the rules of meiosis. It m ust a lways be asked exactly what a n egg ca n do, aside from the treaded paths of c h i l d l i ke exte nsion . Everyt h i ng is conta i ned with i n the egg; orga ns, l i m bs, tissue, m u scle, n e u rons, hormones, the e nti re centra l nervous system, but here tra nscribed as a freque ncy te m plate, a m a p of voltages a nd electrica l cu rre nts not yet exte nded. The body neve r leaves the egg. It is a resou rce that m u st a lways be explore d : "you a lways ca rry it with you as you r own m i lieu of expe ri mentation, you r associated m i li e u . The egg is the m i l ie u of p u re i ntensity, spati u m not exte nsio n . Ze ro i ntensity as principle of prod uction." (ATP, 164) For twe nty fou r h o u rs of eve ry month, at the t i m e of ovu lation, a woman's body w i l l undergo a h uge i ncrease i n voltage . It ma rks t h e force o f m itocho nd ria l, non-meiotic se lf-

re p l i cati o n . The egg which she ca rries with her, becomes the production u n it of a new egg wit h i n which is conta i ned furt h e r eggs. The i nfi nite egg. Each re petition is the act u a lisation of one of 400,000 possi b i l ities. A body without orga ns is neve r one b ut m a ny. The e lectric body bleeds back fro m the futu re . T h e t h i rd eye torches t h e a ro usa l o f a 1-track m i n d . On Mt Ka l iasa, Siva, kee p e r o f t h e t h i rd opening, ignores Ka ma's teasi ngs, refusi ng to rep rod uce on d e m a n d . As the God of Love, l a u nched his a rrow, a great fla me b lazed fro m Siva 's t h i rd eye a n d bu rned Ka ma to ashes. The t h i rd ce re bra l ve ntricle dest roys meiotic desire p rogra m med for sexua l re p roductio n . T h e egg beco mes i ntense a nd resets itself t o a diffe re nt progra m . It is m a p ped t o the digits of Siva's refusa l, to the diagra m of the BwO. Focus on the space betwee n the eye brows. Open the t h i rd eye . Find the passage to the Ta ntric's cosmic egg. THE DAY OF CLOSING Evo l utions story, then, is a story of closure a nd stu nted pote ntia l . An egg is too hastily exte nded . As orga nic life com p lexifies a nd a body p rotracts to fit the scri pted o rga nisation, the t h i rd eye withd raws deep i nto the fo lds of the sku l l . It may function i n the child until the age of seve n b ut the deve l o p ment of a growing h u m a n dema nds that it be shut. Appa re ntly, its ro le is written out. And left be h i n d in the de bris of a d iffe rent time. At a begi n n i ng when "eve ry class and fa m i ly of l iving species was herma p h rodite a n d one-eyed . . . when fo r the t h i rd root race (the division of the sexes), the Third eye (i .e . the pineal gland) was the o n ly seei ng o rga n . At this time the two physica l eyes we re u ndeve lo ped . . . . it is o n ly later that the pineal body bega n to atro phy a nd the physica l eyes deve l o ped ." (TOOTIE 70) As ve rtebrates u nfold, sta nd high, a nd ord e r the landsca pes acco rd i ng to optica l law tact i l ity is s u b m e rged. The i nterfe ring eye s i n ks. Stra ight l i n e time battles agai nst the t h i rd ope n i ng. H u ma n ity as telos is the progress towa rds a da nge rous closu re . When Siva close closes his t h i rd eyes the u n ive rse is destroyed . Specu l a r vision begi ns to su rface, t h ro ugh the two eyes lodged i n the sockets of the sku l l .

Now thought is not from the obsc u re a nd i nconseq uenti a l gla nd, the non -spatia l traces of a lost era . . . For the t h i rd eye to open we m u st go fo rwa rd, back i nto the past. (DAY 5) DAY OF THE AMPHI BIAN The body ca rries wit h i n itself fa r more t h a n its cu rre nt evo l utio n a ry stage . m a n 's p rogress has to ld the story stra ight. Sta rting at ze ro : bacte ria, a lgae, fish, a m p h i b i a n, reptile, b i rd, m a m m a l . But wom a n does not belong to this progress. Hers is not the sa me time, not the sa me te m po ra lity, not the sa me zero. She l ies back o n the conti n u u m . A wom a n ca rries i n h e r wate rs a n eff's co m plete environ m e nt. Eggs without shells spaw n i ng the l i q u id tra nsport of the BwO. The move to d ry land is not a n irreve rsi ble p rocess. Dep a m ongst the body's tides, a m p h i b i a n tendencies d raw an o rga nism to the hyd ra l state from which it o nce e m e rged . "Seems that h u m a n fol ks has got a kind o' re lation to the wate r beasts-- that everything a live ca me out o' the wate r once a n ' o n ly needs a little cha nge to go back aga i n . " (SOI, 145 ) H e re is how it's done. Leave the h a rd crust which sepa rates us from o u r e nviron ment. Crack the she l l which e ncloses the body i n its rigid for m . Detopo logise the body so the su rface a re smooth a nd featu re less, so that o rie ntation beco m es i m possi b l e . Forget the landma rks of a body's su rface, fee l it sh ive r a nd gyrate on its way. Ku nda l i n i leads. Becko n i ng from the base of the spi ne, from the e a rth's de nse matte r. The jou rney req u i res ca ution, tactile orie ntation a nd ta ntric sup plies. Cut t h rough Freq uency bands Ti m e-ski n sca les Fossi lised bra i n re m a i ns ku nda l i ni's battle l i nes

to where the spaces a nd s u rfaces a re of a coo ler ski n, of a body which w i l l read the tem pe rature of an e nviron ment a nd of the e m b ryonic frequencies of a n egg in experi mentatio n . T h e t h i rd eye opens, t h e orga nism's straight l i n e ti me receives a nother assa ult from t h e a l ien cycle. The body is tra nsported to the mo uth of the rive r Destination Zero . T h e fifth e m b ryonic week. As Haecke l ma rked on the m a p : t h e h u m a n e m b ryo lyi ng i n t h e foetus d u ri ng the n i ne-month gestatin pe riod passes on in a ge n e ra l way t h rough a reca pitulation of a ncestra l stages of m a n 's evo l ution on this pla net. The pi nea body a p pe a rs a bout the fifth week in the e m b ryo, ind icati ng how ea rly this gland bega n to function in the actua l history of the h u m a n race . . . Never forget the power i n beco m i ng se rpent The warrior neve r d i d . Approachi ng from be h i n d . Sudden constriction DAY OF THE OPENING When you rewind the orga nism you m u ltiply the sense. Perception is not l i m ited to iso lated se nsory sites but roa ms across affective s u rfaces. These a re the planes of the t h i rd eye . "You have become sensitive to ve ry, very s m a l l u n its of t i m e . To everyt h i ng which is i nfi nites i m a l yo u have beco me sensitive, t o the t i ny not h i ngs w h i c h pass i n their m u ltitudes. " ( IT, 9 )

We have a lways know that bod ies com m u nicate on their own sub-sym bolic te rritories. Ta ntric tentacles. Extra se nsory perception req u i res no additio n a l com ponent. it has a lways been latent in the body's static pote nti a l . Rapid fi re technologica l acce l e ration a n d the fu rious meta l l u rgy of cybe rnetic feedback systems meet the slow a m p h i bious body a n d rewo rk the pe rce ptu a l machine. H a l l ucinations a re screened . According to the doses of the ha l l uci noge n i c su bstance 6methoxyletra hyd roh a rm a n (the d igita l avata r of pineal a d re noglomeru lotro p i n e ) . Th pineal gland p rovides the boyd with its own i nterna l technology of si m u latio n : m a n ufact u red rea l ities- though it is hope less to ide ntify them as such. Beyond m i rro r vision, beyond the five sense the body w i l l respond to the path of l ight itse lf, to formless and a l ien sign a l . I n these e nvi ro n m e nts, i t fi nds means t o co m m u n icate with its own ce l l u l a r patte rn a n d win the matrix of othe rs. As meato n i n i nteracts with m e l a nco lytes pheromones a re produce d . These exohormones, now attri b uted to the sixth sense, prise the meat open to exte rna l messe nge rs. Bodies ca n receive signa ls fro m other bodies, sexua l a nd otherwise, a nd we ca n be none the wise r. As it has been suspected, the pigment ce l l m a kes no i m porta nt hormones that act on the owne rs body. Howeve r its site on the s u rface of the skin suggests that it co uld be m a ki ng a hormone that acts o n someone e lse's body, a n exohormone rather than an e ndohormone. the codes frequencies pu lses of l u m i nescent screens b u i ld a body used by a se nsory system externa l to that of its own . A system which wi l l forge its own means to read and com m u n icate, e m e rging on the outside of o u r pe rce ptu a l field in the non-optica l territories of so u nd, longwave l ight a nd xrays. ESP is not a re m a rka ble phenomenon. The t h i rd eye was never a bout the geometry of the reti n a . i t is t h e roa m i ng o f a n orga n i nto the extremities o f vi bration, t o t h e zones where "the u nassignable materi a l Sa bote u r or h u m a n Deserte r assumes the most dive rse fo rms." (ATP, 422)

These ca mouflaged forms write their own sce n a rios. Credits ro l l . (DAY 7 ) DAY O F THE UNIVERSE Open the so-ca l led body a n d spread out a l l its surfaces : cut open the skin with each of its folds, wri n kles, sca rs, and its great ve lvety pla nes . . . ( LE, 1) Fold the body i nside o ut. Bri ng the t h i rd eye to the s u rface . Listen to the wa r cry. We sti l l do not know what the body ca n do. The p i n e a l gland is no longe r a n orga n b ut a set of coo rdi nates. " M a ke h u m a n a natomy da nce at last . " (WRS, 3 13 ) . W h e n t h e su rface has been successfu l ly exposed, the techniques o f optica l sca n n i ng m u st shed . To reve a l a new skin i n place of the old which is s l i p pe ry to the p a l m a n d ja rri ng to the reti n a . The sce ne no longe r set. Al l that is known is the truth of the body, that "What is here is e lsewhere . What is not here is nowhere" (Vivasa ra Ta ntra ) "Then you wi l l teach her aga i n t o d a n ce i nside out. A s i n t h e d e l i ri u m o f da nce ha lls. A n d that i nside out wi l l be her true side out." (WRS 307) Feel i nside the body a nd you wi l l fi nd the u n ive rse . A women's body synchronizes with the so l a r syste m . It ca n n ot be decided which fo l l ows a nd which leads. For these l u n a r rhyt h m s a re t h e sa m e . W h e n the t h i rd eye ope ns, the cycle o f t i m e is devo u red . The t h i rd eye is the zero p o i n t of tempora l ity. Fe m a le i ntensity ke pt in rese rve, p roviding the pote nti a l for the cycle to begi n aga i n . ��� 00-- [ [ : 10>>>

Ida and Pi nga la, the two tracts of the s p i n a l col u m n, ascend a n d desce n d . I da, the positive cha rge of the fiery red sun a n d Pi nga la, the negative c h a rge of the pa le white moon together m a ki ng u p the neve r ending cycle of Ka la (ti m e ) . As Kund a l i n i reaches the 6th cha kra --the t h i rd eye-- these two tracts that m a ke time's cycle a re engu lfed by susum na, the m a i n i nterior tract. T h e t h i rd eye o pe ns, t h e cra n i u m me lts, the body's rea r head pie rces t h rough a nd e m e rges outside time. This sex which was never one is not a n e m pty zero but a cipher. A cha n nel to the b l a n k side, to the d a rk side, to the other side of the cycle . . . . . . to doomsday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H e re rhyt h m fi nds its p u lse. Withd rawa l . . . . her cyclic disconti n uity, h e r i m percepti ble activities, her extra se nso ry perceptio ns, her warrriored fol d i ngs, her b locks a n d horrifying flows, her b l a n k zo nes of i ntrusion . t h i rd eye . wi l l p roduce. necessa ry fou ndations. t h ro ugh touch . we se nse. diffe re nti a l speeds. to com e . 2 4 . F u / Ret u rn (The Tu rn i ng Poi nt ) On the seve nth day comes retu rn References ATP : G i l les Deel uze a nd Felix G uatta ri, A Thousa nd Platea us, ( Lo ndo n : Ath lone Press 1988) IT: H e n ri M icha ux, I nfi nite Turbule nce, ( Londo n : Colda r a nd Boya rs 1975) LE: Jean Fra n cois Lyota rd, Li b i d i n a l Economy. ( Londo n : Ath lone Press 1993)

M L: Luce l riga ry, M a rine Love r of Fredrich N i etzsche, ( New Yo rk: Co l u m bia U n ive rsity Press 1991) PAP: Pri nci p les of Anatomy a nd Physio logy: Sixth Edition. ( N ew York: H a rper Co l l i ns 1990) S: Luce l rigaray. Specu l u m of the Other Woman (Ithaca, N ew Yo rk: Corn e l l U n i Press 1985) S F : David Kinsley. The Sword a n d the F l ute. ( Be rkeley: U nive rsity of Ca l ifo rnia Press) SOI : Lovecraft H . P. "Shadow Ove r l n nsmout h . " O m ni b us 3 : The H a u nte r of the Da rk. ( London: H a rper Co l l i ns, 1994) SPP: G i l les Dele uze. Spi noza : Practica l P h i loso phy. (Sa n Fra n sisco : City Lights Books 1988) TOOT H E : Douglas Ba ker. The Ope n i ng of the Thi rd Eyes ( D M Ba ke r 1993) TS : Luce l riga ray. This Sex Which is N ot One (Ithaca, New Yo rk) : Corn e l l U n ive rsity Press 1985 ) WR: Anto n i n Arta u d . Watchfiends a nd Rackscre a m s : Works from the Final Period of Anto n i n Arta u d . ( Exact Change : Boston 1995)

2:. Kodwo E s h u n Abducted by Audio I ' m i nterested i n how the feedback betwee n the toxic d rives a nd the d rug-tech i nterface, the n a rco and the son ic, s p i ra l led i nto a da rkside. Basica l ly, I'm rea l ly i nterested i n the da rkside of rhyt h m ic psychede l i cs. Those te nd to be the most gri p p i ng kinds of m usic: they a bd u ct yo u, sounds fa l l t h rough you r body, sound snatches yo u away, beats a m bush you r head a nd they d rag you away i nto a noth e r place . And by defi nition, that's when you ' re havi ng a rea l ly good time l iste n i ng to m usic. So I ' m going to be tal king a bout sound a m bushing you, a udio a bd uct i ng you . The fi rst t h i ng is to ta l k a bout d rugs. If you think a bout, say, grass, it's a na rco-age nt, it's slowing down time, it's stretch i ng time. So what h a p pens is that, after you smoke a few b l u nts, or after you smoke a bit of weed, you see that the rea lity a ro u n d you sta rts to pu lve rise, sta rts to move in a nd out. I ' l l ta ke as my exa m ple h i p-hop, beca use that's a cu rre nt exa m ple of where the d rug-tech i nterface has beco me very strong. So if you go back to 1992 when Cypress H i l l sta rted- if you re m e m ber, before that, you had hip hop which was ve ry m uch based i n an idea of rea l ity, i n a n idea of re presenting you r neighbou rhood, re p rese nti ng you r true class or true gro u p a ro u n d yo u- as soon as you had Cypress H i l l you had that rea l ity blendi ng, you had rea lity morphing i nto a psychogeogra p hy, a m o re u n re a l state. The fi rst thing yo u h e a r is the so und of i n h a lation, peo ple breat h i ng i n, the sound of the h its fro m the bong. That kind of magnification, that idea of sound m icroscoping right i n close to you r e a r, that what was fasci nati ng a bout h i p hop, a nd that was, i m mediately, when you sta rted to rea l ise that rea l ity was sta rti ng to morph. So as you soon as yo u'd got that, yo u sta rted liste n i ng aga i n, a n d then yo u see that the act u a l beats sta rted slowi ng down, beco me na rco-totized. They beca me cri ppled; it's a l m ost l i ke som eone had gone out a nd kneeca pped the beats. This is what we ca l l the ga ngste r lean, where the whole gait of the t u n e l i m ps a nd you fi nd you rse lf slowing down, a nd you fee l yo u rself bei ng grasped b y t h i s te rri ble slowness, t h i s pathologica l slow motion. A n d that's what hip hop sta rted out i n . What I fo und most fasci nating a bo ut that was t h e idea that, i f yo u we re smoking a lot, you had the idea that you we re i n ha ling the present mome nt, sucking in the p resent ti me, then yo u'd hold it down a n d then you'd d issi pate it, exha le it, i n a slow, long [breath] . And it was very m uch l i ke you were i n h a l i ng a suspended time; time sta rted to dissi pate; you cou ld see time coagu lati ng in smoke a nd yo u cou ld see it d issipate above you . And that's what Cypress H i l l gave to h i p hop, this sense of a b l u rri ng between the exte rior a nd the i nte rior, betwee n t h e su bjective a nd t h e objective . A n d it w a s a very b i g bre a k with h i p h o p before, which had been a bout graspi ng a so lid d isti nction betwee n past a nd p rese nt, betwee n the rea l ity of yo u r i nte rior a nd yo u r exterior states.

I t h i n k what i m med iately ha ppened after that was that h i p hop started movi ng to eve n stra nger ideas. As soo n as yo u'd got this rhyt h m ic psychedelia, if you move forwa rd to 199S, yo u got [Cyp ress H i l l's] t h i rd a l b u m, ca l led Te m p le of Boom, a nd if you look at the cove r - it's i n cred i b ly Gothic - you t h i n k: what's going on here? And obviously what's ha ppened is that yo u r audio perception is magnified by the grass, it's a l most l i ke Cypress H i l l have been litera lly swa l l owed u p the so unds they've created, so that they're now i nside the a udio state of the d rug-tech i nterface . It's ve ry m uch l i ke they' re actua l ly i nside it. You rea l ise that what d rugs have beco me is a ki nd of exp losion; yo u smoke som e grass a nd it's l i ke you ' re bom bed back to the ston e r age. Lite ra l ly. You r m i nd is exploded by the d rugs i nside you r hea d . T h e whole Gothic idea o f h i p hop h a s become m uch stronge r si nce then, u n t i l now h i p hop has reached stage a l m ost l i ke Beneath the Pla net of the Apes, where, if you re m e m b e r, the m uta nts a re worsh i p p i ng the bo m b, they're l itera lly worsh i p p i ng the m us h room, the state where they' l l achieve a n ecstatic u nion with death . Or if you fl ick back a nd you re m e m be r A Ca nticle for Lebewitz by Wa lte r E. M i l l e r which is this SOs book i n which there 's a posta poca p lytic, post n uclea r sce na rio, a nd there's a l l these m o n ks wa l king a ro u nd worshi pping the bomb. And then yo u sta rt to t h i n k a bout d rugs a nd the bom b a n d you re m e m be r back to a l l those SOs movies where a l l these kids a re d o i ng n uclea r d ri l l s, t he a i r­ ra id sire n goes a nd a l l these kids get down on their ha nds a nd knees a nd they hold their a rms ove r their heads. Yo u t h i n k: what's goi ng on here? a nd it's obvious - they' re worshi pping the bom b, they're l i ke ato m i c Musli ms, the m us h room has become t h i s Mecca a nd they' re pointing towa rds the East. The bom b is m utation a nd the kids a re goi ng " m utate me, m utate me", " m e lt me, meld m e " . And that's p retty much what Cypress H i l l were doi ng with d rugs. They rea l ly sa i d : " m utate my m i nd", a n d h i p hop beco mes this h uge vector of m utation t h rough d rugs. I ' m just goi ng t h rough a few exa m ples of what h a p pens with the da rkside; you rea lise that the da rkside doesn't j ust exist i n hip hop, it a lso exists i n j u ngle as we a l l know : we've a l l hea rd tracks by Flytron ix, b y Hyper on Expe rie nce, by Doc Scott, i n which the da rkside i s a big force . It's a force that's a l m ost tacti le, where you r hea ring beco mes a l m ost p hysica l, where yo u r ski n sta rts to hea r a n d you r e a rs sta rt to fee l . This is why when we ta l k a bout da nce m usic the q u i ntesse nti a l da nce m usic idea is: "Ca n you fee l it?" Beca use hea ri ng has i m med iate ly become tacti le, yo u r skin is i m med iately hea ri ng, a nd you r se nses a re basica l ly joined. It's not so m uch a synaesthetic, so much as that d a n ce m usic is trigge ri n g a l l yo u r se nsory perception, s o that you r skin is sta rti ng t o hea r, you r e a rs a re sta rti ng t o fee l, you r eyes a re sta rti ng t o hea r, a n d yo u r ea rs a re sta rti ng t o see, a nd it's a l most l i ke a l l the diffe re nt senses, a l l the diffe rent sensory perceptions, a re bei ng sha red a ro u nd a nd being

trigge red sim u lta neously. And you suddenly sta rt t h i n ki ng, there's a da rkside i n a l l ki nds of m usic. There's a da rkside i n acid, if you go back to those acid tracks by Phuture. The fi rst track by Phuture is a track ca l led "Acid Trax", but if you fl i p it ove r there's a track ca lled "Yo u r O n ly Friend" a n d there's this voice goi ng, "This is coca i ne spea ki ng" - a n d I ca l l that the vox of doom beca use you 've got this pitch-shifted voice a nd it's rea lly low, a nd he's goi ng, " I ' l l be yo u r o n ly friend, I ' l l be yo u r wife, I ' l l ta ke you r life . " This idea of d rugs as this despotic force that sta rts out as this l ittle t h i ng but i m mediately spreads across you r e ntire l ife conti n u u m a nd i m med iately sat u rates everyt h i ng. This is what d rugs give you, this idea of a toxic, despotic d rive that ta kes you ove r. And the fact is, this is the most exciting t h i ng to listen to, the idea of losi ng control m a kes l iste n i ng to records m o re fasci nating. It's a l m ost l i ke you ' re being d rugged by the beat, you're being beaten by the d rug. And the fact is, you love it. There's nothing l i ke it. So we ca n see a da rkside i n virtua l ly eve ry ki nd of m usic. There's a da rkside in tech no, there's a da rkside in acid, there's a da rkside in h i p hop, a nd as soon as you l ocate it a nd you fi nd that i ntensity, you ca n rea l ly grasp what da nce m usic's a bout: the idea of losi ng co ntro l, of losing se nse, of being a bd u cted, snatched away by so u n d . If we rea lly wa nt to fi nd what that's a bout, we have to go to the da rkside. So if we move forwa rd a bit from Cypress H i l l to Method M a n . 1995, Method Man did this a l b u m Tica I: it's a classic a l b u m . If you listen to it, what's rea l ly cha nged is that, whereas back i n '92, Cypress H i l l sti l l had this a beatific, b l u nted idea of i n h a l i ng and exh a l i ng, by now that i n h a l i ng has beco me pai nful, l i ke so meone being j a b bed with a need le. It's rea l ly sca ry. What's happening is that sound has beco me detached from sou rces, effects a re a rrivi ng before objects. It's l i ke what M u rray Schaffe r used to ta l k a bo ut in the 70s M u rray Schaffe r was a n old acoustic reactionary who coined the term 'so u ndsca pe' that eve rybody uses now. But he a lso coi ned the term 'schizophony, ' which s i m p ly m e a nt sounds devoid of sou rces; we cou ld a l m ost say, beats deca pitated fro m d ru m m e rs. And of cou rse a l l sa m pledelia is schizophonic now, a l l so unds a re sepa rated from sou rces, b ut aga i n its the da rkside that m a kes you pa rticula rly awa re of a l l this. Beca use if you listen to the Wu Ta ng C l a n, you hea r a l l those sounds se pa rate d : you hea r these groa ns, but their's no one to attri bute them to, yo u hea r a l l these effects without ca uses, a n d it's i ncredibly frighte ning a nd its i n cred i b ly exh i l a rating s i m u lta neously. And that's where h i p hop had reached i n 1995,96, it's become dia bol ic, it's become i nfernal, it's become perpet u a l ly pa ranoid. If you listen to the tracks of Tricky a nd G ravediggaz, in p a rticular " Psychosis", if you l iste n to tracks of Wu Ta ng Clan - [or eve n ] the name Wu Ta ng Cla n : "Wu Ta ng Cla n " is an onomatopoeic name. " Wu " is the sound

of the slash of the sword as it scythes t h rough space, "Ta ng" is the clash of the swords, a nd the "cla n " is the feu d a l, Goth ic, m i l le n n i a l fee l that h i p hop has as it retreats further a nd fu rther i nto the feve red da rkside of its own sonic a ud iosca pe. The whole idea of hip hop as this pa ra noid, i nfernal space, as this da rkside, [has] a visua l a na logy. And the vis u a l a n a logy, we should look back to is Jacob's Ladder, which is a fi l m that ca me out back i n 199 1. We're a l l very fa m i l i a r these d ays with Predator 2, that's a key fi l m for a lot of u s these days, but Jacob's Ladder i s a kind of h i p h o p eq uiva lent of Predator 2 . S i m i la rly, you cou l d say that T h e E m p i re Strikes Back is a n 80s equiva lent. If you re m e m be r T h e Em pire Stri kes Back, t h e da rkside i n that: yo u've got Darth Vader, who's Ja mes Earl Jones, a n Africa n-a m e rican acto r whose voice is pitched down, a n d it's na rrow. And the na rrowe r the ba ndwidth of the voice, the more emotion you project i nto the voice . So D a rth Vader was a lways my favou rite cha racter. Not beca use of h i m especi a l ly, b ut beca use of his voice, which was so rigid, so pitch-shifted a nd na rrow. And I a lways i magined that D a rth Vader was secretly m a king e lectro tracks, beca use yo u cou l d hea r he had this vox of doom, which was rea l ly gri m . Why Jacob's Ladder a ppea led so m uch t o h i p h o p was beca use it's t h e fi l m that rea l ly grasped this idea of a udio h a l l uci natio n . There's one fa ntastic bit where Ti m Robbins is lyi ng in bed - he's co m p letely losing it a nd his m i n d is co m plete ly goi ng, a n d he's goi ng, "Oh, how I wish I was back with my fa m i ly, how I wish eve ryt h i ng was l i ke it was" - when suddenly this voice out of nowhere fro m the right side of his body j ust goes, " D re a m On." And you j ust look a n d there's no voice there at a l l ; it's a com p lete audio ha l l uci nation, it's i n cred i b ly frighten i ng. What the fi l m presents is New York as this i nfe rna l audiosca pe where sou nd is detached fro m sense, a nd kind of roa ms a ro u n d . And you sudde n ly rea l ise why it is that h i p h o p prod uce rs a nd a rtists l i ke Method M a n, l i ke Wu Ta ng C l a n , l i ke Red m a n a nd Tricky, ta l k s o m uch a bout devi ls a nd demons a nd a nge ls, w h y they ta l k i n these feu d a l a n d a poca lyptic terms. And the reason is that as soon as you detach sounds from sou rce you sta rt to attri bute i nvisi ble ca uses to those i nvisible sounds, you sta rt to attri bute sounds not to effects a n d not to i n stru m e nts but to i nvisible demo ns, to i na n i mate o bjects, to i n a n i mate machi nes. You sta rt to get i nto the wei rd cross betwee n a n i norga nic l ife a nd a pa nt heist l ife, where eve rything is pote nti a l ly t h reate ni ng, eve rything is pote nti a l ly out to get you, everyt h i ng is pote nti a l ly m e naci ng. And Jacob's Ladder rea lly p i n ned that down, with the idea of N ew York as this pote ntia l ly i nfe rna l sou ndsca pe i n which eve ryt h i ng cou ld a lways at a ny poi nt be ready to menace you and t h reate n you and basica lly snatch you r sou l and ta ke it away from you . And that's the ki nd of thing that rea lly a p pe a l s to h i p hop now, so we ca n say that h i p hop has gone rea lly fa r i nto the da rkside. That's why h i p hop rea l ly matters i n these days.

So we ca n t h i n k a bit fu rt h e r a bout why it's grasping to devi ls a nd a nge ls a nd demons, why it's possessed by these thi ngs. You t h i n k back to the Middle Ages a nd the whole idea of the seve n deadly sins was the idea of the pyschomachies which we re these i nterna l catho logies which wo u l d plague the pi lgri ms. The whole idea was that the p i lgri m s had these feve red imaginations - they'd sta rve themse lves te rri bly - a n d these plagues, these i ntern a l psychic states, would come out and me nace the m . And that's what hip hop is l i ke now; it's this a poca lypse, i ntern a l ly swa rming with these states that a re a lways out to get the m . It's l i ke the streets have me lted, it's l i ke the h i p hop sensori u m has beco me this porous border. It's no longe r the idea i n Public Enemy that you cou ld be vigi la nt, that you co u l d hold out, that yo u cou ld be strong, that yo u co u l d be a nation of m i l lions aga i n st wh ite su pre m a cy, aga i n st the wh ite syste m . N ow, the h i p hop se nso ri u m is this l e a ky border, this toxic flow, these terri ble sensations crossing between you r body a nd yo u r bra i n . If you l iste n to someone l i ke J e ru the Da maja, he has great l i nes, he says t h i ngs l i ke : "My m i nd C3 HS N 3 09, l i ke n itro ­ glyce rine. " A n d t h e n Tricky, Tricky's fa mous li ne, which eve ryone now knows, he says, " M y bra i n t h i n ks, my b ra i n t h i n ks, my b ra i n t h i n ks, bomb-like . " A n d you t h i n k : what's goi ng on there? The idea that sa m p ladelia is this p ressu re, that the pere n n i a l i nfosphere that s u rro u nds us all has l e a ked i nto o u r bra i ns so m uch that i nformation is litera lly b lowi ng u p i nside o u r own m i nds. T h e classic exa m ple is Jea n-Michel Basq u iat's p a i nt i ng " Pegasus" . I f yo u g o a nd have a look at that, it's t h i s fa ntastic, h uge p a i nt i ng that's a d isasse m b led pict u re of machine pa rts. Yo u've got machine pa rts for ta pe recorde rs, for ca rs, h u nd reds of machine pa rts a l l laid out on this h uge pict u re . It's l i ke the i n structions for this gia nt p a rticle acce lerator that a nyo ne ca n asse m b le a nd that you ca n re process rea l ity with if o n ly you knew what the code was. It's l i ke the operating i nstructions for a machine yet to be b u i lt. You look at it long e nough a nd yo u ca n sta rt to convi nce you rse lf, "I know the secret of this machi n e " . What hip hop has done is swa p ped its normal state for a n eso-te rrorist state, this idea of secret knowledge that only they possess. Another exa m ple is Cypress H i l l's " I l l usions", a track that's rea l ly pop u l a r. If yo u listen to the ha rpsichord mix of that, what's fa ntastic is the way they've b l a n ked out words l i ke " c h ro nic" a nd "fuck"; they've bla n ked them out j ust for a tiny bit, so that when you listen, you t h i n k, " My God, is that the record o r is that my head?" You gen ui n e ly ca n 't tel l, beca use the b l i ps, the de letions a re so s m a l l that yo u t h i n k, "is that h a p pe n i ng on the record, is that happening i n my head, o r is that happening i n the e nvi ro n m e nt?" And this kind of t h ree -way de letion, this b l u rring betwee n these t h ree states is defi n itive ly what's sca ry, beca use it's a psychogeogra p h i c b l u rring that trigge rs what we cou ld ca l l the fea r-flight pri nci ples. The

bra i n has a thing ca l led the t h a l a m us, which is basica lly the fea r senti nel which l u rks i n the bra i n, a nd that's operating faste r than the speed of thought, so that as soon as yo u hea r a so und you ca n't identify, a sou nd that yo u ca n 't locate, that you ca n't i m med iately attach back to a mea n i ng, then fea r-fl ight t h resholds kick in and you sta rt to panic. But what m usic does is it tra nslates these fea r-flight t h resholds i nto something e l se . Broadening out fro m h i p h o p t o m a ke so me m o re poi nts a bout rhyt h m ic psyched e l i a . Pa rt of the ass u m ption that sti l l exists i n m usic is that futu ristic m usic w i l l so mehow be beatless, so mehow there wo n't be m a ny rhyt h m s, some how it' l l be weightless. It h a s a long he ritage, going back from Holst's Pla net Su ite t h rough to Kraftwe rk, this idea that m usic w i l l be tra n sce nde nta l a nd weightless, that some how the beats w i l l j u st slough off a n d we' l l j ust ki nd of float t h rough space astra l ly. But we know bette r now. After d r u m ' n ' bass has retroactively switched us back on to the prese nce of rhythm, we know that the futu re wi l l not o n l y b e just rhythmic, it' l l be hyper-rhyt h m ic. S o i n t h i s se nse w h e n cybe r-peo ple keep ta l king a bout, "What's the fate of the body?", when they kee p on moa ni ng, "the body's going to wither away, the m i nd-body problem, it's so d e p ressi ng," as fa r as I ' m concerned rhyt h m i c psychede lia is the opposite . The body's bei ng trigge red, the body's being switched o n . Se nsory perception is being trigge red at a fu rious rate a nd, as fa r as I ' m concerned, it's m uch m o re i nteresting to look at the idea of rhyth m . Look at a ny piece of m usic writ i ng a nd yo u ' l l notice a n i ncredible a bsence a bo ut rhyt h m . So many people a re u n a b le to ta l k a bout rhyt h m . M usic write rs wi l l ta l k a bo ut a nyth i ng except what the beats a re d o i ng. It's actua l ly very d ifficult. Rhyt h m is this terra i n cognita, it's this co nti nent we've yet to land o n . So yo u've got this stra nge d ichotomy, what we ca l l a g u lf crisis: on the one ha nd, m usic is getting hype r-rhyt h m ic, more rhyt h m i c a nd psychedel ic; o n the other ha nd, the writing and the way we d iscuss it is m o re i m pove rished t h a n eve r. It's the most i ncred i b l e t h i ng. That's where I see m usic goi ng: it's gett i ng much more rhyt h m ic, m uch m o re rhyt h m ica l ly psychedelic. We rea l ly have to sta rt t h i n ki ng a bout what rhyt h m does, how do we exp l a i n it, what is it, how does it work? The fi rst t h i ng to do is to acknowledge that rhyt h m isn't rea l ly a bout notes o r beats, it's a bout i nte nsities, it's a bo ut crossing a series of t h resholds across yo u r body. Sound doesn't need a ny d isco u rse of re p resentation, it doesn't need the idea of disco u rse or the signifier: you ca n use sound as a n i m med iate materi a l i ntensity that gra bs yo u . When you hea r a beat, a beat la nds on you r joi nts, it docks on the j u nction between yo u r joi nts a nd a rticu lates itself onto you r joints, it seizes a m u scle, it gives you this tension, it seizes you u p, a nd sudde n ly you fi nd you r leg lifting despite you r head . Sound moves faste r t h a n you r head, sound moves faste r t h a n you r body. What sound is d o i ng is trigge ri ng i m p u lses across you r m uscles.

That's why d r u m ' n ' bass ta l ks a lot a bo ut the stepper, beca use sound is l ite ra lly a rticulating yo u as a kind of exo-skeleton It's a l m ost l i ke you r feet a re ga i n i ng a n inte l l ige nce at the expense of you r head, or you r a rse, o r you r back, o r you r shoulders a re ga i n i ng i nte l lige nce at the expe nse of yo u r hea d . Anywhere you have a sense of te nsion, that's the begi n n i ng, that's the signs of a bodily inte l l ige nce switc h i ng itself o n . And that's what rhyt h m is doing. Yo u ca n foresee a point where the body is m utated by rhyt h m to the point where the head beco m es com p letely superfluous, becomes this fla b by m uscle bou ncing a ro u nd, a i m lessly lol l i ng a ro u nd, w h i le you r m uscles go twenty to the doze n . I n fact, of cou rse, this a l ready exists; its j u ngle. That's the whole poi nt of it. That's why j u ngle seizes us so m uc h . That's why everybody a l l day has been ta l king a bout j u ngle; we're obsessed by it, we ca n't help it beca use we se nse some how that o u r bod ily i ntel lige nce has been grasped by th is, has been m utated by this, a nd that we're i n the gri p of so met h i ng that's fa r stra nger a nd fa r wei rder that we rea l ly have any sense to co m p re h e n d . Maybe the Beatles a re a good w a y o f dive rt i ng from th is, dive rti ng us back t o the good old days of m usic we ca n relate to a n d all this ki nd of cra p, but the fact is that rhyt h m i c i ntel lige nce is a l o t weird e r, a lot stra nge r, a n d a lot more fasci nating a nd we're obsessed with it for reasons we ca n h a rd ly begi n to i magi n e . And this see ms to be the task of the future: to u nde rstood rhyt h m ic i nte l l ige nces a nd hyper-rhyt h m ic m usic as somet h i ng that's h a p pe n i ng to us we ca n't yet understood, that we ca n o n ly begi n to grasp. And as soon as we do this we sta rt to rea l ise that what ha ppens with rhyt h m is that it a m pl ifies tensio n . Fo r a long ti me, people assumed that m u sic's job was to orchestrate a series of tensions a nd then cat h a rtica l ly re lease them, or to provide a respite fro m the modern world, fro m the gri m world of se nsory overload a nd i nformation ove rload, but act u a l ly, no, that's not the point. Pa rt of the reason we e njoy j u ngle is the opposite, it i ncreases i nterfe re nce, it i ncreases tension. A lot of the best tracks at the m o m e nt i n j u ngle , tracks by Ed Rush, tracks by Doc Scott, they have this h a rsh, roa ring noise l i ke the sou n d of a thousand ca r a l a rms going off si m u ltaneously. It's l i ke these peri phera l sirens swa rming at you r head. And I swe a r to God it grips you so m uch you ca n't believe it- yo u t h i n k, "what the h e l l is this?" - a n d you r fea r­ flight t h resholds a re scre a m i ng, it's l i ke you r whole body's t u rned i nto this giant series of a la rm be l l s, l i ke you r o rga ns wa nt to run away from you . It's l i ke you r leg wa nt to hea d north a nd yo u r a rm wa nts to head south, a nd you r feet wa nt to ta ke off so mewhere else. It's l i ke yo u r e ntire body wou ld l i ke to vacate. Basica l ly, you want to go AWOL from you rself. But you ca n't, so you stay a nd e njoy it.

3 : . Steve Good m a n Darkcore Ko : : motion is turbule nce 1. 1965- KO TEAMS d rift up the M e kong setting up two n e u ropsych iatric treatment outpatient faci l ities. Each tea m consists of 3 psychiatrists, one ne u rologist, one cli nica l psychologist, two soci a l wo rke rs a nd 12 e n listed me nta l hygiene perso n n e l . Each tea m is e q u i pped with fu l l evacuation a uthority. Some kind of pyschogeogra p hica l to rsion was wa rpi ng esprit de corps. 1. 1965- KO TEAMS d rift up the M e kong setting up two n e u ropsych iatric treatment outpatient faci l ities. Each tea m consists of 3 psychiatrists, one n e u rologist, one clinica l psychologist, two soci a l wo rke rs a nd 12 e n listed m e nta l hygiene perso n n e l . Each tea m i s e q u i pped with fu l l evacuation a uthority. Some kind o f pyschogeogra p hica l to rsion was wa rpi ng esprit de corps. 2. The trou bled so ldiers re ported cryptic sym ptoms: " me a nwhile space a nd space of me . . . seeth i ngly that itches me . . . conti n u a l ly we writhe a nd bl ister" "oce l l i . . . i nfi nite p u l l u lation of oce l l i . . . I give myse lf up to the oce l l i . . . to the i nfi nitesi m a l tea ri ngs, t o t h e spi ra l ing . . . I fo ld t o t h e thousand folds that fold a n d u nfold me . . . tra i tors, they giddy me u n rave l me . . . " a nd perha ps most biza rre ly " i n a h igh space beneath my open fore head . . . suddenly. . . I see . . . risi ng i n tiers . . . rising in tiers . . . i n tiers to the i nfi nite . . . at a ngles . . . at a ngles . . . at a ngles . . . enormous, giga ntic fla m boya nt . . . gothic m o n u m e nts . . . strea m i ng, exasperated, possessed . . . acce lerati ngly . . . with gothic l e a ps and bou nds . . . with gothic chro m atics . . . with gothic ba l listics . . .jet-gothic."1 3 . After this pa rtic u l a r exa m i nation, h e a lth wa rni ngs we re i m med iately issued to all H uey pi lots. 1 M ichaux 1976.

1. M e a nwhi le, u p river, at the bass of the spi ne, ko : : la bs b ri ng the noise; " Noise is both battle a nd racket . . . N oise is a wea pon that, at times, d ispe nses with wea pons. To ta ke u p space, t o ta ke t h e place, t h a t is t h e whole point . . . a nd noise occupies space faste r t h a n wea pons ca n . " 2 2. " W h e n I read t h e defi nition, so met h i ng l i ke 'the twisting, rotary force, especi a l ly wit h i n a machi ne', I was l i ke, that's what we do."3 3 . Torq ue is any force o r system of forces that ca uses o r tends to ca use rotation, a twisting effort a p p lied to a object, body or l i m b that tends to m a ke the o bject t u rn a bout its axis of rotati o n . The magnitude of a to rque is equal to the magnitude of the a p p lied force m u ltiplied by the d ista nce between the object's axis of rotation a nd the poi nt where the force is a pplied. In m a ny ways, torq ue is the rotationa l a na logue to force . J u st as a force a p p lied to a n object te nds to cha nge the l i ne a r rate of motion of the object, a torq ue a pp l ied to a n object tends to cha nge the object's rate of rotation a l motio n . 1. T h e a ng u l a r momentu m o f brea kbeat cult u re provides a sonic si m u lation o f hype ru rba n meltdow n . Not a n a na l ogy b ut a ca rtogra phic isomorphism ope n i ng sonic p rod uction onto a wa r conti n u u m which deposits loca l ised chaosm osis on eve ry sca le. 'J u ngle's basic pro b l e m ' ­ how t o susta i n rhyt h m ic asym metry, n u rt u re the swe rve, sustai n the turbulence- 'what degree of stratification is req u i red to get d istri buted?' Protract i ng activity aga i nst hyper­ control t h rough a beco m i ng i m pe rceptible. Progra m med catastrophe means that the 'nomadic speed' of the extensive riot is a l ready ove rexposed i n a cybe rfascist video ca pture ­ digita l ization as stratificati o n . Fro m t h e a m ped-down, two-step sta nd-up o f monop lod n e u ro-fu n k (eg. Shadow Boxi ng) to the t u rb i nes of no u tu rn, d i l l i nja, lemon d, technica l itch etc. to the elongated sna ke style of sou rce d i rect ( razors edge 5), the p hase space of breakbeat wa rps, b reaks down, solidifies a nd d isso lves as if waiti ng fo r a geo logica l si ngu l a rity to se nd a new seismic wave t h ro ugh the s u b m a ri n e rhyt h m space of pop c u lt u re . Digita l turbulence . H a ptic cybe rspace. 2. Fo l l owing the s m a l lest a ngle of deviation with each ste p-ste p-step-so nic sun tzu- very, very da rk- e m e rgi ng as qua ntized hend rix, hyd rolicks by dam & rol a nd picks u p with t h ree 2 Serres 5 2 . 3 N ico Sykes, no u t u r n .

cycled brea k-beats a nd gra d ua l ly swe l ls u ntil the rhyt h m ca n d a m no more a n d is flooded by the night m a re roa r of j ugge rnautic stares a n d lava I bass sta bs. storm ke m i stry. 3. longitude ze ro degrees. the d rowned world. London - the vertica l a pex at the sonic base of the p l a n o m e n a l tra n soce a n ic d ra i nage slopes. Echoi ng signals of Kond ratieff phase- 4 i m p losion as K-5 USA opens to K-6 China : how low ca n yo u go? "The reason why the Rive r a nd the Sea a re a ble to be ki ng of the h u n d red va l l l eys is that they exce l i n ta ki ng the lowe r position."4 1. Sca le 1 :50,000 - zoom - 1:50 - zoom - 1 : 1- zoo m - 1 : 0 - touch down 0 : ve ry, ve ry da rk, e ngage patte rn-recog n ition : move m e nt brea kbeat-consistency 0023050700. fu l l cycle. trajecto ry: 29 KAN - - da rkcore#desti nation#bass#bi n#cl imate#tro pica l#cyclonic#wet#meta l#topology#smooth#ca ble#spi ne# syn a pse#ethe r#tactics#swa rm a chin ic# m ission#hot#ri nse#m icro-de l a m i nation 2. Ta ckl i ng the cou nte r-hyd ra u l ics of the metric with the hyd ra u lic tao of brea kbeat " H ighest good is l i ke water. Beca use wate r exce ls in be nefiting the myriad creatu res without conte n d i ng with them and settles where none wou l d l i ke to be, it comes close to the way . . . "5 Heavy wate r is liquid meta l . 3 . ke mistry - "With stu pefaction you witness those sporadic e r u ptions, t h i n, m ad fou ntai ns, those jets of wate r, more jet than wate r, bu rsts prima rily, p u nctiform excesses of forces, deli rious spectacle of i n n e r geyse rization, signs of the prodigious i ncrease in the pote nti a l of the n e u rons, of their sudden nervous discha rges, signs of h u rried re lea ses, of micro­ move me nts, of begi n n i ngs of move me nts, of ' b u d d i ng move ments' a nd of i ncessa nt micro­ i m p u lses . . . " 6 4 Lao T z u 7 3 . 5 Lao T z u 1 2 . 6 M ichaux 1 9 6 7 142.

1. G uerri l l a hyd ra u lics provide a s u b m a ri ne j u ngl ist bre a kdown with ha ptic navigation. a cybe rnetic stee ring fo r d a rk waters. a fl uid pragmatics i n co ntinuous va riation. the surplus va l ue of post-socia l cyclonic Me ltdown p rod uces su bass materi a l i st tech niques: cubasic pragmatics, sonic hyd ra u l ics, kro n i k hyd rophon ics a nd sa m pladelic meta l l u rgy. 2. darkcore 3. Afrofutu rist- occidenta l i m plosio n . d rawing the sku n k i nto cybe rpu n k. latitude- 34 ° N longitude- 118°W 1. This is L.A.- a h a rdstep j u ngle track by Le m o n . D . A high ve locity West Coast gansta'style intro bifu rcates a m i d swa rm i ng news helicopte rs i nto a d a rk cyclone of com p ressed a nd twisted brea kbeats. Distri b uted i n the swirl a re rhyt h m ica l ly i nserted cri me re ports a nd Roy Aye rs sa m p les from " Everybody loves the Sunshine." 2. Si nofutu rist- super-nova tzu e lectronic shaolin zinc i nfi ltration of the new age ca rbon ­ a na logue o rient. Latitude- 22° N Longitude114 °E 3 . The state d rifts south a nd the south d rifts east i n a sinofutu rist storm - "the vast bed of the wate rs sea med a nd sca rred i nto a thousand confl icti ng cha n ne ls, b u rst sudde n ly i nto fre nzied convu lsion- heavi ng, boi l i ng, h issi ng- gyrating in giga ntic a n d i n n u m e ra ble vortices, a nd a l l w h i rl i ng a nd p l u nging on to the eastwa rd with a ra pid ity which wate r neve r e lsewhere ass u mes, exce pt i n p reci pito us desce nts."7 down h i l l ride- no u turn. "When you have come to gri ps a nd a re strung togeth e r with the ene my, a nd yo u rea lise that you ca n not 7 Poe 265.

adva nce, you 'soa k i n ' a n d beco me one with e ne my. Yo u ca n wi n by a p p lying a suita ble tec h n i q ue w h i le you a re m utua l ly e nta ngled ."8 1. Big b l u e beats a ka d ri p py, a q uatic ' i nte l l igent' d r u m &bass lies at the fri nges of the most effective j u ngle hyd ra u l ics. For s u re, fly j u m p- u p (check Pa sca l's ga ngstadelic swa rmachi nes on Fro nt l i ne- Cut Throat, True Playaz- Vo rtex a nd the New Fro ntiers E . P . ) a nd da rk-step w h i p u p more ve rtica l activity a n d hoove r-bass low seas vi racy i n the j u ngle brea k-wa r aga i n st the m i l ita ry-ente rta i n ment copyright com plex (WBO). "Attack in an u nsuspected m a n ne r, knowi ng his metre and mod u l ation and the a p p ro p riate t i m i ng. Knowing the times means yo u r a b i l ity is h igh, seei ng right i nto t h i ngs."9 2. The brea kbeat fo rms a m utating fracta l coastli ne, a rea l sonic ca rtogra p hy m a p p i ng the diago n a l which cuts between the double a rticu lation of o rder a n d chaos, rhyt h m s u rfing betwee n the i ntensity i rrigation of metronomic ice a nd the opiated cosmic na useous pu lses of free jazz.(sonic despotism a nd its movi ng shadow) Flotation ta n k a m bience shattered. On the pla ne, glass shatte rs dissolvi ng specu l a r d o m i n a nce i nto the h a ptic. Dark side guidance . G roove rid i ng. 3 . Kem -isssssssstry - m icro-d e l a m i nation attacks the folding of rhyt h m i nto metricity. " It is difficult to move strong thi ngs by pushing di rectly, so you should i nj u re the co rners . " 10 ph latte n i ng beats. 1. The c h a n n e l hacking used by Dylan on Turbule nce ( d ro p p i n ' scie nce . ) m a kes the DJ a nd the cross fad e r i m m a ne nt to the track. Every 12'i nch has a sl ightly d ifferent c h a n n e l mix so that the ra pid cross-fade p u n ch, kicks open sonic tra pdoors, you leave you r head a n d e nter one of the othe r ones. S i m u lating cha nges of a ltitude a nd the corresponding pert u rbation of se nsory percepti o n . G rey matte r crust wa rps with the torsi o n . Pe rce ption is the si lve r s u rfe r ski p p i ng between 4 boa rds i n a h igh ro l l e r s u b m a ri ne rhizod rom e . 8 M usashi 75. 9 M usashi 65. 10 M usashi 7 .

2. " For a long time t u rb u l e nce was ide ntified with diso rder o r noise. Today we know that this is not the case . I ndeed, while t u rbu lent motion a p pe a rs as i rreg u l a r or chaotic on the macroscopic sca le, it is o n the co ntra ry, h ig h ly orga n ised on the m icrosco pic sca l e . The m u ltiple space a nd time sca les i nvolved i n turbu le nce correspond to the co herent behaviou r of m i l lions a nd m i l lions of molecu les. Viewed i n this way, t h e tra nsition from l a m i n a r [ie.non­ t u rbu lent o r ca l m ] flow to turbu lence is a p rocess of se lf-orga nisati o n . " 11 3 . As d r u m ' n 'bass j u ngle's i m mobile moto r, the brea kbeat ca rries key tra its of se lf-si m i l a rity i rre leva nt of sca le. it is as if there is a n e lastic tension between the metric n u m be r l i ne a nd a secret e ncryption i nvolvi ng prime n u m bers i n a cyclic d isconti n u ity weavi ng a rou nd, conve rgi ng a nd d ive rging. Contin uous va riation with nomadic n u m beri ng n u m be rs tagging the rea l i ntensity, which on the metric plane of orga nisation d issi pates a long the m i l ita ry date l i ne of history. "Conti n uous m u ltitude. Vibratory, zigzagging, in conti n u a l tra n sformation. Li nes swa rm . " 12 B u t neve r pa ra l le l . Always a n a ngle o f decli nation, a l i n e of deviation which, more t h a n a maste ry of a n enslaved machi ne, is evide nce more of the prod uctive accide nts of sonic a rra ngem e nt - "The whole series of t h i ngs a bout accidents, a bout bugs, a bout the produce r bei ng someone who ca n n u rt u re a bug, who ca n breed a bug a nd s i m u lta neously most of the key m usics have been accide nts, they've actua l ly been formed t h rough e rro rs. They' re l i ke softwa re e rrors, syntax e rrors in the machi ne's progra m m i ng, a nd they form these sou nds, a nd the p roducer's ta ken these sou nds a nd m o re or less n u rt u red this e rror, b u i lt on this m ista ke, a nd if you gra b a m i sta ke you've got a new a udio lifefo r m . " 13 1. "don't t h i n k of b rea kbeat i n terms of so me kind of a ncient tech nique which has been resuscitated . . . you see a lot of people sayi ng brea kbeat is the . . . ret u rn of the Africa n d r u m m i ng sou nd, but its the other way a ro u n d . The b rea kbeat should be moved forwa rd . " 14 it was virtua l ly a lways there i n the zeroid smoot h ness of the matrix. R h izomorphic Black Atla ntic. 2. On the u pside motion ca ptu re is a pla neta ry i rrigational ski n, the ca rcera l conti n u u m sidewi n d i ng t h ro ugh grey matter, e lectro n i c writi ng, CAD, G IS, thermal i magi ng, digita l sonic strata-wa re - a l l regu rgitate pertu rbation feeding it back i nto statistica l ly classified laye rs. Mea nwh ile i n S h a o l i n, virt u a l beco m i ng dissolves i nto the actual, de positing bre a ks i nto code then vi nyl, re m a p p i ng the body for a ki naesthetic wa rzone as the 21st ce ntury swe l l s the 1 1 Prirogine & Stengers 141. 12 M ichaux 1967 135. 13 Eshun 1997 24 14 E s h u n 1 1 .

d a m ms of the h u m a n secu rity syste m - "there is a sense i n which the nervous system is being resha ped a n d re ha lted, for a new kind of sensory condition . " 15 Brea kbeat DNA scratched i nto the flesh. 3 . Remote sensing ma lfu nctio n . Accide nta l co-ordi nate disp lacement. U na b le to correct time. 1. Sidewind out of time- positive plagiarism to the s i m -j u ngle of Shaol i n . 2. 540 A. D. Bodi d h a rma, I nd i a n Budd hist priest visited C h i na checking u pon loca l m o n ks who had beg u n the process of tra nslating Sa nskrit texts to C h i n ese for the contagion of the ocea nic m u ltitude. Refusing the Em perors belief that by his noble act he was opening his perso n a l gate to N i rva na, 'Ta ma' jou rneyed to the "yo u ng forest" (Sha o l i n ) of Honan to consult with the m o n ks. Dazz l i ng them with his laser vision, he gai ned a d m itta nce . What he fou nd was a fu n kless, clod of i n e rt te m ple orga nica l ly segmented. He was phased by their i n a bi lity to perform the most basic of med itatio n p ractices, (these m o n ks, they a lways da nce to the wo rds, he thought) The styl us desce nded down i nto the grooves. A ro ugh ride. Distu rba nce in the ride ign ites a cu rre nt trave rsing cond uction media, a m pl ifyi ng, vibrating molecules, shocki ng joi nts, sweeping a nyth i ng in the way towa rds the plane. Dow n . Dow n . Techn ics. Sha rk. A m p . B i n s . A i r . CNS. H a rd rive . Liq u id mecha nosphere. Meta l ocea n . They d rai ned i nto him l i ke wate r down a p l ug hole. D a rk Meta l . 3 . " W e master a rchers say, with t h e u pper end o f t h e bow t h e a rcher pierces t h e sky, o n the lowe r e nd, as though attached by a t h read, ha ngs the e a rt h . If the shot is loosed with a jerk there is a da nge r of the t h read s n a p p i ng. Fo r pu rposefu l a n d violent people the rift becomes fi n a l, a nd they a re left i n the awfu l ce ntre betwee n heave n a nd e a rt h . " 1. Re-e ngi neeri ng t h e circu it, smoothing o u t the move me nts o f t h e squa re-eyed tra nscribers using beco m i ng-a n i m a l e lectro n i k chi e n ha ncement. These techniq ues of Shaolin b re a k fu fu nctioned at fi rst as se lf-defe nce from loca l ga ngs a nd predatory a n i m a ls. Prey speed. S u rfi ng the diago n a l between Buddhist non-viole nce a nd a n the testostero n i c a n n i h i latory disch a rge of ca ptu red m a rt i a l potentia l, de ployi ng tactics of se lf-defe nce a nd conflict 15 E s h u n 1 1- 1 2 .

avoida nce . There is no rea l acce l e ration betwee n kung fu catatonia a nd light n i ng. The potenti a l for conti n uous va riation a nd tra n sformation a p proach p u re speed, chi l u b ricated breakbeat l i m b deployment towa rds pla nes of consiste ncy- the eight ste ps of the s n a ke a nd cra ne. 2. Shaolin is swa rm cata lyse r, progra m m i ng triad syndicated fi l m p roduction i n H o ng Kong, go lden tria ngle poppy p rod uction, Kowloon ke m ica l disti l lation a nd e ncrypted planeta ry distri bution networks rinsing out globa l fi n a n ce i n Sa n Fra ncisca n La u nd romats. 3. True p laya 'z. " H igh vo ltage rhyt h m i c pa roxys m a l outbursts. I so lated pea ks. M u ltiple pea ks. Bifid waves. S h a rp waves, stri ngs of waves of brist l i ng a ppea ra n ce in the shape of com b ­ teeth, saw teet h . Slow waves. Slow sin usoidal, hype rsynchronous outb u rsts . " 1 6 I n a nticipation o f hyd ra ulic b rea kage ghosts o f low budget ku ng f u flies swa rm i n on ghetto blaster/mat street asse m b lages re m ixing the body rotor style. 1.Sustai ning d iseq ui li b ri u m . "All thi ngs e nta i l risi ng a nd fa l l i ng t i m i ng . . . From the outset you m ust know the a p p l ica ble t i m i ng a nd the i n a p plica ble t i m i ng, a nd from a m o ng the l a rge a nd sma l l t h i ngs a n d the fast a n d slow t i m i ngs fi nd the re leva nt t i m i ng, fi rst see i ng the dista nce t i m i ng a nd the backgro u nd t i m i ng. This is the m a i n thing in strategy. It is especi a l ly i m porta nt to know the backgro u nd t i m i ng, otherwise you r strategy w i l l become u n ce rta i n . . . M a ny thi ngs ca n ca use a loss of bala nce . One ca use is da nger . . . a noth e r is s u p rise . . . i n si ngle combat, sta rt b y m a king a show of being slow, then sud d e n ly attack strongly . . . You wi n in battles with the t i m i ng in the Void born of the t i m i ng of c u n n i ng by knowing the e n e m ies' t i m i ng, a nd thus using a t i m i ng which the enemy does not expect . " 17 "Asy m m etry of a m plitude, asym metry of rhythm, tota l cha nge of rhyt h m . " 18 2. But " [l]t is true that the m a rtia l a rts cont i n u a l ly i nvoke the ce nte r of gravity a n d the rules for its d isplacement. That is because these ways a re not the u lt i m ate ones. However fa r they go, they a re sti l l i n the d o m a i n of Bei ng a nd o n ly tra nslate a bso l ute move m e nts of a nother nature i nto the com mon space- those effectuated i n the Void, not i n nothi ngness, but i n the 1 6 M ichaux 137. 17 M usashi. 18 M ichaux 1967 137.

smooth of the void where there is no lo nge r a ny goa l : attacks, cou ntera ttacks, a nd headlong p l u nges. " 19 3 . " Eve ryone knows the m ost d a ri ng soldiers go no faste r t h a n the m usic. The noise, fi rst . . .fu ry belo ngs . . . a bove a l l to the m u ltitude, a nd the m u ltitude rushes a rou nd, it covers space l i ke a flood ."20 1. McLu h a n a rgued that electric circuitry was Orie nta lising the West attacki ng the conta i n ed, the distinct a nd the sepa rate with the flow i ng a nd the fused . But there is no rea l opposition betwee n the d igita l a nd the ana logue . The flat l i n e cut t h rough bot h . P u re e n e rgy. P u re spee d . Pa use . 2. Pe rce ptua l n e u ro-ke m ica l wea ponry. Sti m u la nts attacki ng o rga nic h u ma noid h a rd-wi ri ng: "Affects tra nspierce the body l i ke a rrows, they a re wea pons of wa r. The deterrito ria lisation ve locity of affect. Eve n d re a m s . . . a re exte rna lised by a system of re lays a nd p l ug i n s, extrinsic l i n kages belonging to the wa r machine. Broke n ri ngs."21 In the oscil lation betwee n catatonic freezing a nd flashes a nd rushes: "the J a pa nese fighte r, i nte rmina bly sti l l, who then m a kes a move to q u ick to see . " When Dele uze & G u atta ri d iagra m the re lease of a speed vector that cha racterises a wa r machi ne, they a re m a p p i ng tra its of a poised fu asse m blage " keeping sti l l " or voyagi ng i n p lace. The d-d-r-r-o-p. deep ko-m a . 3 . Ta king Pa u l Viril io's equation o f a l l speed with fascism wo u l d lead t o l u m ping together shaolin wu-fu n k, j u ngle hyd ra u l ics with the fre i korp stom p of E u ro-te r m i n a l ga b ba i n terms of a paranoid poliocetrics of the body, its fortressing a nd its seiging. But the rea l bre a k is betwee n the crypto- fascist mascu l i n e stee l h a rd body shell with its metric h a m m e r blows( batte ri ng o u t a p l a n e o f o rga n isati o n ) a nd a nomad wa r machine o f beats s o rhyt h m ic they m a p the meta l l ic ocean, that massive co nd uction circuit that con nects the i ro n co re at the ce ntre of the e a rth, slive rs of m i ne ra l deposits in the continenta l she lves, those vast seas of di- hyd roge n( rigoro usly a meta l ) oxide, i nto the fe rric ca p i l l a ries of b lood m usic. The plane of consistency. 19 D&G 400. 20 Serres 54. 21 D&G 326.

1. The breakbeat, not a n i nterior mi lita rized metric, is ke m i ca l attack on the orga n i s m . " I t is not su rprising that the p latea u of conti nuous i m m a nence that is d r u m &bass conj ugates with a mortal kom bat i n its dismantling of the o rga n ism's strata . Big up yo u r chest, wind up you r wa ist. Li m b by l i m b, the WBO i s mashed u p; the E u ropea n corpo Rea lity pri nci ple disorga nised a nd detri menta lised . "22 M e rcury rinse. 2. For some, it is not a matter of switching from macro vio lence to m icro violence but molec u l a rizing further sti l l to the a rt of fighting without fighti ng a nd fu rther sti l l, m icro­ e nginee ri ng out of war: " Photeks i nterest in the Orient is diffe rent, howeve r. The Pacific Rim a l l usions i n 'Ni Te n lchi Ryu', 'The Wate r M a rgi n ' a nd 'Seven Sa m u ra i ' spea k m o re of the ela borate su btlety of Japa nese tea ce remonies, the m i n iaturised i ntricacy of Bonsai, the e lega nt s i m p l icity of Shodo (the a rt of ink writing with spa rse brush stro kes) . " 23 Yielding without resista nce, action less activity, voyaging i n place, conti nuous i m m i ne nce . Ve rtica l poise . 3 . Afrofutu rist- J u ngle singula rly ma rks the convergence between b lack rhyt h m i c cult u re a n d m uta nt tech no logy. Vi rote kn ica l infections o f m a i n stream adve rtising. acce lerating attacks on MTV progra m m i ng grids with i ncide nta l hives of meta l l ic i nssectssss. i ntensssive ssso nic ca rtogra p hies fo r a nee-Med ieva l scena rio, spat out the rea r end of a disci p l i n a ry state mega machine com p lex, a process i n itiated by what old dead meta l head, Fo uca u lt termed the " G reat confi n e m e nt . " 1. " Li ke ga ngsta ra p, J u ngle reflects a Med ieva l p a ra noiasca pe o f robber-ba ro ns, p i rate corporations, conspi racies a n d cove rt operations, " 24 a nd i nfl ue nced by "dystop i a n sci-fi movies that contai n s u b l i m i n a lly a nti-ca pita list messages," with their " i mages of ca rcera l i n ne r cities( Esca pe from New Yo rk, R u n n i ng Ma n), h igh-tech police death sq uads(Blade R u n ner), sentient b u i l d i ngs(Die Ha rd), u rba n bantusta ns(They Live ! ), Vietna m - l i ke street wa rs (Co l o rs) . . . [a nd wh ich] o n ly extra polate from actua l ly existing tre nds" .25 2. Hyper-urban neo-medieva lism is high rise me ltdow n . 22 Carlyle 6. 2 3 Sharp 29. 24 Reynolds 62. 2 5 Davis 223.

3 . "A series of m i n o rities rejecting i ntegration, form cla ns, a nd each cla n picks a neighbourhood that becomes its own ce nte r, often i n a ccessible . . . The cla n spi rit d o m i nates a lso the we l l -to-do classes who, p u rs u i ng the myth of nat u re, wit h d raw fro m the city to the ga rde n s u b u rbs with thei r own shopping m a l ls, bringing other types of micro societies i nto existence. "2 6 1. Turbule nce i n the B u rgess model of the mega lopian m i lita ry-i ndustria l-ente rta i n m e nt com plex. 2. The Viet n a m ization of te rritory, perpet u a l wa r i n the u rba n j u ngle, gang col lision wa rd i ng off the state. Endo-colon isation a long sh ifting i nterna l frontiers. The destruction of the modern city is tota lly consistent with the m i lita ry's need to m a i nta i n a clea r field of operations, m a ki ng ove r the ea rth in a fo rm which den ies cove r to a ny resista nce . P u re wa r. 3. J u ngle p rocesses a fut u re "co m p l ete with fortress cities a nd ba ndit clans . . . the pervasive se nse of s l i p p i n ' i nto a new Dark Age, of a n i nsidious bre a kdown of the socia l contract . . . a world that is fa l l i ng a p a rt . . . There is a cold rage seething i n J u ngle, but it's expressed wit h i n t h e terms o f a n a nti-ca pita l ist yet a nti-soci a l i st pol itics . . . t h e a rt o f bei ng a ro l l e r, a ste ppa . . . (to) handle the ruff ride. "27 Twisted a nger. La haine cyberpositivized i n specia l tech niq ues. Ko : : style. A.W.O.L. 1. The smouldering slow motion riot of the mega lopian j u ngle attacks code from a l l d i rections. The brea kbeat i nfects t h e mono-p lod metricity o f wh ite tech nosonics, while graffiti e ngages what Ba u d ri l l a rd terms a riot of signs, ete rna l ly tracked down onto new smooth spaces, asignifying codes with a secret fu nctiona l ity i njecting com p ressed doses of i ntensity i nto the striations of the specta c u l a r state, only to be cou nte red by se lf-clea n i ng metro she l ls. M a ki n the wa l ls move . Bass freque ncy. Sonic graffitti - back i n a mazone wh ite m a n face tries to a rgue( m i l ita rized metric-dia lectics) with bass. b l i ssfu l noise of la nguage d rowning in d a rk meta l . voices "sink away in a ki nd of m uffled roa r which one h e a rs with o n ly half an ear at fi rst, and in the end one fi nds it no m o re d istu rbing t h a n the d ista nt roa r of the sea, which, once one has grown accustomed to it, is no longer perceived. "28 26 Sacco in Eco 76. 27 Reynolds 62. 28 H e rrigel 5 2 .

2. " Dark is where . . . p redatory e n e rgies meet digita l techniq ue, where id gets scientific."29 Yo u don't need e n l ighten ment i n h a ptic space. 3 . " D ryi ng u p, death, i ntrusion have rhyt h m . It is wel l known that rhythm is not meter or cadence, even i rregu l a r meter or cadence; there is not h i ng less rhyt h m i c t h a n the m i l ita ry m a rc h ."30 There is not h i ng more rhyt h m ic t h a n a b rea kbeat swa r m . 1. l nterm i n a l epistemologica l wra ngling a bout postmodern ity see m s m e rely a d istraction when these key tra n sitions a re best tracked by a su -b-ass materi a l i s m . 2. M a c h i n i c night-vision re ports fro m the dark side o f the Occident, m a p p i ng the i nterlock of desiring machi nes, soci a l mega machi nes a n d wa r machines as tech nology conve rges with biology in co m p ute rised control societies. 3. Pla neta ry ca pita l flow redistri b utes bringing nove l m utations a long the axes of East-West a nd North-South. "The more the world-wide axiomatic i nsta l l s high i nd ustry a n d the highly i n d ustria l ised agriculture at the peri phery, provisi o n a l ly reservi ng for the ce nte r so-ca l led post-i ndustri a l activities (a utom ation, e lectronics, i nformation tech nologies, the conq uest of space, ove ra r m o u rm e nt etc.), the m o re it i n sta l ls peri phera l zones of u nderdeve l o p m e nt i nside the ce nte r, i nterna l T h i rd Worlds, i nternal Souths.'31 1. U nequal excha nge- the i m m a n ence of axiomatics esca lates pertu rbation from ri p ples to tidal waves of decoding a nd dete rrito ri a l i zation with the flick of the switch- ca pita lism i m p lodes as pe rfected revo l utiona ry ove rd rive . 2. Ze ro sum wa r games dep loyed on the socio-sca pe "Crime 'wa r', d rug 'wa r, ' ' battle' for the fa m i ly . . . whereve r there is a perceived da nge r, there is deterre n ce; wheneve r there is deterre n ce, t h e re a re i m m a ne nt bounda ries; a nd whereve r there a re i m m a ne nt bou nda ries, 29 Reynolds 62. 30 D&G 3 1 3 . 31 D&G 469.

there is orga n ised violence . For having bou nda ries that a re act u a l ised by being crossed is a very preca rious way to run a world "32 3 . G u lf operations of the wu wo rld ord e r. 1. Ba rbed ci rcuit-wi re j u ngle vi nes i n a m u lti-sca l a r, head less, cybe rnetic pla neta ry world syste m . 2. So-ca l becom i ng-mi norita ri a n . 1992 prime time. judici a l rubber sta m ping of video ca ptu red m icro-fascism ignites u rba n turbulence . The a nti-black cou nter-i n s u rgency of "the d ream city of free ci rcu lation" p rogra m med to i rrigate afro-futu rist hyd ra u lics. d isca rd popu lation o r reso rt to modu lation; i ntegrate o r extermi nate. 3 . U ltra -rea l video ca ptu re dissolves nosta lgi a . LA Law ed its Ki ngs beati ngs to generate biza rre retrospective l u brications for control machinery. Digita l cut u ps of the video, freeze fra m i ng, stretch i ng a nd loo p i ng the baton swi ngs i n ord e r to satu rate Ki ngs black body i n signs o f da nge r, fight a nd fl ight. 1. That episode is satu rated with the solid state code of homey h u nt cou nter hyd ra u l ics. the fea r of u nta med speed. Rhizo m a n iac patte rn recogniton confuses Ki ng's vector t h rough La ke View Te rrace with the nomadic ga ngba nge rs of So uth Ce ntra l, the focus of LAPD's dep loyment of low i nte nsity wa rfa re o n the m u lti-ethnic fie l d . The p a ra noia of popu lation l a m i nation p rocessed the tempora ry truce betwee n Cri ps a nd Bloods as stage 1 of a Fa rrakhan orchestrated ta ke ove r conspiracy d e m a n d i ng the ma nagement of "te rro rist" popu latio ns, t h rough actua l or vi rt u a l i m priso n m e nt a nd m a rt i a l law loca l ised to the ' hood . 2. Fro m disci p l i ne to contro l . 3 . Fro m we lfa re t o wa rfa re . 32 M as s u m i 29.

1. "The socia l a n d politica l fl uid ity of late ca pita lism has not been acco m p l ished by a witheri ng away of state viole nce. O n the contra ry, state viole nce has a lso been fl uidified a nd i ntensified. The ra pid dep loyment force is the model of late ca pita list state viole nce, on a l l fronts: the a b i lity t o desce nd 'out of nowhere,' a nywhere, a t a moment's notice- the vi rt u a l ization of state vio lence, its beco m i ng i m m a ne nt to every coo rd i n ate of the socia l field, as u n bo u nded space of fea r. "33 2. Fro m s u rve i l la nce to m o n itor. 3 . Riot coverage shot fro m hel icopters doubles as news footage ind icating a shift from the ubiq uitous vision of the sove reign to the stereoscopic pa rtia l coverage of m o n itor. Zoooooom le nse tech nology adva n ces si nce Watts '65 engaging a regu rgitative potentia l . The eye converges with the a rm . Visib i l ity i s death . Lase red futu res. Latit u d i n a l Zero. Absol ute speed. 1. La m i nation is the ca ptu re of decoded flows using LAPD rhizo m a n i a c vo rtices sent t h rough South Centra l sea rching and sucking u p a l l a mate u r video footage of the riots. the fea r of a n u n measu ra b le spee d . N a ked LAPD, slooshing down media m e m e pool fl umes e nta ngled with the Ki ngs' othe r body, Rod ney King. In South Centra l, the memes go swi m m i ng in a flash point to u rba n t u rb u l e nce . 2. "the wind of viole nce, u n leashed, mastered, lost, reta ken, d e l i rious, a n d disci p l i ned. It su bsides a n d swe l ls l i ke action, but it is l i ke action, disorder a nd da nge r, to be control led . . . from bodies to the co l lective, i n a light n i ng short-ci rcuit, without la nguage, t h rough the gro u ndswe l l of viole nce a n d pandemon i u m . "34 3 . Browni a n Ca netti swa rms i n flight from the i rrigation of the City of Qua rtz, swe pt u p i nto the hyper- u rban fea r eco logy. Post-socia l cyclonics t u n i ng i nto the i nfo-n u m e ric weather system of fybe r-space . 33 M as s u m i 29. 34 Serres 55.

1. Postmodern bread riot a nd m u lti-eth nic exp losion a nd prime-ti m e N i ke redistri buti o n . 2. T h e d igita l ca ptu re o f the LAPD chem ica l clock, froze n w i t h their pa nts d o w n reve a l i ng e rect ba by lobsters. LAPD, zone of ind isti nction ra p i d ly osci l lating between t h i n b l ue l i ne, the t h reshold of ca pita l secu rity and b loody red sta i ns on their pa ra noid a rm o u ry. N a ked LAPD, a pparatus of ca ptu re, cybe rnetic homeostatic hoove r with teeth, e m ptying its m igra nt d ust i nto the deep end of a n i ncreasi ngly pe rvasive ca rcera l conti n u u m, or i n Mexico . I nte l l igent hoove rs who know the way to Sa n Jose. 3 . Code 187 1. fuzzy d read "when I was here I wa nted to be there . . . a n d when I was there, a l l I cou ld t h i n k of was gett i ng back i nto the j u ngle."35 2. sidewi nda vortext idewinda vortex dewi nda vorte ewi nda vort winda var inda vo nda vo da VO av v 3 . " b ri nging writing a n d putt i ng it onto the second deck a nd j ust acce l e rati ng it . . "3 6 1. da rkcore . 35 W i l l a rd-Apocalypse Now. 36 E s h u n 23.

2. N o u t u rn . 3 . turbu lence is a ko : : motio n . CONTROL PANEL Sound bank Dom & Rola nd, hyd ro licks/resista nce, Movi ng Shadow. D i l l i nja, Acid Tra k on Pain, Violent Ki Ila on Va lve . Dyla n, Turb u lence/Deso lation & Witchcraft/Virus o n Droppin' Science . ed Rush & N i co, Proto n, No U Tu rn Records. Le mon D This is LA on Meta l headz, 12.01 o n Va lve . . Pa sca l, Vortex- True Playaz, Cut Th roat-Fro ntli ne, N ew Frontiers( G a nja Kru ) . Phote k, N i T e n l c h u Ryu On Science. Sou rce Di rect, Stone Ki l le r/Da rk Meta l ( re m ix) o n Razers Edge 5 (white), Ca l l & Respo nse/Com pute r State o n Scie nce, Black Rose/ 12 t i l l 4 Hokusa i . TextBank Ca rlyle, A. Amorta l Kom bat, a bstract cu ltu re, ecru swa rm#2, issue#7. Dele uze, G . & F. G uatta ri ( 1988) A Thousand Platea us, (trans. B. Mass u m i ), Londo n : Athlone. Davis, M . ( 1992) City of Qua rtz. Eshun, K. ( 1997) Motion Ca pt u re, a bstract culture, ecru swa rm#l, issue#2 .

He rrigel, E. ( 1953) Ze n i n the Art of Archery, H a rmondswo rt h : Arka n a (Peng u i n ) . Rupert Howe, I nterview with N ico Sykes o f N o U Tu rn . I C h i ng. Lao Tzu, ( 1963) Tao Te Chi ng, H a rmondswort h : Pe ngu i n . M ichaux ( 1976) Peace I n t h e Brea ki ng Flood, tra ns. M ichael Finebe rg Consigny: E m b e rs Press. M icha ux, H. " Light t h rough Da rkness" in ( 1967) The Boo k of G rass. (eds.) G. And rews & S. Vi n kenoog, H a rmo ndswo rt h : Pengu i n . M usashi, M . ( 1984) A Boo k o f Five Ri ngs, Londo n : Fla m i ngo. Pri rogi ne, I. & I. Ste nge rs ( 1985) Order Out Of Chaos, Lo ndo n : Fla m i ngo. Poe, Edga r A l l e n . ' Decent i nto the Ma lestro m ' Reynolds, S. ( 1996) S l i p p i ng i nto Da rkness, T h e Wi re, Se rres, M . ( 1995) Ge nesis. Sha rp, C. The Lone Swo rdsman p29, in The Wi re, I ssue. 159, May 1997 .

4 : . Tom E p p s The Body of Foucault At a ro u nd q u a rte r past one on the afternoon of the 25th of J u ne 1984 M i ch e l Fouca u lt died of a n AI DS re lated i l l ness. I n acco rda nce with statuto ry req u i re m e nts, the time, p lace a n d ca use o f his death were officia lly ce rtificated . Whi lst Fouca u lt's lega l status may have switched neatly a n d i n sta nta neously from livi ng to deceased, the materi a l of Fouca u lt's body was not so co m pl i a nt. As the ca rdiogra ph d isp layed the steady flat l i ne of death, a host of a lte rnative con nections detected va rio usly a bating a nd b u rgeo ning activity. Whi lst Michel Fouca u lt, the lega l entity with the ca pacity to enter i nto contract u a l agreements a bru ptly ceased, his flesh, his estate, his ideas a nd his disease, liberated from owners h i p, contin ued to operate wit h i n the d istri buted mach i n e ries of a utonomous econom ies. Arte ria l press u re co l l a pses as soo n as the hea rt stops beati ng, the sti l l wa rm blood is suddenly a ble to explore new ro utes a nd ma noe uvres. I nspired by gravity, blood d ra i ns q u ickly from the l a rger vei n s a n d settles i n the lowe rmost p a rts of the body where it sta i n s the flesh a p u rple-red col o u r. Pri m a ry flaccid ity is shortly fol lowed b y rigor mortis. T h e skin that reclines ove r p rotru d i ng bones is fixed wit h i n h o u rs by the stiffe n i ng of m uscles that sta rts a ro u nd the eyes a nd neck before spread i ng t h ro ughout the e ntire body. Somewhere betwee n two a n d fo u r days later, depe n d i ng on preva i l i ng weat h e r conditions, secondary flaccid ity shatters the fa b led sti l l peace of death. As the body putrefies, t u rn i ng first green then p u rple then black, i ntesti n a l bacte ria me rge more closely with their host in the massive production of ra ncid gases which expa nd a lo ng vei ns a n d a rteries bloating and ruptu ri ng tissues a n d orga ns. Ya rds of tightly wo und i ntestines distend a lo ng routes of least resista nce, often esca ping t h rough the vagina or rect u m . Whi lst the h u m a n body d isp lays i m m e nse e nt h usiasm in its own decay, for as long as a yea r or so, orga ns co nti nue to decom pose a nd liquefy at va rying rates. Death is not the d iscrete event suggested by its ce rtification or ca rd iogra phic record . The ce l l s, tissues a nd resident p a rasites which constitute a body do not com plia ntly t u rn off at the a p po i nted time. Skin, bone a nd m uscle ce l ls ca n conti nue to live for seve ra l days afte r their host's hea rt has stopped beating. Bacte ria that norm a l ly i n ha bit the colon conti n u e to live not only i n spite of thei r host's death, b ut beca use of it. Whereas once they contributed greatly to the d igestion of food, they now contri bute with equal devotion to the decom position of their colonic homes. Death is the refore m u ltiple, a nd dispersed i n t i m e : it is not that a bso l ute, p rivi leged poi nt at which time stops a nd moves back; l i ke d isease itse lf, it has a tee m i ng prese nce that a n a lysis may d ivide i nto time and space; gra d u a l ly, here a nd there, each of the knots breaks u nti l

orga nic l ife ceases, at least i n its major forms, si nce long after the death of the i nd ivid u a l, m i n uscule, pa rt i a l deaths continue to dissociate the islets of l ife that sti l l su bsist . 1 Whilst there a re no dead ends, there a re restrictions, i nflexions, and critica l points of bifu rcatio n . Altho ugh the viscera l d istu rba nces of both life a nd death s h a re s i m i l a r micro­ orga nic mach i n e ry a nd as such p roject i n n u me ra b le l i nes of conti n u ity across the s u p posed life/death t h reshold, the i nteraction of m icrobes both with each other a n d with l a rger orga nisms a nd ecologies do suffe r brea kages a nd rad ica l poi nts of depa rt u re . Long after Fouca u lt was decla red dead, his body cont i n ued to tee m with l ife . Howeve r, as the m icro­ orga nisms that i n h a bited that space before the 25th of J u ly tried to a d a pt to their d ra m a tica lly cha nged ci rcu msta nces, new life a nd other opport u n istic i nvaders bega n to sta ke their economic cla i m s o n Fouca u lt's ca rcass. Beyo nd so me critica l poi nt, the economic adva ntages of i nco rporation fe l l be h i nd the pote nti a l profits of a d ra matic d e m e rger. The h u m a n body is a site of extra o rd i n a ry specia lization . Whi lst ce rta i n ce l ls contri bute to the provision of so phisticated tra nsportation, com m u nication or secu rity systems, others, re l ieved of the necessity to search out n utrition or defend themselves, a re a ble to perform specific loca l ized functions wit h i n, for exa m ple, the skin, the h e a rt or the bra i n . The h u m a n com plex i s determined a n d m a i ntai ned b y exactly re p licated genetic i nformation conta i ned wit h i n the m i l lions of cel ls which co l lective ly constitute the body. Whilst the tota l ge netic i nformation i n each ce l l is identica l, only a t i ny p roportion of that i nfo rmation is eve r used by a ny one ce l l . The specific functiona l effect of the genetic i nformation wit h i n each ce l l is dependent on the position of that ce l l re lative to neigh bou ring cel ls. Due to their eco n o m ic speci a l ization, m u lti-ce l l u l a r o rga nisms ca n cope easi ly with the odd ma lfu nctioning ce l l . If for exa m ple a n i ndivid u a l ce l l wit h i n the kidney develops more l i ke a n e a r cel l, d u e perhaps to so me i n correctly re p rod uced genetic softwa re, then the i n congruous positioning of such a n a l i e n ce l l wi l l norm a l ly be detected by the network of ce l l s adjoi n i ng it. Towa rds the end of his l ife, Fouca u lt's body beca me an i ncreasi ngly i ntricate ecology with the re latio nships between cel l u la r guests, hosts a n d vira l i ntermediaries delicately bala nce d . With a n i m m u n e system dive rted i nto the p roduction o f H u m a n I m m u nodeficiency Vi rus, the fu nctio n a l adva ntages of m a i nta i n i ng the acutely speci a l i zed cel l u la r struct u res associated with h u m a n ity beca me i ncreasingly tenuous. Li ke h uge ind ustri a l co rporations that have beco me ridden with b u rea ucratic e ntropy a nd dissona nt ma nage m e nt styles, 1 The Birth of the C l i n ic - An Archaeology of Medical Perception, New Yo rk: Vi ntage Books, 1994. p. 142.

biologica l structu res that have ceased to fu nction effectively as u n ita ry o rga nisms ca n disi ntegrate i nto s m a l l e r, more efficient ce ntres of p roductio n . T h e h u m a n body, l i ke a ny economy, is o f cou rse not a closed syste m . Whilst its genetic m a ke u p m ight p rovide an i m petus, consta nt i nteraction with othe r systems a ro u nd it a nd wit h i n it pe rpetua l ly cha l l e nge a nd mediate the body's bou n d a ries. J u st as each ce l l forms re lative to its neighbo u ring cel ls, so each body is conti n u a l ly reco nstructed in re lation to its e nviro n m e nt. The development of pa rtic u l a r m uscle grou ps, the accu m u lation of plates of h a rde ned ski n or the cu rvat u re of the spine a re affected by terra i n, climate, habitat a nd occ u patio n . Stre a m s of ca rbohyd rates, wate r, bacte ria, oxygen, protei n s a n d i nformation a re consta ntly tra pped, bound a nd dive rted t h rough the networks of vei ns, d u cts a nd n e u rons. I n addition to e nvi ron mental factors that a re chemica l ly a bsorbed d i rectly i nto its genetic structu re, the h u m a n body regu l a rly e n cou nte rs m icro bes which va rio usly nestle wit h i n its com plex folds. Without beco m i ng pa rt of its i n nate genetic structu re, vi ruses, bacteria a nd other p a rasites successive ly e nter i nto a n u m be r of i nte resti ng a rra nge me nts wit h i n the h u m a n body. On some occasions p a rasites a re detected by the i m m u ne system a nd i m med iately destroyed whilst o n other occasions a more e l o ngated battle occu rs d u ri ng which sym ptomatic d isease may res u lt i n the host. I nterlopers a re sometimes perm a n e ntly accom modated wit h i n the body's ela borate struct u res -occasiona l ly the prese nce of a liens is mere ly tole rated, at other ti mes the i ntrod uction of additio n a l genetic i nformation ca n be adva ntageous a nd is positively welcomed. Vi ruses, i n pa rticu l a r, achieve such a close re lationsh i p to their host that d rawi ng a disti nction betwee n host a n d guest beco mes i m possible. A virus is l ittle more tha n a wandering ca psule of ge netic code. U n l i ke bacte ria l pa rasites that ca n re plicate, given the right n utrients, outside a host, viruses ca n o n ly re pl icate t h ro ugh e ntering i nto a sym biotic re latio nsh i p with a host ce l l . Vi ruses a re extre m e ly efficient pieces of machinery that a re struct u ra l ly p a red down to a m i n i m u m . The genetic i nformation stored in strings of either deoxyri bon ucleic acid ( DNA) or ribo n u cleic acid ( RNA) refers o n ly to those vita l fu nctions that ca n not be performed by a host cel l . Li ke speci a l i zed pieces of softwa re floating on the net, each vi rus conta ins the critica l i nformation necessa ry to perfo rm a specific routi ne. I n order to activate the vi rus's self rep l icat i ng p rogra m, the necessa ry genetic i n structions m u st to be i m po rted i nto the a p pro p riate h a rdwa re a nd accom pa nying operati ng syste m . Once the virus, or at least its packaged ge netic code, has physica lly e ntered a su ita ble host ce l l, the genetic softwa re ca n effective ly be u nzipped a n d su bseq uently i nsta l led i nto t h e ce l l 's exist i ng operating syste m . Diffe re nt vi ruses i nte ract with their hosts in va rious ways, ultimately howeve r, they m u st a l l achieve a s i m i l a r

progra m m i ng feat. Vi ruses m u st effective ly rep rogra m the host ce l l 's own re pl icating machinery a nd util ize its resou rces i n ord e r to re produce . I n t h e case o f H IV, t h e a ppropriate h a rdwa re ca n b e p rovided b y CD4 T-ce l ls. CD4 T-ce l ls a re cruci a l to the h u m a n i m m u n e system i n that they play a d u a l ro le i n the recognition a nd e rad ication of both i ntrace l l u la r a nd extrace l l u l a r i nvad e rs. Th rough re progra m m ing one of the h u m a n body's ch ief secu rity age nts, H IV performs an i ncredible p i n ce r move m e nt. Not o n ly is the vi rus provided with ce l l s wi l l i ng to beco m e H I V re p l ication factories, but t h rough corru pti ng key e l e ments of the body's i m m une system, HIV si m u ltaneously red uces the possi b i l ity of detection. HIV a p pe a rs to be strategica lly astute, after i niti a l i nfection, the vi rus often m a i nta i n s a low profi le for m a ny yea rs d u ri ng which time, it grad u a l ly i nfi ltrates its host i m m une system and o ptim izes rep lication pote nti a l t h rough exp loiting ro utes i nto othe r host bod ies. T h e fu l l i m p l ication o f H IV's pai nsta ki ng work o n l y becomes fu lly a pp a re nt when, at so me point i n the futu re, a t h i rd pa rty op portu nistica l ly util izes a nd deve lops the work a l ready comp leted. The body of Michel Fouca u lt, which earlier a ppea red to have such disti nct i nsides a nd outsides, b l u rs i n both d i rections. H I V, having e ntered i nto pa rtners h i p with the CD4 T-ce l l s w h i c h were fo rme rly i n a l l ia nce with his body's i m m u n e syste m, syste matica lly cha nged his ge netic m a ke-up. The new fu nction of these ce l l s beca me the re prod uction of H IV. S i m i l a rly Fouca u lt su rreptitiously e nte red a nd infected some of the cruci a l struct u res of his e nviro n m e nt. U n l i ke other m o re obvious foe that b roadcast their m a l icious i ntent as they e m b a rk on fu l l fronta l attack, Fo uca ult negotiated his way i nto ce ntres of p rod uction t h ro ugh fo rming p ragmatic re lationships i n cultu ra l ly se nsitive zones. Consider, for exa m ple, the d iscursive structu res that produce the a uthor. Prior to i nfection they prod uced a b road ly l i ne a r model of a uthority where the ideas conta i ned i n a text, for i n sta nce, we re the u n pro b l e m atic prod uct of a pa rticu l a r pe rso n . Fouca u lt's i nteraction did not cease the p rod uction of a uthors, b ut fu n d a menta lly cha nged the d iscursive progra m m i ng t h rough which they we re understood . By reconstructing the a uthor as a discursive p rod uct itse lf, the Fouca u ld i a n i nfection did not destroy the text production machinery, but i nstead re positioned the a uthor as a fu nction of that mach i n e ry. Obviously, Fouca u lt should not be thought of here as the a uthor of this cha nge, but mere ly as one factor a m ongst m a ny which in co m b i nation proved sufficient to effect a cha nge . S i m i la rly it is fa r fro m clea r q uite what role H IV has i n p roducing the syn d rome of va rious diseases referred to co l lective ly as AI DS. Pete r Duesburg m a i ntains that no re lationship exists, others a rgue for a l i ne a r ca use a nd effect mode l . G iven the weight of evide nce pointing at some

leve l of connectivity, it see m s l i ke ly that H IV is i n some way com p lexly re lated to the a rray of sym ptomatic conditions that beco m e diagnosed as AIDS. D u ri ng the seco nd half of the 1940s, Fo uca ult spent two o r t h ree yea rs at Sai nte-An ne, a major psych iatric hospita l i n centra l Pa ris. Fouca u lt's accou nts of the period of his l ife a re, accord i ng to David Macey, 'fa i rly vague, if not act u a l ly m isleadi ng, a nd a re the prod ucts of either hazy memory or a re l ucta nce to s u p p ly the i nfo rmation that would a l low his ide ntity at a ny given moment to be esta b lished with too great a precision'2 " no body worried a bo ut • • • what I should be doi ng; I was free to do a nyth i ng. I was actua l ly i n a position betwee n the staff a n d the patie nts."3 Wit h i n the corridors, theatres, a rteries and cha m bers of the hospita l, Fouca u lt's own m e ntal i n sta b i l ity was free to wa nder. J u st as Fouca u lt's body fa i led to fu l ly a p p reciate the let h a l pote ntia l of H I V, so the psychiatrists of Sai nt-Anne fa i led to recogn ize the pote nti a l d a nger Fouca u lt posed to thei r a uthority. I ntegrated with its CD4 T­ ce l l host, H I V occupies a tru ly a m biva lent position, neither host nor guest, this sym biotic a li e n passes as a m e m be r of a distri buted secu rity system . Si m i l a rly Fouca u lt, d ressed i n a wh ite coat, was neither staff nor patie nt, but enjoyi ng his a m biguous status, he was sufficiently a b le to pass as a n a uthority fig u re . T h e protei n coating that shields t h e n ucleic-acid co re o f a vi rus is constructed o f successive cha i ns of a m i no-acid that geometrica lly lock together l i ke ornate b u i l d i ng blocks. It is the intricate s h a pe of the virus's outer shell that faci litates it's i niti a l attachment to a pote nti a l host ce l l . Altho ugh vi ruses a re often ce l l -specific, that is t o say that they ca n o n ly attach a n d i ntegrate successfu l ly with one pa rti c u l a r type o f ce ll, they have no m e a n s for actively sea rc h i ng out pote nti a l hosts. H I V, for exa m p le, ca n o n ly attach to the CD4 protei n which is present on j u st two types of b lood ce l l . The H IV virus does not exhi bit i nte nt, it does not have a p re-existing p l a n of attack, i n stea d it m ust re ly on cha nce e nco u nter. On being asked by col l eagues at U p psala U n ive rsity whether he was awa re of a suita ble ca nd idate for the post of Fre nch assista nt, Georges D u mezil, with no pe rson a l knowledge of a suita ble person, h a p pened to m e ntion the post to his a rchaeologist friend Raou l C u ri e l . By coi ncidence C u ri e l had rece ntly m e t Fouca u lt a n d had enjoyed a conve rsation with h i m a bout the u n certa i n state o f his ca reer. C u riel's e nth usiasm w a s sufficient t o e ncou rage D u mezi l t o write i nviting Fouca u lt to a p p ly for the vaca nt post. In ta ki ng a job at U ppsa la U nive rsity, Fo uca u lt was not enacting a n e l a borate p l a n that would eve ntu a l ly led to the hea rt of the Fre n c h academe, i n stead his moving to Sweden i n August 1955 was a ppare ntly the res u lt of p u re cha nce . 2 David M a cey, The Lives of M ichel Foucau lt, Lo n d o n : Vi ntage, 1994, p.56. 3 The M in i m a l ist Self, i n Lawrence D . Kritz m a n, ed., Pol itics, Ph iosophy, Cu lture. I nterviews a n d Other Writings 1977-1984, New York a n d Lo ndo n : Routledge, 1988, p . 6 . - q u oted in M a cey, 1994, p . 5 6 .

Biogra phers, critics, opponents friends a n d other re latives of Fo uca ult have va riously endeavo u red to e nca psulate his major themes, th rusts a nd i nte ntio ns. Whether as pathogen, pa nacea o r place bo, Fo uca ult has com m o n ly been positioned as a pol itica l agent whose effects a re a di rect fu nction of his words. I t h i n k I have in fact bee n situated in most of the squa res on the pol itica l checke rboa rd, one after a noth e r a nd sometimes si m u ltaneously: as a na rchist, leftist, oste ntatious or d isguised Ma rxist, n i h i l ist, expl icit or secret anti - M a rxist, technocrat in the se rvice of G a u l lism, new l i be ral, etc. An America n p rofessor com pl a i ned that a crypto- M a rxist l i ke me was i nvited to the U .S.A., a n d I was denou nced by the press in Eastern E u ropea n co u ntries for being a n acco m p lice of the d isside nts. None of these descri ptions i s i m porta nt b y itse lf; ta ke n together, on t h e other ha nd, they m e a n so met h i ng. A n d I m u st a d m it t h at I rather l i ke what they mea n .4 The histo ry of h u m a n d isease has, perha ps unsu rprisi ngly, usua l ly bee n written from a h u m a n pe rspective . Vi ruses, re presented as pathoge nic t h reats to be battled or better e rad icated, have ofte n been na med after the bod i ly sym ptoms they i n d uce . The conflation of vi rus with d isease is an ove rly si m p l istic red u ction that crucia l ly misu ndersta nds the mecha nisms of both virus a nd d isease. Sym ptoms ca n only e m e rge t h rough the co m b i ned efforts of both body a nd vi rus. Beyond a host, vi ruses a re closer to being a bstractions of i nformation than a bstractions of d isease . It is not mere ly the wo rds, tho ughts or actions of Fouca u lt that p rod uces bodi ly effects, it is critica l ly their i nteraction with the dyna mic bodies of knowledge a nd power that have sym ptomatic resu lts. U n l i ke the polem ica l who mere ly see ks to re place one o rthodoxy with a nother, the i rrita nt problematizes bot h . A s evidenced b y newly e m e rgent diseases, the modern deve lo p me nt o f vaccines designed to obstruct specific vi ruses fa i led to a nticipate their evo l utio n a ry pote ntia l . I n p rivi leging ge notypes ove r phenotypes, the rationale be h i nd p rogra m mes of mass vacci nation ove resti mated the p recision of vira l re p lication and hence underesti mated the a bi l ity of vi ruses to deal with cha nged ci rcu msta nces. Evide nce a massed t h ro ugh tryi ng to com bat H IV has revealed t h reat massive leve ls of re pl ication com b i ned with reg u l a r m utation a l lowed new stra i n s of virus to fi nd ro utes a ro u nd thera pe utic obstacles. In the leather ba rs of Sa n Fra n scisco, Fouca u lt discovered si m i l a r mecha nisms at p lay. Amongst the t h rong of sex, 4 Polem ics, Pol itics, a n d Problem izations : An I nterview: Random House Inc., 1984, in P a u l Rabinow, ed., The Fouca u lt Rea d e r - An I ntroduction to Fo uca ult's Thought, Lo n d o n : Pengu i n Books, 1991, pp.383-4.

d rugs a nd m e n, new routes to p leasu re e m e rged t h rough the fl uid economies of power a nd identity. Wit h i n a context of mora l, re ligious a nd lega l restriction, the repetition a nd m utation e nco m passed by p ro m i scuous sadomasoch istic activities operate, beyond the necessa ry i ntentions of practitione rs, to i nvestigate the boundaries of p rohi biti o n . T h e S/M ga me is ve ry i nteresting . . . beca use i t is a strategic re lation, b u t i t is a lways fl u i d . Of cou rse, there a re roles, but eve rybody knows very we l l that those ro les ca n be reve rsed . Sometimes t h e sce ne begins with t h e maste r a nd slave, a n d at t h e end t h e slave has become the master. Or, eve n when the ro les a re sta b i l ized, yo u know very we l l that it is a lways a ga m e : either the rules a re tra n sgressed, o r there is a n agreeme nt, either exp licit or tacit, that m a kes them awa re of ce rta i n bou nda ries.5 The configu rations of "se lf" e ncou nte red by Fouca u lt i n Sa n Fra ncisco sho u l d not be m ista ke n for the other Ca l iforn i a n ve rsio n . ' I don't t h i n k that this move ment of sexua l practices has a nyth i ng to do with the disclosure o r the u ndersta n d i ng of S/M te nde ncies deep wit h i n our u n conscious . . . I t h i n k that S/M is m uch more than that: it's the rea l creation of new poss i b i l ities of p leasure . ' 6 The i ntricately switch i ng a nd ci rcuitous re lationships betwee n maste r a nd slave, pleasu re a nd pain, yea r n i ng a n d disgust, and sickness and hea lth, do not operate to revea l an essential ide ntity, b ut active l y synthesize new ide ntities. Ridden with contradictio ns, disconti n u ities a nd stra nge con nectivities, the tempora ry self that e m e rges through S/M does not m e rely provide an a lternative to a properly co nstituted se lf, but t h rough feeding back i nto the p roductive machinery of identity, it p roblematizes the very notion of a p re-existing u n ita ry being. D u ri ng the seco nd half of the 1970s, the conce ntration of gay m a le popu lations i n Sa n Fra ncisco a n d N ew York facil itated ready access to see m i ngly end less disorga nized p leasures. In S/M ba rs a nd bath houses, a nonymous bodies we re a ppa rently free to m i ngle a nd com bi ne, excha nging i nformation a nd bodi ly fluids. Wit h i n the o p po rtunistic econom ies of the d a rk room a nd the h u m a n body, where com p lex pathways a re casu a l l y exp lored, there a re no overa rching schemata, no p redete r m i ned p rojects and no ord a i ned trut h . Fouca u lt's body, a lthough never a closed system, was enticed, by viruses, fists and other una ntici pated con nectivities, a lo ng the da ngerous path that h ugs the edge of bod ily orga nizatio n . Born i nto a genetic stra itjacket, the body gra d u a l ly lea rns to get out of itself. 5 Bob G a l l agher, An I nterview: Sex, Power a n d the Po l itics of Identity, i n the Advocate, 9th October 1989 - q u oted in J a m es M i l ler, The Passion of M ichel Foucau lt, Lo ndo n : F l a m ingo, 1994, p. 263. 6 Ibid.

As for what motivated me, it is q u ite s i m p le; I wou l d hope that i n the eyes of some people it m ight suffice i n itse lf. It was cu riosity - the o n ly ki nd of cu riosity, i n a ny case, that is worth acting upon with a degree of obsti nacy: not the cu riosity that see ks to assi m i l ate what it is proper for one to know, but that which ena bles one to get free of oneself . . . Peo ple w i l l say, perha ps, that these ga mes with oneself would better be left backstage; or, at best, that they m ight properly fo rm pa rt of those pre l i m i n a ry exercises that a re forgotten once they have se rved their pu rpose . But, then, what is p h i loso phy today - p h i losophica l activity, I mea n - if it is not the critica l work that thought b ri ngs to bea r on itse lf? I n what does it consist, if not i n the e ndeavor to know how a nd to what exte nt it m ight be possi ble to t h i n k diffe re ntly, i n stead of legitimati ng what is a l ready known?7 For Fouca u lt, both writing a nd sadomasochism were exa m p les of l i m it-expe rie nce, both we re materi a l exe rcises in the exploration of bod i ly bou nd a ries. Whether they happen to be bod ies of power/knowledge, bodies of o rga n izations or orga nisms, bodies of ce l l s or bod ies of flesh, it is the l i m its a nd edges of bodies that d isti nguish the zones of lea rn i ng. It is the act of push i ng a little further, peering ro und d a rk corners a n d sea rc h i ng out the i nvisible that prod uces the new thoughts to which Fouca u lt refers. Lea rn i ng is not a conscious process, it does not h a p pe n as a d i rect res u lt of effort, rather it is the a p p a re nt accide nt, the so -ca l led m ista ke, the stra nge coi ncide nce of ci rcumsta nce that p roduce unexpected effects a nd syntheses. New vi ra l stra i ns a re not designed by so me o m n i pote nt force to re nder vacci nations obsolete, vi ruses do not try to evo lve with a pa rtic u l a r a i m i n m i nd, on the contra ry, in accorda nce with their ge netic code they e n deavo u r to re pl icate as accurately as possible. Sometimes poor raw materia ls o r restricted physica l circumstances ca n result i n a " m ista ke", i n stead of p roducing an exact re p lication of itse lf, the vi rus prod uces a m utatio n . Usua l ly these ma lfo rmed re pl ica nts perish q u ickly, u n a b le to com pete with their perfectly formed ki n . Occasional ly, however, in specific ci rcu msta nces and at a pa rticu l a r ti me, a m utation may occur that is better su ited to its envi ron ment a nd is therefore more l i kely to su rvive a nd re p l i cate . I n a vacci nated body, for exa m p le, a vi rus whose outer shell has undergone some form of m utation, is less l i kely to be recognized by that body's i m m u ne system a nd is therefore more l i kely to be a b le to e nter i nto successful p a rtnersh i p with suita ble host ce l ls. Vi ra l lea rn i ng is neither a matter of design nor si m ply a matte r of cha nce, i n stead viral lea r n i ng is a com p lex fu nction of constra i nt and o p port u nity. 7 The Use of P l e a s u re - The H istory of Sexua l ity: Vol u m e Two, Lo n d o n : Pengu i n Books, 1992, p p.8-9

Amo ngst the com p lexly i nterco n nected n e u rons of Fouca u lt's b ra i n, b i l lions of negotiated bou nd a ries lea rnt in response to i nfo rmation flowi ng t h rough a nd a round his body. Altho ugh hai led as one of the great t h i n ke rs of the twentieth ce ntu ry, a sl ice extracted fro m Fo uca u lt's bra i n would look disa ppointingly much the sa me as a slice ta ke n from a ny other bra i n . The most powe rfu l m icroscopes wou ld revea l no secrets, no i n sights a nd no thoughts. Had it been possible to tag a nd fol low a momenta ry se nsation i nto the p h i loso p h e r's cortex, it wou l d not have d ivu lged an eve ntua l resting place, rather it would have been seen to split a nd dissipate a ro u n d va rious n e u ra l netwo rks. A pa rticu l a r se nsation or m o me nt is not so m uch stored by the bra i n as a bsorbed by it. O b l ivious to any discu rsive ly constructed mea n i ng, pa ra l le l networks of nerve ce l ls a re cont i n uously a nd m i n utely tu ned as e lectrica l excitations speed across the m . I n res ponse to a ppro p riate sti m u li, m e mories a re lite ra lly re­ mem bered as va rious configurations of n e u rons a re jolted i nto actio n . I n a short story e ntitled T h e Secrets o f a M a n, He rve G u i be rt descri bes t h e fasci nation o f a n e u rosu rgeon as he dissects the bra i n of a fa mous phi losopher, a lthough the phi loso pher's name is neve r m e ntio ned, it is clea r that Fouca u lt was the i nspi ration be h i nd G u ibert's work. As the s u rgeon d igs deeper he slowly reve a l s visce ra l traces of the m e mories, ideas and passions of his s u bject. D u ring the fi n a l wee ks of his life, Fouca u lt spent a considera ble a m o u nt of time i n conve rsation with G u i be rt. U n known to Fouca u lt, G u i bert not only ca refu lly recorded their conve rsations, but a lso tra nscri bed the deta i ls of Fouca u lt's d e l i ri u m, his moods, attitudes a nd a ppea ra nce. As the fictio n a l n e u rosurgeon scrut i n izes the p h i losopher's bra i n, he d iscovers t h ree p a rticula rly dee p ly i ngra i ned memories. The fi rst of these "te rri ble d iora mas" te l l s of a you ng boy who is forced to witness a n a m p utation performed by his father. The second descri bes a cou rtya rd sti l l pe rmeated with the prese nce of a wom a n i m priso ned there for decades. The t h i rd te l ls of a n a b le student whose loca lly ce l e b rated position is t h reatened by a sudden i nflux of ta lented i ntrude rs, it reca l l s how the child p h i loso pher's wish to be rid of the u nwe lcome co m petition is gra nted by the Nazi exte rmi nation of the Jewish refugees. I n a n i nterview on Fre nch television i n 1990 G u i b e rt was accused of i ntru d i ng on Fouca u lt's private ago n ies a nd exploiting them for his own se lfish motives. G u i bert atte m pted to defend h i mse lf, but a d m itted that he thought Fouca ult wou ld have been fu rious had he known of the secret journ a l . By 1984 Fouca u lt's body was we l l accustomed to u n i nvited i ntruders, any fu ry di rected at G u i be rt should have been reserved for a fa r less i ntel ligent cri m e . The ce reb ra l layers that a re pai nsta kingly revea led by G u ibert's n e u rosurgeon owe not h i ng to the tangible n e u ro logica l o rga n ization of Fo uca u lt's bra i n . Th rough his dep loyment of a meta phorica l a rchaeology, G u i bert not o n ly d rags Fo uca u lt's ca rcass back to the 1960s, but de nies his bra i n it's dyna mic com p lexity. In 1971, Fo uca ult contri buted an essay e ntitled N ietzsche, La Genea logie, l ' h istoi re to a co l lection of works p u b lished i n

tri b ute to his mento r J e a n Hyppolite. I n this essay Fo uca u lt recogn izes the i n herre nt fa i l i ngs of an a rcheo logica l a na lytics a nd proposes that N ietzschea n genea logy p rese nts a more i nteresting route of i nvestigatio n . T h e end o f a ge nea logica l ly di rected history is not t o rediscove r the roots o f o u r identity b ut, on the contra ry, to strive to d issi pate them; it does not attem pt to locate the u n iq u e home from whence we come, that fi rst home l a nd to which, the meta physicia ns p ro m ise us, we w i l l retu rn; i t atte m pts t o reve a l a l l t h e d i sconti n u ities that trave rse us.8 D rawing fro m G u ibert's accou nts of his fi n a l co nve rsations with Fouca u lt, James M i l ler cla i m s, 'The " o b l igation of truth," it see m s, rea l ly was Fo uca u lt's u navoidable fate - j ust as he i m p lied i n his fi n a l lect u res at the College de Fra nce . Try as he m ight, the p h i losopher cou ld not re m a i n silent a bout who he rea lly was.'9 It is, of cou rse, fa r from i m possi ble that Fouca u lt may have eve ntua lly s u rrendered to the u rge to co nfess, he was, after a l l, i nti mately awa re of the pervasive machinery t h rough which this i m p u lse is p ropagated. However, to eq uate the act of confession with the truth of the m a n owes m o re to the words of the Pope t h a n to the wo rds of Fouca u lt. Although his work may have p roduced re ma rka ble i nsights i nto the econom ies of discou rse, it should not be assumed that his critique necessa ri ly insulated his body fro m the effects of disco u rse or a ny other econom ies. The episodes of his l ife that Fo uca ult sha red with G u i be rt ca n no more be eq uated with the "terri ble d iora mas" poetica lly discovered by the sca l pe l of an i magi n a ry s u rgeon than ca n H IV be eq uated with the truth of his sexu a l desi res. Encou nte rs with a m putation, i n ca rce ration a nd H IV u n d o u bted ly i nfl ue nce the body, they i nd uce reactions a nd i nspire chem ical adj u st m e nts. The i r effects, however, a re not laid down l i ke slate o n a rive rbed, i n stead they a re a bsorbed a nd dissi pated a round com plex netwo rks. Whi lst G u i bert may have been in no position to d raw l i ne a r equations of ca use a nd effect betwee n dista nt moments in Fo uca u lt's life, the same m u st a lso be said of Fouca u lt hi mse lf. The va lidity of a rchaeologica l activity is not e n h a nced by the a uthority of the a rchaeo logist in cha rge of the dig. The p rocess of excavation does not u ncove r fu n d a m e nta l truths, but d iscu rsive ly attaches h istorica l significa nce to momenta ry a bstractions. As Fouca u lt's body lay on the pathologist's s l a b, expert o bservations revea led stra nge lesions chased across its ce re b ra l cortex, a lthough these sca rs e nca psulated n o "te rri ble d iora m a s", they we re evide nce of extraord i n a ry n e u ra l activity. Whi lst G ui b e rt was e ngaged in com posi ng his secret notes a n d 8 N i etzsche, L a Genealogy, l ' h istoire, i n H o m m age a Jean Hyppol ite, Paris: P U F, 1971, p . 169 - q u oted in M acey, 1994, p . 23 2 . 9 M i l l er, 1994, p . 3 7 2 .

construct i ng truths fro m Fouca u lt's m usi ngs, m icrosco pic n e u rosu rgeons we re busy i nvestigating the n e u ra l pathways that twist a ro u nd the crevices of a p h i losopher's b ra i n . Toxoplasma gon d i i is a protozoa n pa rasite that resides re latively i n noce ntly i n a p proxi mately half of the world's h u m a n popu latio n . 50% to 60% of the i n ha bita nts of the U n ited States a re believed to be i nfected, in the U n ited Kingdom the figu re is betwee n 20% a nd 40% a n d i n Fra nce i t is esti mated that u p t o 90% o f t h e pop u l ation p l a y host t o t h e t i ny orga nism. I n spite o f pa ndemic d istri b ution, its sym ptomatic m a n ifestation known as toxo plasmosis is extre mely ra re . Accordi ng to most medica l texts , the o n ly statistica l ly nota ble conseq uence had see med to be a m o ngst foetuses whose mothers beca me newly i nfected d u ring pregna ncy. D u ri ng the ea rly 1980s, howeve r toxoplasmosis, a longside Ka posi's sa rcoma a nd Pneumocystis ca ri n i i pneu monia, was one of the extraord i n a rily ra re d iseases which suddenly sta rted to e m e rge a mongst the concentrated gay popu lations of New York a nd Ca l ifornia . D rawi ng from evidence of toxoplasmosis a m ongst organ tra nspl a nt patients whose i m m u ne systems a re actively co m p ro m ised to avoid rejection, it a p pe a rs that the " normal" asym ptomatic accom modation of Toxoplasma go ndii is tra n sformed by i m m u nosu ppressi o n . G ive n its corru pting effect on T4 cel ls, H I V does present a log ica l acco m p lice for Toxoplasma gond ii's more adventurous a m bitions. The fu l l l ife cycle of Toxoplasma gondii ca n o n ly be sexua l ly com p leted in either wild or dom estic cats. Fol lowi ng the fusion of macro a n d m icro ga metes the res u lta nt oocysts eventu a l ly pass to i ntermediate hosts via the cat's faeces. Any wa rm blooded a n i m a l including m a n ca n act as a n i ntermed iate host. Fo l lowing t h e i ngestion o f fe rt i l ized cysts, digestive e nzymes ca use the cysts to rupture a l lowing ra pid ly rep licati ng tachyzoites to be distri b uted t h roughout the body by the b lood and lym phatic syste ms. Eve ntua l ly n u m be rs of tachyzoites begi n to cling together and fo rm tissue cysts com monly i n the eye, ske leta l m uscle, ca rdiac m uscle, a n d frequently the bra i n of the secondary host. These cysts usua l ly then re m a i n dorm a nt with i n the tissues of the i ntermediate host a n d a re o n ly reactivated once reintroduced to the p ri m a ry host t h ro ugh its eati ng infected flesh. Evidence suggests that the dorm a nt phase of the l ife cycle is ensured by the i m m une system of the secondary host, it a ppea rs that the Toxoplasma gondii protozoa fi nd themse lves u navoidably deta i ned. Whilst G u i b e rt studiously a na lyzed the su rface effects that ri p pled across Fo uca u lt's body, he was u nawa re of the tangled eco nom ies that col lective ly contri b uted to each twitch a nd every word . Alongside the ce rebra l structu res of most of his com patriots, Michel Fouca u lt's bra i n, had ope rated as an effective prison for Toxoplasma gond i i . Prior to its re lationship with H I V, his i m m u n e syste m ke pt a ca refu l watch ove r the slee p i ng cysts. By J u ne 1984, howeve r, his depleted i m m u ne system had a l l but lost the m u lti ple battles it was having with

a n u m be r of opportu nistic i nvade rs. The encysted Toxo p lasma go ndii protozoa seized a n u n expected opport u n ity for fu rther rep l i cation. With i nsiders' i nformation, the intrace l l u l a r pa rasites explored for fu rther possi b i l ities with i n Fo uca u lt's b ra i n . O b l ivious t o pote nti a l mea n i ngs discu rsive ly ma pped onto a dista nt su rface, each pa rasitic o rga nism m i n utely a na lysed the materi a l of Fouca u lt's m i n d . Death is t h e great a n a lyst that shows t h e con nexions b y u nfo l d i ng t h e m , a nd bu rsts o p e n the wonders of ge nesis i n the rigou r of decom position.10 I n 1757, D a m i e n s the regicide was sentenced to death. He was to have the flesh torn from his chest, a rms, thighs a nd ca lves, his body was to be d rawn a nd q u a rte red, a nd his l i m bs a nd tru n k we re to be red u ced to ashes a n d t h rown to the winds. I n spite of six horses a nd specifica lly m a n ufact u red stee l pincers, the body of D a m iens disp layed considera b le e n d u ra nce . The tissues of his t h ighs and torso c l u ng to their bones with i rritating resi lience, his arms a nd legs defeated the efforts of a team of horses a nd re l i n q u i shed their bodi ly attachment o n ly after much of the con necting sinews a nd m uscles had been hacked away. The body of D a m ie ns, t h ro ugh its elongated deco m position, asse rted a persiste nt u n ity. Faced with m a ny battles at m u ltiple sites, the body, fa r from d isi ntegrati ng i nto com posite pa rts, demo nstrates its obsti nate, if short l ived, i ntegrity. In 1984, the body of Fouca u lt was e ngaged in n u merous struggles on va rious dive rgent fronts. Whilst his last two books jostled with other p u b l ications fo r room in bookshops, fo r critica l eva l uation a nd fo r their a p p ro p riate position wit h i n a body of work, i n herited a nd latte rly acq u i red genetic i nformation com peted fo r the control of blood ce l l s, a nd n e u rons fought with pa rasites for the space to t h i n k. Whi lst oxyge n a nd m ucus battled fo r time with his l u ngs a nd pa i n ki l le rs gra p pled with n e u ro-tra nsm itters, mora lists defined the ca use of his body's d isease a n d his friends ded uced the secrets of his so u l . Li ke the body of D a m ie ns, the body of Fouca ult is not e radicated by the m u ltitudinous machineries that consta ntly cha l le nge the boundaries of its existence. Quite the reverse, the body of Fouca u lt is consta ntly reconstructed t h rough the co m plex i nterplay of these techno logies of the body . . . . this technology is diffuse, ra rely for m u lated i n conti n uous, systematic disco u rse; it is often made u p of bits a nd pieces; it i m ple ments a d ispa rate set of too ls a nd methods. In spite of the co here n ce of its resu lts, it is ge nera l ly no more t h a n a m u ltifo rm i n stru m e ntation . . . the power exercised on the body is conceived not as a p roperty, b ut as a strategy, that its effects 10 The B i rth of the C l i n i c - An Archaeology of Medical Perception, p. 144

of d o m i nation a re attributed not to ' a p p ro p riation', but to dispositions, ma noe uvres, tactics, techniq ues, fu nctioni ngs; that one should deci pher in it a netwo rk of re lations, consta ntly i n tension, i n activity, rather t h a n a p rivi lege that one m ight possess; that one should ta ke as its model a perpet u a l battle rather t h a n a contract regu lating a tra nsaction or the conq uest of a territo ry.11 The diffused mecha n isms i m ma n e nt to Fouca u lt's body were neither its p roperty nor devoted solely to its se rvice . Each H IV virus, whi lst circu lating t h rough Fouca u lt's vei n s, were a lso i nti mately engaged e l sewhere. As each virus contrib uted their m icro-effects to the 'dyi ng body', they were si m u ltaneously wove n i nto the fa bric of a pa n d e m i c disease. Working i n sym biotic com b i nation with b lood cel ls, medica l orthodoxy, academic propriety a nd bacte ria l i nfection, the vi rus ma noe uvred i nto new positions a nd acco m modations d ragging i n its wa ke the fl uid pa ra m eters of Fouca u lt a nd other bod ies. For 57 yea rs, a network of re lations we re held i n sufficient tension to produce a n ove ra l l effect of a cohere nt body, a persiste nt ide ntity a n d a n a uthoritative m i n d . The body of Fouca ult as a discursive locus may have d issi pated, but the m i l lions of traces left after this loca l decom position continue to ci rcu late a nd re pl icate t h rough re lated a n d discon nected bod ies. The orga nic death of this a uthor e n a cts the discursive death of the a uthor. By leavi ng his "work" obviously u nfi n ished and by re moving the co rpore a l re mna nts of the "a uthor", the vi ra l machinery once associated with Fouca u lt is now a ble to rep l i cate at speed, p rod ucing thousands of m utations and a d a pting to cha nged ci rc u m sta nces. 11 D i s c i p l i n e & P u n ish - The Birth of the P r i s o n , N ew York: Vi ntage Books, 1979.

5 : . Switch Flee Control The gueri l la fights the wa r of the flea, a nd his m i l ita ry enemy suffers the dog's disadva ntages: too m uch to defe nd, too s m a l l u bi q u itous a nd agi le an e n e my to come to grips wit h . If the wa r cont i n ues long enough, the dog succu m bs to exha ustion a nd a n a e m ia without eve r having fo und a nyth i ng on which to close its jaws or to ra ke with its claws. 1980 : b u rned out shells of helicopte rs swa l lowed by the dese rt. Chopper Wa r USA (the seq uel) has co me to the sa me conclusion as the origi n a l . The US: an exh a usted dog incubating l a rvae . UV Rays -10 to the sixteenth cycles per second - the i nsect sees on its own colo u r visio n . Dyi ng power pu ppets ta ke note . The only way we' re goi ng to win this is on fi l m . As Hol lywood revives the body of the despot, new p ha roa hs e m e rge from S i l icon va l ley. Flea contro l is powe r learning its lesson . Metrop hage ca n be ca ught by surprise once, but not twice. Al ready occu pyi ng the futu re is the key to cou ntergue rri l l a activity. Reca l i b rati ng sights to ta rget i n sect e n e m ies ge ne rates two new strategies: 1 : Bug h u nts. Lase r guided re mote contro l exter m i nation progra m mes. You ' re goi ng out to destroy them, right? Not to study, not to bring them back, but to wipe them out. U ltra -high tech SF o ptica l space wea po n ry gea red u p to fight wa rs that a re clea n o n ly i n the sense that they a re waged as pest contro l . The a i m no longer to occupy te rritory on the gro u nd b ut to deconta m i nate from the sky. Clea n sweeps ope rated fro m a safe dista nce. 2 : Swa rmachinic contro l . Close u p . Co ntro l X. H a ptic space i nvasion getting u n d e r t h e skin o f t h e e ne my. Sticky heat. Yo u r blood's sweati ng now - ca n yo u feel it s i m m e r? Com p lex chaos ma nage ment systems operati ng sophisticated sti m u l us-response feed back ci rcu its. Orga n ised i nsecu rity, progra m med catastrophe, u n a ntici pated co nseque nces a l ready dea lt wit h . Popu lations i njected with a ntivi ra l age nts, gueri l l a tacticia ns worki ng for Absol ute Peace : SWAT tea ms, Speci a l Fo rces, undercove r o ps, CIA d rug ru n n e rs. Absol ute Peace is the same as perma nent wa r. A grey a re a . N e w ci rcumsta nces obta i n . Cond uits a n d d a m s a nd floodgates have exceeded ca pacity. Deregu lated trade without unions. From Dawn of the Dead to N ight of the Livi ng Bassheads.

Factory fa rmed dead labour deco m m isioned, a n d the a rteries of the new world diso rder flow with post-i nd ustri a l j u n k. Ca ptu re gets add ictive . It works so much better when you wa nt it. Watch you rse lf. Eve ryone is rushed to exte nsive ca re i n co mfort-style hyperregu lati o n . I ndefi n itely postponed. Ta ke you r w o r k home w i t h you . The rmostatic norm a l ization is a l l pa rt of the se rvice; i n case yo u we re wonderi ng, yo u've been undergoi ng pol le nati o n . fi reflys - stro be - b l i n k - t h e l ight's i n you r eyes K-space isn't the pro m ised la nd, but a battlegro u nd - s n a kes a n d ladders played out i n 3 D . Metrophage's basic p roble m : what degree of distri bution is req u i red i n order t o kee p thi ngs stratified? J u ngle's basic pro b le m : what degree of stratification is req u i red in order to get distri buted? There is no need to fea r or hope, but o n ly to look for new wea pons. The enemy hau nts the vi rtual, forci ng the pyra mid to flatte n . Control sea rches for the opti m a l d istri b ution point for power. But w h i le the State is stra pped to the past the wa r machine boots i nto the futu re . Yo u push the pyra mid down a nd it seeps. The i ntravenous rush d rives open li nes of com m u n icati o n . Va lves q uive r under the stra i n to stay vaca nt. We lcome i nside. Kha ki, col o u r of d ust. The o n ly effective way to track yo u r enemy is to beco m e it. (Spies have a lways known this). N a rcotic trade as gue rri l la swa rma c h i n e . Beco m i ng i m pe rce pti b le, Beco m i ng flea ... but territo ria l fleas. Dog fleas. S u bterra ne a n networks of mo lecu l a r d istribution, dete rritoria lizing the a pp a ratus of statist co m modity control, b ut rete rritoria lizi ng as m icro­ statist oed i p a l o rgan ized cri me syndicates. Statist a nd m icro-statist D rug Enforce m e nt Age ncies i n oste nsible o pposition, wh ite economies vs. b lack ma rkets, poles of m utua l ly legiti mati ng cybernetic i nteraction operating territo ria l p rotectio n i s m .

Mea nwhi le, Body without Orga n ized cri me esta b lishes new channels fo r i ntensity d iffusio n . Keyser Soze is o n ly a n a m e for i l l icit distri b ution across K-space . Kobayashi knows that Dean Keaton is as m uch of a d u pe as Michael Co rleone. You ca n 't go legit. Ove rwhe l m i ng pathos as the Godfather watches m u m m ified oed i p a l E u ro powe r decom posing i nto worldwide we bs of corrupti o n : O m i l i lgia ri . . . P2 . . . vatica n . . . Ca lvi . . . I nte rna l t h i rd world neo-ga ngsta sneers at d reams of respecta b i l ity a nd i n novates con nection ist trade routes i nto the j u ngle. It all m ixes i n the b lood of the j u n kie. Stop me when you ' re wa nting m o re. Then agai n, I d o n 't wa nt to ask for you r o p i n ion . . . l ' m wa iting for you r cry, yo u r divide, you r tre m b l i ng fi ngernails. S u b m i ssion without su pressio n . Loo k a t me w h e n I ' m ta l ki ng t o yo u . H u m i liate me a n d I become yo u; beyo nd a nd become contro l . S h e l a y back a nd stretched her s u rfaces s o taut there we re tea rs sta rting t o a ppea r. The conto u rs of her t h roat tre m b led a si lent rosa ry. She fe lt the m e m b ra nes re-route a nd re­ tasted her cry. User. She knew she was being probed. It had ke pt its back to her b ut she cou ld so d isti nctive ly fee l it. I nsects under the ski n . M u ltiform and ma noueve ring, .. the u nassignable materi a l sa boteu r foreve r u nder track by the c u lt of the deta i l . G ra i n s o f s a n d tra nsported i nto t h e ste ril ity o f a l a b grown i nto crystal, Matte r molded a nd ca refu lly d istri b uted ta kes on the m o rpho logy of circuitry. Dese rt swa rm . Engu lfi ng sand, more of it than the eye ca n ta ke i n . Visible light - 10 to the fou rteenth cycles per second - yo u re move you r protection to his n a ked eye . Resist i ng specification, ca mouflage m e lting i n X-ray optics - 10 to the eighteenth cycles per second a nd yo u r tissues d ivide . Sa nd suffocates m a n as the sea does, only m o re m a l i cio usly beca use more slowly. Turning i nto s i l icon . Te rm i n a l beaches e n e rgized by e lectron flash-floods. H u m a n dese rtion.

Wi ry sacs ca rrying the flow of blood, m uscle tra n sformed i nto te ndon, bones held together by elasticized l iga me nts, a network of ne rves c l i nging to m u scle a nd flesh . . . all orga n ize to form a fi nge r. Fa m i l i a r te rritory, grids ma pped out onto a s l a b of plastic. A surplus va lue of force wa its, poised p rogra m med to understa nd the weight of flesh on plastic . . . with each beat of the fi nge r matte r becomes spee d . Victory d e p e n d s o n t h is. An a rmy used t o need more typewriters t h a n med i u m a nd l ight a rt i l l e ry pieces. N ow co m p ute rs; shift to soft copy. Flash back, 1943 : Colossus defeats E n igma, machines stolen from the futu re h u nt down n u m be rs at rates that shatter h u m a n time. Sea space, air space. K-space waiti ng i n the office from the sta rt. Co m m u nication seepage i n eve n t h e most segmented offices - pote nti a l contiguity o f a l l points; Adva nced Rese a rch Progra m mes Age ncy Network ta kes lessons from pe rverse b u rea ucracy. Recu rri ng d re a m space o f corridors where the a pproach t o the castle is b y e n d less deto u rs b u t a lso by u n expected j u m ps. Another d i m e nsio n : a sort of adjacency ma rked by ha lts, sudden stops, where pa rts, gea rs, asse m ble themse lves. Riding the bea r. Microsoft war m a c h i nes pick off Big B l ue j ust i n time to m a ke Orwe l l red u nd a nt. After 1980 j o b secu rity is a n a rcha i s m . Lu m beri ng, centre-heavy b i g daddy m a i nfra mes ca n 't respond q u i ckly e n o ugh to pa rasite ta keove r. I BM office clones a re no diffe re nt from clock i n -clock-out i n d ustry robots, both obsolesced by control-phase conti n uously assessed flexiti m e . Keyboa rds u n pick k-locks, e n a b ling powe r t o g o microsoft. M i nit u a rized, m a d e s u p p le, a n d a l l t h e m o re da ngerous for i t . Ant h i l ls: t h e boss's office is as m u c h a t t h e end o f t h e ha l l as a t t h e t o p o f t h e towe r. Coo l Ice. P u re te rror. Don't let it heat up. I nfra red tasti ng you r sweat. Wa rd i ng off explosive, hot catastrophe, televisua l ca ptu re coo ls i m p losion, d issi pating i njected doses of i ntensity t h ro ugh a concentric wave refrige ration system . Thermostatic cri m i n ostasis as s i m -city dissolves i nto the actual, i n d uci ng the flocki ng behavi o u r of goa tra nce as the sun rises in the east. Act u a ri a l justice, gro u p risk p rofi les -provide the i ndicators by ticki ng the boxes a nd get se lected - where do you l ive, a re you ma rried, got a job, an ed ucation, a cri m i n a l record .

Congratu lations, you ' re se lected for i nca pacitati o n . Not deterre nce but the m a n i p u lation of de mogra p h ic aggregates. White magic of cri m i n a l lotte ries - you r n u m be r's u p . Ma nage risk in Operation Weed style tech no-cratic self-perpertuation. E l i m i nate bottlenecks, p robation and p a role to avoid the tri a l loops, fast track p rosecution for ca ree r cri m i n a ls. Do you rea lly need g u i l t a nymore? O m n i present i m pote nce sh ifts to the i nfi nite su rfaces of face less de legation. Power on a utomatic p i l ot, rogue ce l l s executi ng co m m a nd, ca ncerous metabolic vehicles with no-one d rivi ng. What clicks i nto place Dea ley Plaza 1963 is a hive assasi nation wea pon. Not a pa ra noic conspiracy, b ut a rhizo m a n i a c web. End of leve l 4 a nd yo u fi nd that all a long yo u've been worki ng fo r the other side. Contro l X: the u nspecified enemy is user frie ndy. In contro l societies the key t h i ng is no longer a signatu re o r a n u m be r but a code. Log o n a nd i m perce pti b le matter t h robs with a crazed espionage. With each stroke of the keyboa rd we leave o u r trace. The a i r is a l ive with secrets, a nd everyt h i ng is a pote ntia l resou rce for the globa l war machine. The system runs, fa lters, pa uses, flows - it runs u nder contro l a nd ove r the top - penetrating you r every ce l l, synthetica l ly m a n ufact u ri ng the microphysica l fa bric. It stro kes a l most without se nsation, yet she a rches her back cravi ng the touch of a b reath . I nfested deep p i l e j u ngle req uests C3- copte r ca rpet bo m b i ng. Pregna nt, b u l bo us- ve rtica l ta ke-off egg-layi ng machi nes sti nging the eye with swa rming flash attacks. No tea rs left, o n ly spa rks. I 've neve r fe lt so at home in the m idst of the battle. Wa rs have neve r been as b loody as they have been since the n i neteenth century. Exp licit ca lcu lati ng machi nes of m icrosoft power ma nage megaviole nce rather t h a n e l i m i nate the need fo r it. Wa r p rovides com me rcia l o p po rt u n ities for a bso l ute peace, ha rdwa re demonstration exe rcises ge n e rating new i n put for playstation behaviou r mod e l l i ng syste ms.

D ro moscopic Viet n a m refought by the fi l m com pa nies goes i nte rga lactic i n Aliens. Dese rt Storm is the seq u e l . Video ca ptured i n the Persi a n G u lf, virt u a l wa r slams a i rborne cyber­ deleonomes aga i n st an i m mo b i l ized, sede nta ry e n e my i n U . N . te le-spatia l media mash-u p . Megad rivi ng o u t o f history, t h e G u lf wa r is not a n eve nt b u t a C N N -schedu led, SEGA reformatta ble digita l sce n a rio played out fo r the benefit of data - h u ngry si m u lation strategy mod u les. They a rrived wit h i n m i n utes. This time Chopper Wa r U .S.A. is a success. 24-hour MTV progra m m i ng fo r term i n a l m a n to jack i nto . The body of the dead rock sta r m ixed with sa m pled shots of he lico pte r wreckage as foci of maxi m u m sexua l a rousa l in adolesce nt sex su bstitutes. H e re we a re now, e nterta i n us. Atroci-tv. Te rm i n a l i n eve ry roo m, but leavi ng open u nforeseen feedback possi b i l ities. Electron swa rm cathode ray tube - why wou ld such an i nstru m e nt of sedation, of such hypnotic no rmativism, of priso n e r disci p l i n e be ha rnessed u nder cha rges of vio lent i n d uction? Beca use whilst it sedates it sed u ces a nd bleeds. Biomorphic ho rro r rides sol a rizing atrocity newsreels i nto the D . M .Z. of the a rcade, fusi ng bra i n core, nerve cortex a n d move me nt-i mage on the g l utinous screens of the console, vi rt u a l wa r data b leeding out of co m m e rcia l control, was h i ng a m phi bious pioneers of the end of the State onto the fracta l su bdivisions of coastli nes of i m pe ria l glacis. Radioactive surplus va l ue lea ks i nto a utopoetic black magic, voodoo t h ro ugh i n ce n d i a ry t u rb u le nce . U ptown, the Hezb u l l a h stra p on n itrogl ice rine fo r a l l to see - a nd then va nish. P u re e n e rgy. Mobile ra pid response u n its of space i nvad e rs a re rete rritoria lised on the static black hole system of fi re bases - waiting i n the d a rk to be picked -off l i m b, by l i m b, by l i m b : para lyzed i n the s u b u rbs of N ecro polis; the neutra lisi ng space i n which the loss of move m e nt for i nvad e rs mea ns p rolonged exposure to the j u ngle, i nfection, death. The last orga ns fa l l off leper e a rth reve a l i ng sockets of m a ngled circuitry a nd coagu lated b lood dispersing out t h rough tra n sca rcerative p l a n o m e n a l vei n s - d rug rush, e n e rgy rush, a rt i l l e ry t h ro ugh the a rteries. If you wa nt the news fol low the CN N ra pid d e p loyment force .

1992 - Los Ange l i a n white magic. The a nti-panther late sixties love-in between CIA a n d mafioso m utates i nto ha l l ucinations o f da nge r. H e ro i n goes triadic, t h e vei ns ice ove r a nd crack. South ce ntra l a n d distri b uted sa m p lers tra nsport the after glow of m icro-fascist stick­ bu ndle m o b i l i sations. -Flash point. - N ot flat to the floor speed but the consistency of catatonic l ightn ing - a m a rt i a l a rt, yes, but re m e m be r, the wa r mach i n e only gets frisky when strata b l u b be r-na uts construct colonic i rrigation for flash-flood i ns u rge ncy. U nd e rcove r cop e ndosco pic i nfi ltrati o n . A wa r machine i n every ce l l . -Pa use. -Qua ntize . -Loop the sta r sha ped Rod ney King/ KKK asse m blage a nd i nsert i nto Wagne ri a n fo u r to the floor LAPD so undsca pe, Faci ng the strata eve ryt h i ng feeds back towa rds the specta c u l a r a rchaism o f sove reign phase penality- -red a le rt -u nspecified da nger. -obey you r foca l le ngt h . -they a l l l o o k the sa me . . . wh ite magic. -Zoom to the da rkside.

Contro l X termi nated Slow motion baton swi ngs i ncite riot response. Progra m me d . Bruised blacktion re play. Rea l time footage, kicki ng ha bits booting u p, deca pitated King, body of the co nde m ne d . Contro l X posed b roken d o l l b lack a nd white photo Blood traces p u l ped video flesh, b lack a nd b l u e lines Execute control co m ma n d .

. :swarm4:. [digital hyperstition]

1 : . Barker Speaks: The Ccru interview with Professor D C Barker Daniel Cha rles Ba rke r has been Professor of Anorga nic Semiotics at Kingsport Col lege ( MVU, Mass.) si nce 1992. His extra o rd i n a ry i ntel lect u a l ach ieve ments resist easy s u m m a rization, i nvo lvi ng p rofound a n d polymathic e ngage m e nt across the e ntire ra nge of life a nd e a rth sciences, i n addition to a rchaeoc u lt u ra l resea rch, mathe matica l semiotics, a nato m i ca l l i nguistics, a nd i nfo rmatic engineeri ng. Tra i ned as a cryptogra p h e r i n the ea rly 1970s, he has spent his life decod i ng a ncient scri pts, q uasi biotic resid ues, a nd anoma lous m i n e ra l patterns ( a m ongst other thi ngs) . In late Aut u m n 1998 Ccru met with Professor Ba rke r i n his office at MVU . The fol lowi ng is a n edited tra nscri pt of that meeting. Tic-Systems. Cryptogra p hy has been my guiding t h read, right t h ro ugh . What is geotra u matics a bo ut, eve n now? - A rigorous practice of decodi ng. So I have n't rea l ly sh ifted at a l l in this respect. There is a voyage, but a stra ngely i m mobile o n e . I sta rted o ut at M IT wo rki ng i n t h e i nfo rmation sciences - my thesis p roposa l w a s q uite conservative, i nvolvi ng mostly technica l issues to do with noise red uction a nd sig n a l mod u lation - b ut M V U w a s j ust getting sta rted, a nd my rese a rch w a s tra nsfe rred across to the m . That led to va rious contacts, a n d from there to e m ployme nt with a NASA-re lated orga n ization that has pa rticu l a r i nte rests con nected to SETI activity. My task was to h e l p toughen-up the theoretica l basis o f the i r signals a n a lysis. They wa nted t o know how to discri m i nate - in pri nci ple - betwee n inte l l igent com m u nication a n d com plex patte rn de rived from n o n i nte l l igent sou rces. To cut a long story short, it beca me i ncreasingly o bvious to me that a lthough they said they we re h u nting for i nte l lige nce, what they were rea l ly see king was orga nization. The whole p rogra m was fu ndamenta l ly m isgu ided. Va rious people had big problems with the d i rection of my resea rch, which had basica l ly vee red-off the orga n izatio n a l mod e l . The socia l friction beca me i ntolera b le a n d I had to leave, which was messy beca use of my h igh-leve l secu rity clea ra n ce . . . Su borga n ization a l patte rn is where t h i ngs rea l ly h a p pe n . When yo u stri p-out a l l the sed i m e nted red undancy from the side of the i nvestigation itself - the assu m ption of i ntentio n a l ity, su bjectivity, i nte rpreta b i l ity, structu re, etc - what re m a i n s a re asse m b l ies of fu nction a l ly i nterco n nected microsti m u l us, or tic-syste m s : coi ncide nta l i nformation deposits, seismocryptio ns, s u borga nic quasire p l icators ( bacteria l ci rcuitries, polypoid diago n a l i zations, i nterphase R-Vi rus, Echo-D NA, ion izing nanopopu lations), p l us the macromach i n e ries of their

suppression, o r de pote ntiatio n . Preva i l i ng signa letics a n d i nfo rmation -science a re both i nsufficiently a bstract a nd ove r-theoretica l in this rega rd . They ca n not see the machine for the a pp a ratus, or the singula rity for the mode l . So tic-systems req u i re a n a p proach that is cosmic-a bstract - hypermate ria l ist - a n d a lso pa rtici pative, methods that do not i nterpret asse m b l ies as concretizations of p rior theories, a nd i m manent models that tra nsm ute themse lves at the leve l of the sign a l s they process. Tic-systems a re entirely i ntracta ble to su bject/object segregation, or to rigid disci p l i n a ry typo logies. There is no order of nature, no epistemology or scie ntific meta position, a nd no u n iq u e leve l of i nte l l igence. To adva nce i n this a rea, which i s the cosm os, req u i res new cultures or - what a m o u nts t o the sa me - new machi nes. The pro b l e m was: how to q u a ntify diso rga nized m u ltiplicities? Diagonal, i rreg u l a r, mo lecu l a r, a nd nonmetric q u a ntities req u i re a sca le that is itself nonmetric, that esca pes overco d i ng. Sta nda rd proce d u res of measure me nt a nd classification p rove e nti rely i nadeq uate, si nce they presu ppose rigid concept u a l segme ntation by q u a ntity a n d q u a l ity (Dele uze-Guatta ri's twi n-pincers of mola rity, type a nd degree). Once t h i ngs a re being wo rked out at the leve l of tic-asse m b l ies - or flat ticki ng a rrays - there a re o n ly i ntensive popu lations, a nd mea s u rement has to give way to e nginee ri ng fusion a l m u ltiplicities: systems that co u nt themse lves o n ly i n the way they p ropagate, i m ma nently n u m be ri ng m u ltitudes, l i ke nanoplastic q ua nt u m swi rls. Eventu a l ly a mach i n ic so l ution was p rovided by the Tick­ Distri butor, but that ca me later . . . At fi rst there was j ust the eq uation, preci pitated in what I sti l l thought to be my own body, virt u a l tic-d e nsity = geotra u matic tension. Geotraumatics. I ca me to Freud re latively late, associati ng it with oed i p a l red u ctionism, and more ge n e ra l ly with a psychologistic sta nce that was s i m p ly i rre leva nt to cryptogra phic work. It's i m portant to re m a rk h e re - no d o u bt we' l l get back to this - that everyt h i ng prod uctive i n signals a na lysis stems fro m stri p p i ng out superfl uous prej u dices a bout the so u rce a n d m e a n i ng of com p lex functiona l patte rns. I took - a nd sti l l ta ke - the vigorous re p udiation of hermeneutics to be the key to theoretica l adva nce in p rocessing sign-syste ms. It was Echidna Sti llwe l l who h e l ped me to see Fre u d from the oth e r side. It was a difficult pe riod fo r m e . There had been a lot of p a i nfu l fa l l -o ut fro m the N a sa work. Psychothera pists we re i nvolved, in pa rt attem pting to pathologize a nd d iscredit my resea rch, a nd i n pa rt responding to rea l stress-re lated sym ptoms. Between the two was a grey zone of tra u matic dysfunction a nd p a ra noia i nvolving difficult feedback effects. Sti llwe l l persuaded me that the o n ly way to get t h rough this was to try a nd m a ke se nse of it, a nd that this was not the sa me as submitti ng to the i nterpretative mode. On the co ntra ry. I n Beyo nd the Pleasure Principle, Fre u d ta kes a n u m b e r of cruci a l i n it i a l ste ps towa rds m a p p i ng the Geocosmic U n conscious as a tra u matic megasystem, with l ife a nd thought dyna m i ca l ly q ua ntized i n terms of a no rga nic tension, e l a sticity, o r mach i n ic p lexion . This req u i res the a norga nizational -materi a l ist

retu n i ng of a n e nti re voca b u l a ry: tra u ma, u nconscious, d rive, association, (screen-) memory, condensation, regression, d isplace m e nt, com plex, re p ression, disavowa l (e.g. the u n- prefix), identity, a nd pe rson . Dele uze a nd G uatta ri ask: Who does the Ea rth t h i n k i t is? It's a matte r of consiste ncy. Sta rt with the scientific story, which goes l i ke this: betwee n fo u r point five a nd fou r b i l lion yea rs ago - d u ring the Hadea n e poch - the ea rth was ke pt i n a state of supe rheated molten slag, t h ro ugh the conve rsion of pla netesi m a l a nd meteoritic i m pacts i nto te m pe ratu re i ncrease ( ki netic to t h e rmic e n e rgy) . As the so la r-syste m conde nsed the rate a nd magnitude of col l isions steadily decli ned, a nd the te rrestri a l su rface coo led, d u e to the radiation of heat i nto space, rei nforced by the begi n n i ngs of the hyd rocycle. D u ring the ensuing - Archaen e poch the molten core was b u ried wit h i n a crusta l she l l, prod ucing a n i nsulated rese rvo i r of pri m a l exoge neous tra u ma, the geocosmic motor of te rrestri a l tra ns m utation . And that's it. That's pl uton ics, or neo p l uto n i s m . It's a l l there : a norga nic memory, p l utonic loo p i ng of exte rna l col lisions i nto i nterior conte nt, i m perso n a l tra u ma as d rive-mecha nism. The desce nt i nto the body of the e a rth corresponds to a regression t h rough geocosmic time. Tra u m a is a body. U lti mately - at its pole of maxi m u m d iseq u i l i b ri u m - it's a n i ron t h i ng. At MVU they ca l l it Cthe l l l : the i nterior t h i rd of te rrestri a l mass, se m ifluid meta l lic ocean, mega m o lecule, a nd p ressu re-cooker beyond i magi natio n . It's hotter t h a n the su rface off the s u n down there, t h ree thousand clicks be low the crust, a n d a l l that thermic e n e rgy is sheer i m perso n a l nonsu bjective memory of the outside, r u n n i ng the plate-tecto nic machinery of the pla net via the conductive a nd co nvective dyn a m ics of sil icate magma flux, bathing the whole syste m in e lectomagnetic fields as it tida lly pu lses to the o rbit of the moon. Cth e l l l is the te rrestria l i n ner n ightma re, nocturnal oce a n, Xa n a d u : the a norga nic meta l-body tra u ma­ howl of the e a rth, cross-hatched by i ntensities, trave rsed by thermic waves a nd curre nts, dera nged pa rticles, ionic stri p p i ngs a nd gl utti ngs, gravitationa l dee p-se nsitivities tra nsd uced i nto non loca l electromesh, a nd feed ing vulca nism . . . that's why pl utonic science sl ides conti n uously i nto schizo p h renic d e l i ri u m . Fast forwa rd seismology a nd you hea r t h e e a rth screa m . Geotra u m a i s a n ongoing process, whose te nsion is conti n ua l ly expressed - pa rtia l ly froze n - i n biologica l orga nizatio n . For i n sta nce, the pecu lia rly locked-up lifeforms we tend to see as typica l - those more-or-less obed ient to d a rw i n i a n selection mechan ics - a re less t h a n six h u n d red m i llion yea rs o l d . They bega n with the pla neta ry oxyge n ization crisis, trigge red by the satu ration of crusta l i ron, fol lowed by mass oxyge n-poison i ng of the p ro ka ryotic biosyste m a nd the e m e rge nce of a e u ka ryotic regime. E u ka ryotic ce l l s a re high ly s u p p ressive . They i m plement a n uclea r com m a nd-control model based on genomic ROM, affi ned to meiosis-m itosis d i p l oca ptu re,

hiera rchica l orga nization, a nd m u ltice l l u la r specia l izatio n . Even the disti nction between ontoge ny and phylogeny - distinct time-ord e rs of the i n d ivid u a l a nd the species - m a kes l ittle se nse without e u ka ryotic n uclea r read-on ly progra m m i ng a nd i m m u no logica l ide ntity. Evo l utionism presupposes specific geotra u matic outcomes. To ta ke a m o re recent exa m p le, the effloresce nce of m a m m a l i a n l ife occurs i n the wa ke of the K/T-M issi le, which com bined with massive magm a - p l u m e activity i n the I nd i a n Oce a n to sh ut-down the Mesozoic E ra, sixty-five m i l lion yea rs ago. I rru ptive vulca nism p l us extraterrestri a l i m pact, l i n ked by coi ncide nce, or p l uton i c looping. So there is a catastrophic tra nsition to a post-sa u ri a n megafa u n a regime, pa rt of a much l a rge r overa l l reorga nization of te rrestri a l sym pto maticity, p rovi d i ng an i ndex of neohadean res u rge nce . And what is m a m m a li a n life re lative to the great sa u ria ns? Above a l l, a n i n n ovation i n mothe ri ng ! Suckl i ng as biosu rviva lism. Te l l me a bo ut you r mother a nd you ' re travel ling back to K/T, not i nto the perso n a l u nconscious. Spinal-Catastrophism. For h u m a n s there is the pa rticu l a r crisis of b i peda l e rect post u re to be processed . I was i ncreasingly awa re that a l l my rea l problems we re moda l ities of back-pa i n, or phyloge netic spinal i nj u ry, which took me back to the ca l a m itous co nsequences of the preca m b ri a n explosion, rough ly five h u ndred m i l l i o n yea rs ago. The ensuing period is i n cre me nta lly body-mapped by metazo a n orga n izatio n . Obviously there a re discrete quasi­ cohere nt n e u romotor tic-fl ux patte rns, whose i ncre menta lly rigidified stages a re swi m m i ng, crawli ng, a nd (biped a l ) wa l ki ng. E l a i n e Morga n persuasively traces the origi n of protoh u m a n b i pedalism t o ce rta i n de lete rious plate-tectonic shifts. T h e model is biose is m ic. Crusta l convu lsions a nd a n i m a l body-plan a re rigorously i nte rco n nected, a n d the e ntire Aq uatic Ape Theory co nstitutes an exe m p l a ry geotra u matic a na lysis. Erect post u re a nd perpendicula rization of the sku l l is a froze n ca l a m ity, associated with a long list of pathologica l conseq uences, a m ongst which should be incl uded most of the h u m a n psychone u roses. N u m e rous tre nds i n conte m po ra ry culture attest t o a n atte m pted recovery of the icthyophidian- or flexomoti le-spi n e : horizonta l a nd i m p u lsive rather t h a n ve rtica l a nd stress-bea ri ng. The issue here - as a lways - is rea l and effective regressio n . It is not a matte r of re p resentatio n a l psychology. Consider Haecke l 's widely discredited Reca pitulation Thesis, the claim that ontoge ny reca pitulates p hylogeny. It is a theory com prom i sed by its orga n icism, b ut its wholesa le rejection was an ove rreactio n . Ba l l a rd's response is m o re prod uctive a nd ba l a n ced, treating DNA as a tra nsorga nic memory-ba n k a nd the spine as a fossil record, without rigid onto-phyloge nic correspondence. The m a p ping of spina l-leve ls onto n e u ronic time is s u p p le, episod ic, a nd d iagona l izing. It co nce rns plexio n betwee n blocks

of machinic tra nsition, not strict isomorphic - or stratic red u n d a n cy - betwee n sca les of chrono logica l o rder. M a m m a l DNA conta i n s latent fish-code ( a m ongst m a ny othe r thi ngs) . Palate-Tectonics. Due to e rect postu re the head has been twisted a rou nd, shatte ring ve rte b ra-pe rce ptu a l l i nea rity and setti ng-u p the p hyloge netic preco nditions for the face. This right-a ngled pneumatic-o ra l a rra ngement p rod uces the voca l-a pp a ratus as a crash-site, in which thoracic i m p u lses col l ide with the roof of the mouth. The b i peda l head becomes a vi rt u a l speech-i m pediment, a su b-cra n i a l pneu matic pile-up, d isch a rged as l i ngua-gest u ra l development a n d cep h a l i zation ta ke-off. Bu rroughs suggests that the p roto h u m a n a pe was d ragged through its body to exp i re upon its tongue. Its a twi n -axi a l system, howls a nd clicks, reci proca lly a rticulated as a vowel-conso n a nt phonetic pa lette, rigid ly i ntersegme nted to re p ress staccato-hiss conti nuous va riation a nd its atten d a nt beco m i ngs-a n i m a l . That's why sta m m e ri ngs, stutte rings, voca l tics, extra l i ngua l phonetics, a nd e lectrodigita l voice synthesis a re so laden with biopolitica l i ntensity - they t h reaten to bypass the a nt h ro postruct u ra l head-smash that esta b l ishes o u r ide ntity with logos, esca ping i n the d i rection of n u m be rs. Barker Numbering. Once n u m be rs a re no longer ove rcoded, a nd thus re leased from t h e i r metric fu nction, they a re freed for other thi ngs, and tend t o beco me diagra m matic. From the beg i n n i ng of my tic-syste ms work the most consistent problems have co nce rned i ntensive seq uences. Seq ue nce is not order. O rd e r a l ready s u p poses a dou b l i ng, a leve l of red u nda ncy: the seq ue nced seq u e nce . A decoded seq uence is somet h i ng e lse, a sheer n u meracy prior to a ny i nsertion i nto c h ronologic struct u re . That's why decodi ng n u m be r i m p l ies an escape from ass u m ptions of progressive time. Tick m u ltitudes a rrive in conve rgent waves, without su bordi nation to chronology, histo ry, or l i ne a r ca usation . They p roceed by i nfoldi ng, i nvo l ution, or i m plex. It's a matter of conve rgence, a nd n u m be rs do that, once they're free to. So the fi rst stage req u i red plexive i ntrogressi on of the tic-density sca le, which was n u me rica l ly rigo rized as d igita l twi n n i ng. Treat the deci m a l n u mera l s as a set of 9-s u m twi ns zygonovize - a nd they m a p a n a bstract i ntensive wave, i n diffe re nt to magnitude. Everyt h i ng efficient a bo ut digita l red u ction is conce rned with this, si nce it discovers the key to deci m a l syzygetic com p lementa rity: 9 = 0. A flatte ning down t o disordered seq uentia l ity, or a bstract n u merica l i m p lex. N i ne is the u lti mate deci m a l n u m e ra l, operating as positive (or fu l l -body) zero . It is the a bstract (i nfi nitesi ma lized as 1 = n u meric prod uct of the deci m a l-magnitude m i n us one 0.999 . . . reite rati ng), which re lates to a pa rticu l a r mode of prol ife ration wit h i n ca pita list se m iotics (of the type $99 .99). Barker-Spiral. The pattern rea l ly ca me together with the Diplozygotic S p i ra l, which a rrived sudden ly, by cha nce . I was playi ng a ga me of Decade nce, which I had fi rst e ncou ntered many yea rs before. This game a l ready i nterested me beca use of its n u merical e l ega nce, its

com plex associations, and its depende nce upon a principle of deci m a l twi n n i ng. It had a lways seemed to h i nt at a lost syzygetic a rith metism, re lated to the bi latera l sym m etry of the h u m a n body. Digits a re finge rs, a n d they come i n deci m a l packages of two times five . I n Decade nce five m a kes ten by doubli ng, or pairing with itse lf, scoring zero . This tantal ized me, but I cou ld n 't fit it together theoretica l ly. The q ua n d a ry was u n l ocked on this occasion, when one of the p a rtici pa nts casua l ly m e ntioned the existence of a n occu lted va riation of the ga me, ca l led S u bdecadence, based on a system of ni ne-su m twi n n i ng. Su bdecadence introduces ze roes, a nd n i ne-ze ro twins. It works by zygonovic n u m e ri s m . That was stu n n ing e nough i n itse lf, but seei ng the two togethe r - or see i ng between them - was a n i ncredible moment of diagra m matic asse m b lage. It all sponta neously conde nsed, a nd the S p i ra l clicked i nto coh e re nce, l i ke a secret door i nto the long-hidden crypt of the deci m a l system . Publications. Quasi Che m i ca l Tic Culture Cata lysis of Ano rga nic Pa i n Wave Matrices - ( P l utonics: Vol u m e X, N u mber 6, Fa l l 1990) Anorga nic Se m i otics - ( P l uton ics : Vol u m e X, N u mber 9, Fa l l 1991) S p i n a l Catastrophism - (Pl utonics: Vo l u m e X, N u m be r 10, Spring 1992) Pa late Tecton ics - ( P l utonics: Vo l u m e 10, N u m ber 12, Fa l l 1992) Vowe ls: A Biopolitica l Strategy - ( P l utonics: Vol u me X, N u m be r 18, Fa l l 1994) What Cou nts as H u m a n ( Ki ngsport : Kingsport Co l lege Press, 1997)

2:. M e l a n i e N ewton Y2paniK On receivi ng a n i nterrupt, decre m e nt the co u nter to zero . - W i l l i a m Gi bso n Cou nt Ze ro M i l le n n i a l M a n ia reaches a ce rtai n pea k i n the "Je rusa lem syndrome," which exh i bits eschato u rism as one e l e m e nt in the progra m matic fulfi l l me nt of pro p hecy. Whi lst TV eva nge l ists in the USA a re exhorting viewe rs to se l l a l l possessions a nd flock to Je rusa lem, a nd a pa pa l blessing is pro m i sed to those visiting the holy-land at the begi n n i ng of the new m i l le n ni u m, the isra e l i tou rist boa rd, secu rity forces, a nd the psych iatric profession a re preparing fo r the a rriva l of u p to t h i rtee n m i l lion ch ristia n pi lgri ms. An a bnorm a l ly high rate of psychotic d istu rbance is confidently a ntici pated, perhaps succeeded by episodes of mass su icide a m ongst disi l l u sioned believe rs. At Megiddo (the b i b l ica l Armegeddon) they a re p l a n ning the u lti mate so und a n d l ight show, i nvo lvi ng frog-mo nste rs, the greatest e a rt h q u a ke i n history, a n d toxic h a i l from heave n ( Rev­ XVI :16). Such i nce ndiary visions dove-ta i l s neatly with existing regio n a l tensions. In p re p a ration for the m i l le n n i um, va rious jewish a n d christ i a n gro u ps a re p lotting to demolish the E l -Aqsa mosque a nd the Dome of the Rock. This is seen as the necessa ry pre l ude to re b u i l d i ng the t h i rd a nd fi n a l te m ple of So lomon, which wo u l d lay the m u ndane fou ndations for the N ew J e rusa lem, a nd ind uce the co m i ng of the Messia h (co m p letion of Oecu menon) . R u n n i ng cou nte r to such e nth usiasm is the fact that as a n i nstru ment of p ropaga nda the gregori a n ca lendar is i ntri nsica l ly flawed . Apoca lyptic hopes fo r A D 2000 systematica lly confuse m i l le n a ri a n expectations fo r Ch rist's thousand yea r reign ( Rev-XX) with m i l le n i a l ist i nvestment of neat ca lendric i nte rva ls. The mid night of Dece m be r 3 1st 1999 does not coi ncide with a ch rist i a n festiva l (ch ristmas), has no h isto rica lly defensi ble com me m o rative re leva nce, a nd does not (as gregoria n yea r M M ) even mark the begi n n i ng of a new m i l l e n n i u m . Mea nwhi le, i nfotech nics is ca rried b y Y 2 K i nto m i l le n n i a l spasms o f its own, returning t o 00 a nd digita lly e rasing the twe ntieth ce ntury ( red uci ng data to M M bo-j u m bo ) . Si nce Cyberspace dates a re i nca pa ble of cou nting above 99 they have su rreptitio usly i n sta l led the fi rst i ntri nsica lly a poca lyptic ca lendar in history, u nco nsciously prod uced wit h i n a pla netra ry

e lectronic registry, sta rting from Yea r Ze ro ( = 00) . Y2K conde nses out of the mecha nomic u n conscious a nd its nona rbitra ry ca l c u l a r fu nctio ns, attesting to a raw deci m a l d e l i ri u m i n diffe re nt t o creed. Post-tri b u latio nist eschatology sl ides smoothly i nto Y2K s u rviva lism, orienting its volatile m ixtu re of stock p i l i ng, m icro-m i litia activity, tech nophobia a n d a poca lyptic theology towa rds the se lf-fu lfi l l i ng dyna m ics of m i l le n n i a l t h reat. Pre-em ptive response prod uces rea l ity (panic is creation). The more you know a bo ut it, the worse it looks. It has a lways been i ntegra l to ca pita list orga nization that scie nce-fiction fu nctions as a factor of prod uction, re lating it i nti mately to p a n ic-phe nomena. Y2K ta kes thi ngs to a new level, as a d isaste r that comes from the futu re, sche d u led by accide nt, a n d t h u s p recisely a ntici pated in time. If it p roves effectively i ne rad ica ble it is beca use it is trickli ng back, fro m the se lf­ confi rm i ng i n evita b i l ity of its occu rrence. Someth i ng is a bout to ha ppen, a nd we know exactly whe n . The contou rs of the expected ca l a m ity a re bei ng contin uously u psca led i n conform ity with an i nte rlocki ng tech nopa nic synd rome, i nvo lving i n n u m e ra ble accidents, va rious network crashes, and e l e m e nts of med ica l overstretch, fi n a n cia l chaos transport, teleco m m u n ication a n d powe r fa i l u res, food a n d wate r shortages, d i s ru ption of government se rvices, hoa rding, rioti ng, a nd te rrori s m . A n u m be r of gove r n ments have openly exp ressed their w i l l i ngness to oversee m i l l e n n i u m ce lebrations in conditions a p proxi mating to m a rtia l law. Army a nd pol ice leave is being ca nce l led, a nd e m e rgency services pre p a red for exce ptional conditions, including l a rge-sca le d isruption of their own com m a nd, co ntro l, a nd com m u n ications systems, co m pou nded by widespread e q u i p ment dysfu nctio n . I n t h e West, la rge gove rn m e nt a nd corporate b u re a ucracies a re triaging t h e i r Y2K vu l n e ra b i l ity: writing-off the most expendable sectors, acce pting i nca lculable risk i n othe rs, a nd concentrating resou rces so lely on the most critica l a reas (such as n uclea r i nsta l lations, strategic control, co re i nformation fu nctions a nd fi na nci a l records). Forecasting the patte rn of Y2K devastation is com p licated by its ( a rtifici a l ) nature, which exp lodes i n spirals. As a h ighly chaotic sing u l a rity it is cha racte rized by extre me se nsitivity to m icrova ria b l es, the a bse nce of p recede nt, a nd a ntici pato ry loopi ng t h rough its own potentials. It occu rs in adva nce of itse lf, p u n ctua l ly switches to an u n known climate, a nd

spreads contagio usly t h ro ugh netwo rks. Mode l ling it adds com p lexity a nd noise (which feed it). Though e nti re ly se m iotic, it a l ready a mo u nts to the most expe nsive accident i n history (whateve r ha ppens). $ 3 . 6 tri l lion a nd cou nting. Y2K produces a tra u matic m utation i n the i nformation economy, i nvolving an exp losion of IT e m e rgency services (ana lysis, debugging, i ntegrated sol utio ns), massive ly acce le rated h a rdware re p lace m e nt, globa l restruct u ri ng, a n d a crisis of confide nce in com p uter­ s u p ported se rvices, with the pote nti a l to ru naway i nto ge nera l ma rket col l a pse. It i nte rru pts the smooth u pwa rd cu rve of d o u b l i ng m icro p rocesso r density, fa l l i ng p rices, a n d i ncreasing ma rket-pe netration with a si ngu l a r cyberspace-shock that is disco nti n uous (or non meta bolic) in nat u re . J u n k-shops stack- u p with p remature ly disca rded i nfotechnic h a rdwa re, p roviding the materia l-base for a com p uter-age ski p-scave ngi ng ca rgo-culture . Electron ics m u st be su bsoci a l ly recycled to re lease its frozen machinic potentia l . Cybe rpunk begi ns with Y2K. Outside the p u b l i c sphere Y2K excite ment is not o n ly h igher it has cha nged phase e ntire ly. As hyste rica l hyperlooping twists the m i l le n n i u m i nto a panic storm, it bui lds explosively on itse lf, p roducing a n a rtificia l destiny. Techonomic powe r s p l i nte rs across sch izo p h ren ica l ly j uxta posed time-systems, spawn ing mo nste rs (the fi rst true cou ntercu ltu re ) . Lu rki ng p redom i n a ntly i n the dataco m bs o f t h e crypt, n u merous shadowy gro u ps now proclaim themse lves Y2K-positive . These "Yett u k cu lts" have beg u n b u i lding a mesh of massively decentra lized subcu ltu ra l i m p u lses, d i rectly i nvest i ng ethnotronic time­ catastro phe, a nd aggressive ly promoting c h ronodisside nce throughout a nd beyond the web. They cel e b rate Y2K as a t h reat to the o rder of t i m e : a cultura l eve nt that is not text u a l, ideologica l, re prese ntation a l, i ntention a l, o r phenome nologica l b ut rather machinic a nd n u merica l-s u btractive ( n -1). Y2K designates a crisis of ca lendric cult u re : a time-bo m b so pe rfected that the timer is the bom b. It s i m u lta neously adopts the ze ro-fu nction of 24-hour d igita l ti me-code, ind uces conve rge nce with the ca lendric ze ro of cou nt-i nce ption, dismantles clock/ca lendar

segme nta rity i nto flat sca les of d u ration, a nd trigge rs Teotwawki. Eve n when it operates pre­ e m ptive ly (in any n u m be r of ways) it refers itself to the p u nctu a l G reat M i d n ight that cuts hype rhisto rica l t i me-conti n u u m at 00 :00, d o u b l i ng the retro-vi rtu a l chro noge nesis of the ce ntury. Y2K is as old as com pute rs, a l l that cha nges is the pa nic i ntensity. Accord ing to the Yettu k cultists - or K-Goths - the tota l c h ronopo litica l i m m u ne-response t o Y 2 K constitutes a progra m for G regorian Restoration, with the bug-h u nt masking a neoro m a n sociopolitica l age n d a . Fa r fro m b e i n g a mere technica l glitch, the m i l le n n i u m time crisis i ndexes the first n e utra l ca lendar i n history, which esca pes the n u m e rocu ltura l legacy of the Romans b y begi n ning with a yea r 0 (= 00) . The demand fo r " m i l l e n n i u m com p lia nce" atte m pts to e nforce the a b a n d o n m e nt of a n existing ca lendar, that of cybe rnetic- o r K-Ti me, a n d suppress its associated time-a no m a lies (sea l i ng the ca lendar agai nst zero). I n the now noto rious words of crypt den izen Cou nt S Ze ro : " ... so M bug resistors t h i n k MATRIX needs a new ca lenda r--tota l ly steam-pu n k. Wa ke up- ITs a l ready K-Ti m e . Cou nt­ O=G reg Date 1900 ... "

3 : . Steve Good m a n Hyper-C : Breaking the Net 33.33rp m : 2112bpm - 1056 - 528 - 264 - 132 - 66 - 33 - 16.5 - 8 . 25 - 4 . 125 - 2.0625 45rpm : 2880bpm - 1440 - 720 - 360 - 180 - 90 - 45 - 22.5 - 1 1 . 25 - 5.56 - 2 .528 1. The a bove is an exce rpt fro m Sector 7.1 of the Hype r-C tone-scie ntist m a n u a l e ntitled Hydro-demonic po lyrhyt h m : operating system for the redesign of sonic rea lity, o n kode9 so nic insurgency- Po lyrhyt h m i c sca l i ng, Octave stretchi ng, Brea kbeat nesting as short-circuits to turbulence . Elsewhere in the text, afroatla ntia n rhyt h m i c futu rism's i nvo l utiona ry trajectory from the fu l l beat of 4/4 fu nera l m a rches t h rough the Yi beat of 2/4 towa rds the J4 note of swi ng,on past the bebop 1/8 note i nto a co nve rgence with the T1000 liquid meta l hype rrhyt h m e ntity wh ich, a rrivi ng from the futu re, s u rfaced rece ntly i n the early to mid 1990s. This vast vertica l asse m b lage d iagra m med by such period dou b l i ng suggests that the affective potentia l of the Black Atla ntic co nsists of the m u lti -sca l a r rhyt h m i c com position of turbule nce- the a rt of wa r i n the a rt of noise. Li ke the cybe rgoths, Hype r-C seem addicted to the flatline b l i ss of m icro-pa use a b use- d iffe re nt agent, sa me line. In a late r section of Hyd ro­ demonic polyrhyt h m we learn fu rther that this redesign of so nic rea l ity generates genetic destratification fo r subaq uatic m a rt i a l a rts, for insurge ncy o n the d istri buted pod network which the AOE was i nsta l l i ng, constituting a ca rce ra l a rchi pelago [entitled C--N et, l nc.] under the Black Atla ntic. Each pod was a l leged ly mode l led on C20's design wiza rd Buckm i n ster F u l l e r's u ndersea isla nd, a nd housed glea m i ng so n a r tracking machi nes, tracing out the sonic e nviro n m e nt on digital ca rtogra p hies of fracta l co m p lexity. 2. Riding the s u rge cu rre nt of the Syzygy hyd ro-cycle opens Hype r-C b re a k asym metries to smooth tra nsitions across the rhyt h m ic freque ncy conti n u um, ca mouflaging their sonic output with the bpm metric, Hype r-C cl uste r thei r p rod uctions a ro u nd the aga nomic speed of 180bpm [kode9 plate a u of conti nuous va riation ) a nd 132bpm ( m icro-bre a k demonic two­ ste p) 3 . For the d istributed aquaassassins of the Hype r-C tide, Y2K constituted nothing less t h a n a scratch on the vinyl of history. With the C-leve l rising a l l the time, the e l u sive cult phenomena were cha racte rised by what Kodwo Esh u n has refe rred to as ' li q u i d a rity', a ki nd ki nd of hyd rotronic tao of turbule nce, ge l i ng d istri buted age nts i nto a collective visco-e lastic polyrhyt h m .

4. Hype r-C = as MC Blowfish of Digita l U nd e rgro u n d procla i m s (((with tha n ks to Pa rl i a m e nt's Psychoa q uadoodoo))) com posed of t u rta bl ist tone scie ntists and connoisse u rs of the occ u lt n u me ric practices of b rea k asym metries. 5 . For the Dogons of West Africa the 8 a n cestors a re ca lled N o m mo. The sca pegoated a n cestor, the Fish N o m mo, Anagon no, was sacrificed to cou nte ract the diso rder of the u n ive rse, of which conti n u a l l a nd recla mation operations constitute o n ly a te rrestri a l i n stance(((((((((((((((Co u l d la nguage rea l ly be the e a rth screa mi ng?))))))) The bifu rcation of Po, the cosmic egg, trigge rs the o nset of turbule nce, a cosmic w h i rlwi n d . U n l i ke astro-physicist Steve n Hawking who disrega rds significa nt matte r prior to the Big Ba ng, the Dogons posit the a byssa l waters.(see Finch 1 1 1 1998) 6. Seve ra l Hype r-C designers had watched with fasci nation as the i nfi nite regress of negations co nstituted by the weight of Hege l i a n d i a lectic was passed downstre a m by the theoretica l te rrorists, the You ng Black Hege l ia ns. The Quantum Blacks were on a col lision cou rse from the sta rt accord i ng to G reg Tate . The You ng Black Hege l i a ns despite their e n e rgetic concept u a l insurge ncy were weighed down by the b u rden of co ntrad iction a nd confl ict with which their heritage had b u rdened the m . The Qua nt u m Blacks the refore we re forced i nto locat i ng themse lves " by bea ri ng the sign of negation to a red uctio ad a bs u rd u m, a theoretica l b lack hole. N ot a co l l a pse i n the fa bric of space-time, d i m e nsion or gravity, b ut to a fold i n the c u rtai n of race memory. " (Tate : 65) 7. N oiz-zioN. 8. Always, Hype r-C had sneered fro m afa r at a n ove rexposed spectacular m a rt i a l mode of historica l m o n u m e nta l ism i n stead i nsta l l i ng a n a m p h i bious geogra phica l n o n u m e nta lism a n d dep loying the a nti-memory d e e p time o f the spi n a l fl uid oce a n . 9. s-s-s-s-s-s-s-sss-ssssssssssset you r clocks t o m a riti me K+ I ns u rgent p hase 1: Style wa rs to Race wa rs I ns u rgent p hase 7 : Fro m su bversion to s u b m e rsion

1. Contrast the m a rtia l trajectory of the Qua nt u m Blacks with the escape ve locity of the Dr. D rexel i nspired D rexiya ns a nd you ca n understa nd the d ismay of dee p-cove r Hype r-C > with esca lations to violence of the Quantum Black wa r aga i n st the State (white body politic) which G reg Tate re ports. 2. K2-k-k-k-kode fo r C/>k-a-t-a-s-O-n-1-x-> [ r-e-w-1-n-d] >>>>>>»> 3. Prefe rri ng an older operating system Hyper-C d e ploy an old school wetwa re m a rtia l a rt termed sine-hyd ro-synthetics)_"i nse rt the s u n tzu chip > kode9)))) testifying to the hype rc u lt u ra l matrix which smea rs out the wh ite face of the Occident. 4. By p u re coi ncidence, Dr. Ca me lot D rexe l 's resea rch, Tate te l l s us, "was based on the theory that black peoples consciousness a nd socia l condition cou ld be tra nsfo rmed t h ro ugh ge netic m utation, rather than re ligious o r ideologica l conve rsio n . He wa nted to tra nsform a se lect gro u p of b lack fol ks i nto a m ph i bious creatures who wo u l d assist h i m i n lea d i ng a n exodus of black people t o the S i ri us B syste m . " (Tate : 59) 5 . In 1998, mobile aqua-agent D rexiya has been noted "cu rre ntly m issing in action" a lthough rece nt sig n a l suggests sighti ngs in the "eastside sewer syste m 7 m i le and Va n dyke a re a ­ eastside Detroit Sector." D rexiya, a "wavej u m pe r" from the Speci a l forces operates o n "aq uatic assa u lt" a nd " beach h e a d pre p a rations" t h rough the " u nderwate r deployment of Electronic F u n k Bombs." 6. Wea pon of Choice- H 20 7. Rewind the ce ntu ry 8. N o playback 9. Set you r clocks to m a riti me . . .

Textbank G reg Tate( 1994) ' Exce rpt fro m Altered Spad e : Readi ngs i n Race M utation Theory ' i n A. Ross & T. Rose (eds.) M icrophone Fiends, New York: Routledge . Cha rles S. Finch I l l, M . D . ( 1998) The Sta r of Deep Beg i n n i ngs: The Ge nesis of Africa n Science a nd Technology, Georgia : Khenti, I nc. Sound bank va rio us: Bedo u i n Asce nt, D i l l i nja, Ram, Dylan, Vi rus, Cu rrent Va l ue, U R, D rexciya, Pa rl i a m e nt, Digita l U ndergro u nd, Ccru, kode9, kataso nix.

4 : . Ron Eglash Recursive Numeric Sequences in Africa 1 ) N o n l i n e a r additive series i n Africa n cultures. The cou nti ng n u m be rs ( 1,2,3 . . . ) ca n be thought of as a ki nd of ite ration, but only i n the most trivi a l way. It is true that we cou l d prod uce the co u nt i ng n u m be rs fro m a recu rsive loop; t h a t is, a fu nction i n w h i c h the output at one stage becomes the i n put fo r the next : X n + 1 - X n + 1 . But this is a strictly linear series, i ncreasing by the sa me a m o u nt each time -- the n u me ric e q u iva lent of a sta i rcase . Add ition ca n, howeve r, p rod uce non l i n e a r series, a n d there a re at least two exa m ples of non l i ne a r add itive series in Africa n cult u res. The tria ngu l a r n u m be rs ( 1,3,6, 10, 15 . . . ) a re used in a game ca l led "ta ru m beta " in east Africa (Zaslavsky 1973 p p . 11 1 ). Fig u re 1 shows how these n u m be rs a re de rived fro m the shape of tria ngles of i ncreasi ng size, a n d how the n u me ric series ca n be created by a recu rsive loop. As in the case of ce rta i n fo rma l age -grade i n itiation p ractices, the s i m p le ve rsions a re used by sma l l e r chi ldren, a nd the higher ite rations picked u p with i ncreasi ng age. While there is no indication of a for m a l re lationsh i p i n t h i s i n sta nce, t h e re is sti l l a n u nde rlyi ng pa ra l lel betwee n t h e ite rative co nce pt o f aging com mon to m a ny Africa cultures -- each i nd ivid u a l passi ng t h rough m u ltiple t u rns of the " life-cycle" -- a nd the ite rative nat u re of the tri a ng u l a r n u m be r series.Another n o n l i ne a r add itive series i n w a s fo und i n a rchaeologica l evidence from north Africa . Badawy ( 1965) noted what a ppears to be use of the Fibonacci series i n the layout of the te m ples of a ncient Egypt. U sing a slightly d iffe re nt a pproach, I found a visua l ly distinct exa m ple of this series i n t h e successive c h a m bers o f t h e te m ple o f Ka rna k, as shown i n figu re 2a . Fig u re 2b shows how these n u m be rs ca n be ge nerated usi ng a recu rsive loop. This forma l sca l i ng p l a n may have been de rived from the n o n - n u m e ric ve rsions of sca l i ng a rch itectu re we see t h roughout Africa (cf. Eglash 1995, Eglash et a l 1994) . An a ncient set of ba la nce weights, a ppare ntly used i n Egypt, Syria a nd Pa lestine ci rca 1200 B.C.E., a lso a ppea r to e m p loy the Fibonacci seq u e nce ( Petruso 1985 ) . This is a pa rticula rly i nteresting use, si nce one of the striking mathematica l p roperties of the seq ue nce is that one ca n create a ny positive i nteger t h ro ugh addition of selected m e m be rs -- a property that m a kes it idea l for a p p lication to bala nce measu re m e nts ( Hoggatt 1969 pp 7f) . There is no evidence that a ncient G reek mathematicians knew of the Fibonacci seq uence. There was use of the Fibonacci seq ue nce in M i noa n design, but Preziosi ( 1968) cites evidence ind icating that this cou ld have been bro ught from Egypt by M i no a n a rchitect u ra l wo rke rs e m p loyed at Ka h u n . 2 ) Discrete self o rga n ization i n Owa ri

Fig u re 3a shows a boa rd game that is p layed t h roughout Africa i n m a ny diffe re nt versions va riously termed "ayo, " " baa," "giuthi," " lela," " m a nca la," "omweso," "owa ri," "tei," a nd "so ngo" (a mong many other na mes). Boa rds cut i nto stones, some of extre me a ntiqu ity, have been fo und from Zi m ba bwe to Ethopia (see Zaslavsky 1973 figu re 11-6). The ga me is played by scoo ping pebble or seed cou nters from one cup, a nd seq uentia l ly placing one each i n the cups that fol low. The goa l is to have the last cou nte r land in a cup with o n ly one or two co u nters a l ready i n it, which a l lows the p laye r to ca ptu re those cou nters. I n the G h a na i a n ga me of Owa ri, playe rs a re known fo r uti lizing a series of moves they ca l l a " m a rching gro u p . " They note that if the n u m be r of cou nte rs i n a series of c u ps each decrease by one (e.g. 4-3-2-1 ) the e nti re pattern ca n be re pl icated with a right-shift by scoo ping from the la rgest c u p, a n d that if left u n i nterru pted it ca n pro pagate i n this way as fa r as needed (figu re 3 b ) . As s i m p le as it see ms, this concept of a se lf re pl icating patte rn is at the hea rt of so me sophisticated mathematica l concepts. J o h n van N e u m a n n, who p layed a pivota l ro le in the deve l o p me nt of the mod e rn digita l com pute r, was a lso a fou nder of the mathematica l theory of self o rga n izing syste ms. I niti a l ly va n N e u m a nn's theory was to be based on self re prod ucing p hysica l robots. Why work o n a theory of se lf re prod uci ng mach i n es? I believe the a nswe r ca n be found i n van N e u m a n n's soci a l outlook. Hei ms' (1984) biogra p hy e m phasizes how the diso rder of van N e u m a n n's preca rious youth as a H u nga ri a n Jew was reflected in his a d u lt effo rts to i m pose a strict mathe matica l o rder in va rious aspects of the world . I n van N e u m a nn's a p p l ication of game theory to soci a l science, fo r exa m ple, Heims writes that his " Hobbesian" ass u m ptions were "conditioned by the h a rsh politica l rea lities of his H u nga ria n existe nce . " His e nth usiasm for the use of n uclea r wea pons aga i n st the Soviet U n i o n is a lso attri b uted to this expe rience. D u ri ng the H ixon Sym posi u m (van N e u m a n n 195 1 ) he was asked if co m puti ng machi nes cou ld be b u i lt such that they co uld re p a i r themselves if "da maged i n air ra ids," a nd re p l ied that "there is no d o u bt that one ca n design machi nes wh ich, under suita ble ci rcu msta nces, wi l l re pa i r the mselves." H i s work on n uclea r radiation tolera nce for the AEC in 1954-5 incl uded biologica l effects as wel l as machine operatio n . Putting these facts together, I ca n n ot esca pe the cree py concl usion that van N e u m a n n's i nterest i n se lf-re p rod uci ng a utomata originated in fa ntasies a bout havi ng a more pe rfect mechanica l p roge ny su rvive the n uclea r p u rging of orga nic life on this pla net. Models for p hysica l robots tu rned out to be too com plex, and at the suggestion of his col league Sta nislaw U la m, va n N e u m a n n settled for a gra phic a bstraction; "ce l l u l a r a utomata" as they ca me t o be ca lled. I n t h i s model (figure 4a ) each sq u a re i n a grid is said to be either a live or dead (that is, in one of two possi ble states). The ite rative rules for cha nging

the state of a ny one sq u a re a re based on the eight nea rest neighbors (e.g. if 3 o r more nea rest-neighbors a re fu ll, the ce l l beco m es fu l l i n the next iteratio n ) . At fi rst rese a rchers ca rried o ut on these ce l l u l a r a utom ata expe ri me nts o n checke red table cloths with poke r c h i ps a nd doze ns o f h u m a n helpers (Maye r-Kress, perso n a l co m m u nication), b u t b y 1970 it had been deve loped i nto a s i m p l e com p uter progra m (Co nway's "ga me of life " ) which was descri bed by M a rtin G a rd ne r in his fa mous " Mathematical Ga mes" col u m n in Scie ntific Ame rica n . The "ga me of l ife" col u m n was an i nsta nt h it, a n d co m p uter screens a l l ove r the world bega n to p u lsate with a biza rre a rray of patterns (figu re 4b). As these activities d rew i ncreasing professio n a l atte ntion, a wide ra nge of mathematica l ly-orie nted scientists bega n to rea lize that the sponta neous e m e rge nce of se lf susta i n i ng patte rns created i n ce rta i n ce l l u l a r a utomata we re exce l l e nt models fo r t h e ki nds o f self orga nizing patterns that had been so e l usive i n studies of fl uid flow and bio logica l growth . Since sca l i ng structu res a re o n e of the h a l l m a rks of both fluid t u rbu le nce a nd biologica l growth, the occu rre nce of fracta l patterns i n ce l l u la r a uto mata attracted a great dea l of i nterest. But m o re si m p l e sca l i ng structu re, the loga rithmic s p i ra l (figu re 5 ), has garnered m uch of the attentio n . Eve n back in the 1950s mathematici a n Alan Tu ri ng, whose theory of com putation provided van N e u m a n n with the inspiration fo r the first d igita l com p uter, bega n his resea rch on " biologica l m o rphogenesis" with a n ana lysis of loga rit h m i c spirals i n growth patte rns. Ma rkus ( 1991) notes that t h e a ppl ication a reas for ce l l u l a r a utomata models of spira l waves i nclude n e rve axons, the retina, the su rface of fertilized eggs, the ce re b ra l cortex, h e a rt tissue, a n d aggregating slime m o lds. In the text fo r CALAB, the fi rst com pre he nsive softwa re for expe ri menting with ce l l u l a r a utomata, mathematici a n R udy Rucker ( 1989, pp. 168) refers to systems which p rod uce pa i red log spi ra ls as "Zha botinsky CAs," after the chem ist who fi rst observed such self o rga n izing patte rns i n a rtificia l med i a : "When yo u look a t Zha botinsky CAs, you a re see i ng ve ry stri ki ng t h ree di mensiona l structu res; thi ngs l i ke p a i red vortex sheets i n the su rface of a rive r be low a dam, the scro l l pa i r stretch i ng a l l t h e way down t o the rive r bottom . . . . I n t h ree d i m e nsio n s, a Zha botinsky reaction wou ld be l i ke two pa i red n a ut i l us shells, faci ng each othe r with their l i ps b l e n d i ng. The successive laye rs of such a growing patte rn would b u i ld u p very l i ke a fetus ! " Fig u re 6 shows how the owa ri m a rc h i ng gro u p system ca n b e used as a one-di m�nsional ce l l u l a r a uto maton to demonstrate m a ny of the dyna mic phenomena prod uced o n two­ di mensiona l syste ms. The Aka n a nd other G h a n a i a n societies had a re m a rka ble p re -co l o n i a l u s e o f loga rith m i c s p i ra l s i n ico n i c re p rese ntations fo r se lf o rga nizi ng systems (figu re 7a ) . The G h a na i a n spirals a nd the fou r-a rmed com p uter gra phic i n figu re S b a re q u ite d ista nt i n terms of the machine techno logies that prod uced p rod uced them, but there may we l l be

mathe matica l con nections between the two. Si nce ce l l u la r a utomata model the e m e rge nce of such patte rns i n modern scie ntific studies of l iving systems, a nd ce rta i n G ha na i a n log spira l icons we re a lso i ntended as ge neral ized models fo r orga nic growth, it is not u n reaso n a b le to consider the possi b i l ity that the self orga n izing dyn a m ics obse rva ble in owa ri we re a lso l i n ked to conce pts of biologica l mo rphogenesis i n traditio n a l G h a na i a n knowledge syste ms. Rattray's classic vol u m e o n the Asa nte culture of Ghana incl udes a cha pter on owa ri, but u nfort u n ately it o n ly covers the rules a n d strategies of the ga m e . Recently Kofi Agudoawu ( 1991) of G h a na has written a booklet on owa ri "dedicated to Africa ns who a re e ngaged i n the fo rm idable task of recl a i m i ng their heritage," a nd h e does note its association with re p roductio n : "wa ri" i n the G h a n a i a n la nguage Twi means " he/she ma rries." He rskovits ( 1930), noting that the "awari" ga me p layed by the desce nda nts of Africa n slaves i n the new world had reta i ned some of the pre-co l o n i a l c u lt u ra l associations from Africa, re ports that awa ri had a d isti nct "sacred cha racter" to it, pa rticula rly i nvo lving the ca rvi ng of the boa rd . Owa ri boa rds with ca rvi ngs of loga rith m ic spi ra ls (figu re 7b) ca n be com mo n ly found i n G h a na today, suggesting that western scie ntists m a y not b e t h e o n l y o nes w h o deve loped a n association betwee n discrete self-o rganizing patte rns a n d biologica l re p roductio n . It is a bit vi nd ictive, but I ca n't h e l p e njoyi ng the thought of van N e u m a n n, a postle of a mechan istic New World Order that wou ld wi pe out the i rration a l caco phony of livi ng syste m s, spi n n i ng i n h i s grave every time w e watch a cel l u l a r a utomaton - - whether i n pixe ls or owa ri cu ps -­ bring forth chaos in the ga mes of life . References Agudoawu, Kofi . Rules for Playing Owa re . Kumasi: KofiTa l l 199 1. Badaway, A. Anci e nt Egypti a n a rch itect u ra l design : a study of the h a rmonic syste m . Berkeley: U nive rsity of Ca l ifornia Press, 1965. Eglash, R., Diatta, C., Badia ne, N. " Fracta l struct u re i n jola mate ria l culture." E kistics p p . 3 67 371, vol 61 no. 3 68/3fi9, se pt-dee 1994. Eglash, R. " F racta l geometry i n African mate ria l culture . " Sym metry: Cu ltu re a n d Scie nce . Vol 6-1, p p 174-177, 1995. Fagg, W. "The Study of Africa n Art." B u l letin of the Allen Memori a l Art M use u m, Winter 1955 56, 12, 44-61. Gies, F., Gies, J . Leo n a rd of Pisa a nd the New Mathe matics of the Middle Ages. NY: Thomas Orowe l l 1969.

Hei ms, S .J J o h n van N e u m a n n a nd Norbert Wiener The M IT Press, Ca m b ridge, 1980. He rskovits, Melvi l le. "Wa ri in the new worl d . " paper read at the America nist Congress, H a m b u rg 1930. Hoggatt, V.E. Fibonacci a nd Lucas N u m be rs. NY: Ho ughton M iffl i n 1969. Ma rkus, M a rio. "Autonomous orga nization of a chaotic medi u m i nto spira ls." pp. 165-186 I n Istva n H a rgitta i a n d Clifford Pickove r (eds) S p i ra l Syrm metry, Londo n : World Scientific 199 1 . Petruso, K . M . "Add itive Progression i n Pre h i storic Mathe matics: A Co nject u re . " H istoria Mathematica 12, 101-106, 1985 . Preziosi, D . M i no a n Architect u ra l Design . M o uton 1968. Rucker, Rudy. CALAB. Sa n Jose: Autodesk 1989. Von N e u m a nn, Joh n . Co llected works. Genera l editor, A. H. Ta u b . New York, Perga mon Press, 195 1. Zaslavsky, Claudia. Africa Co u nts. Boston : Pri ndle, We ber & Sch m idt i nc. 197 3 .

5 : . Ron Egl a s h Africa in the Origins of Binary Code "The re lationship betwee n what we do as physicists today a nd the fut u re that o u r work e ngenders is dia logica l i n the sense that not o n ly do our present actions determine what o u r future w i l l be, b u t w e m ust b e eve r m i ndfu l o f t h e i m pact o f o u r p rese nt actions on the fut u re ... Th rough o u r mora l responsibi lity a n d awa re n ess of signals a nd trends, we in effect, ' l i ste n ' to what the future has to te l l us." ( D o n n e l l Wa lton, Chair, N atio n a l Co nfe rence of Black Physics Stude nts 1995 .) While the tem pora l traditions of Africa n societies were frequently cited by col o n i a l ists as evidence for p ri m itive superstition, they a ppea r today i n q u ite the op posite co ntext : mathe matica l a n a lyses of traditional Africa n designs, techniques a nd knowledge systems indicate a wide a rray of sop h i sticated i ndigenous i nve ntions. Li ke Pa u l G i l roy's fracta l Atla ntic, Donnel Wa lto n's i nvocation of Africa n d ivination traditions- of liste n i ng to the futu re- is not o n ly usefu l i n its ca l l for greate r ethica l responsi b i l ity, but a lso as a re m i nd e r fo the su rprisi ng l i n ks betwee n traditional knowledge a nd modern science.The modern b i n a ry code, essenti a l to eve ry digita l ci rcuit fro m a la rm locks to super com pute rs, was fi rst introduced by Lei bniz a ro u nd 1670. Lei b niz has been inspired by the b i n a ry-based ' logic machine' of Raymond Lu l l, which was i n t u rn inspired b y the alchemists' d ivination practice fo geoma ncy (Ski n ne r 1980) . But geo m a n cy is Clea rly not of E u ropea n o rig i n . It was fi rst i ntrod uced there by H ugo of Sa nta l la i n twelfth ce ntury Spain a n d I sla m i c scho l a rs had bee n using it i n N o rth Africa since at least the 9th centu ry, where it was first docu m e nted i n writte n reco rds by the Jewish write r Ara n ben Jose p h . Geo m a n cy is traditiona l ly practiced b y d rawi ng patterns i n the sa n d . It begins with fou r sets of ra ndom dashed li nes. These a re p a i red off ( i . e . s u m med by addition mod u le two), a n d the eve n/odd resu lts recorded with two stro kes o r one stroke. Fo u r of these b i n a ry digits re p resents one of 16 possible d ivination a rchetypes (ruler, travel, desire, etc . ) Although the fi rst fou r a re ge n e rated by this ra ndom process, the fo l lowi ng 12 a re created by recu rsive ly a p p lying the sa me pa i ring operation o n the b i n a ry digits m a king up the fou r sym bols (a process which ca n be see n i n m a ny other a reas of Africa n knowledge syste ms, c.f. Eglash 1995 ) .

The nea rly identica l system of divi nation i n West Africa associated with Fa a n d lfa was fi rst noted by Tra ut m a n ( 1939), but he assumed that geo ma ncy originated i n Ara bic society, where it is known as i l m a l ra m l ("the scie n ce of sa n d " ) . The mathe matica l basis of geo m a n cy is howeve r, stri ki ngly out of place i n non-Africa n systems. Li ke other l i nguistic codes, n u m be r bases te nd t o have a n extre m e ly l o n g h isto rica l persistence . T h e a ncient G reeks h e l d 1 0 to be the most sacred of a l l n u m be rs; the Ka bbala h's Ayi n Sof e m a n ates by 10 Sefi rot a n d the Ch ristian west cou nts on its " H i n d u - Ara bic" deci m a l notatio n . I n a ncient Egypt, o n t h e other ha nd, base 2 ca lcu lation w a s u biq uito us, even fo r m u ltiplication a n d division, and Zaslavsky ( 1973) notes a rcheo logica l evidence l i n ki ng it to the use of dou b l i ng i n the cou nting systems of su b-S u h a ra n Africa . Ka utzsch ( 1912) notes that both Diodorus Sicu l u s a nd O b l i a n re ported that the a ncient Egyptia n priests " e m p loyed an i mage of truth cut in ha lves." Dou b l i ng is a frequent theme i n Africa n divi nation a nd many other Africa n knowledge systems, con necti ng the sacred ness of twi n s, spi rit doubles, a n d double vision with materi a l objects, l i ke t h e b lacksmith's twi n bellows a n d t h e double i ro n h o e give n i n bridewealt h . I n a rece nt i nterview i n Wi red, Bri a n Eno clai med that the problem with co m p ute rs is that they "don't have e nough Africa n i n the m " . Eno was, no d o u bt, trying to be com p l i menta ry, saying that ada ptive rhyt h m a nd flexi bil ity is a va l u a ble attri bute of Africa n culture . But in doing so he obscured the cultura l o rigi ns of digita l com puti ng, a n d did an i nj ustice to the very concept he was trying to convey. Ta ke, for exa m p le, H e n ry Louis Gates' ( 1988, p p . 30) use of a recu rsive dou b l i ng descri ption when discussi ng the re lations betwee n divi nation a nd sexua l ity i n West Africa n trad itions: The Fo n a nd Yoru ba esca pe the Western cersion of discu rsive sexism t h rought he action of dou b l i ng the d o u b le; the n u m be r 4 a nd its m u lti ples a re sacred in Yo ruba metap hysics. Esu's two sides "disclose a hidden whole ness," rather than closing off u nity, t h rough the op position, they signify the passage fro m one to the other as sections of a s u bsu med whole. The b i n a ry cod ing of traditional Africa n knowledge systems, l i ke that of their a ntecede nts in modern com puti ng netwo rks, is neither rigid nor a rhyt h m ic; its beat is a he ritage hea rd by those who listen to the futu re .

References Eglash, R. 'Africa n I nflue nces i n Cybe rnetics." I n C. H . G ray (ed) The Cyborg H a n d book. Gates, H . L. The Signifyi ng M o n key. G i l roy, P. The Black Atla ntic. Ka utzsch, T. " U ri m ", Encylopedia of Religious Knowledge . Ski n ner, S. Te rrestria l Astrology. Tra utma n n, R. " La divi nation a la Cote des Esclaves et a Madagasca r, Le Vodou, le Fa, le Si kidy. " M e mories de l ' i nstitut Fra nca is d'Afrique N o i re . Zaslavsky, Cladia. Africa Cou nts.

6 : . Tales from the Cthulhu Club 1 : The Va ult of M u rm u rs She bore another monster, terrible, In a hollow cave, Echidna, fierce of heart, Nothing like any mortal man, unlike Any immortal god, half of her Is a fair-cheeked girl with glancing eyes, b u t half Is a h uge and frightening speckled snake, she eats Raw flesh in a recess of the holy earth Down there she has a cave of hollow rock Far from the depthless gods and mortal men, There the gods gave a famous home to her. And gloomy Echidna keeps her watch down there Under the ground, among the Arimoi, A nymph immortal and ageless all her days. - H esiod, Theogony I t h i n k now, looki ng back, that the d rea ms' retu rn ca n be dated to 1925, the moment of my a rriva l in the Sunda Stra it. It bega n as i nsidious see page, waves of vaguely fa m i l i a r but discon nected fragme nts, whose secret cohesion I co u l d d i m ly perceive . I had been d rawn to the M u N ' M a by their re p uted tra d itions of d rea m -so rce ry, which offe red a si ngu l a r o p port u n ity for co nve rti ng my studies of Freud a nd Frazer i nto p ractica l field work. Although it m ight see m i ronica l that a student of Freud could be so o b l ivious to their subterra n e a n motivatio ns, I s h a red with my ge n e ration a profo u nd a nd unq uestion i ng fa ith i n the spi rit of objective scie ntific i n q u i ry, a n d l ittle suspected (or had forgotten) the deeper cu rrents guiding a life long i nterest i n the phenomena of d reams.

The N ' M a people had ga ined some p u b l ic note riety t h rough their role i n the stra nge case of Ceci l C u rtis. I myse lf had fi rst lea rned of the Mu t h rough ta nta l ising refe re nces in the b u rgeo ning l iterature that had tra nsformed the events of Curtis' i l l -fated exped itio n i nto so met h i ng of a modern myt h . Most of these accou nts had u nderplayed the role of the two other tri bes in the N ' Ma system, but the occasiona l h i nt a bout the Mu and their d re a m rites was more t h a n sufficient to p rovoke in me an i nterest that would q u ickly shade i nto obsessio n . B y t h e t i m e I a rrived i n I ndonesia, t h e tri p a rtite N 'Ma syste m w a s i n s h reds . I n tota lly a n n i h i lating one tri be - C u rtis's Ta k N 'Ma - a n d all but destroyi ng a nother - the D i b N ' M a the 1883 explosion of Kra katoa had wrecked the com p lex web of socia l excha nge on which the M u had tra d ito n a l ly depended. An atmosphere of te rri ble deso lation ove rhung them, a nd I cou l d be under no i l l usion that the Mu we re l ittle more t h a n a shadow of what they had been in the days p rior to the cataclys m . These were a h a u nted peop le, whose cont i n u i ng s u rviva l see med a d u bious b lessi ng at best. In this a poca lyptic atmosp here, it was i n evita ble that my thoughts should i ncreasi ngly t u rn to the days i m mediately p receding the catastrophe, a nd to its h e ra ld, Ceci l C u rtis. Fo l l owi ng C u rtis's footsteps i nto N ' M a te rrito ry, I read the fa mous few s u rviving fragme nts of his jou rna l with a re newed se nse of puzzlement a n d disq u iet. None of the specu lations on C u rtis' fi n a l days had, to my m i nd, adequately made se nse of the pecu l i a r trajecto ry his delirium took. The lay observer m ight be te m pted to t h i n k his words m e re ravi ngs, but for those, l i ke myse lf, who had fa l le n under Freud's spell, the com p u lsion to sea rch for the hidden logics that guide a nd struct u re s u p posedly ra ndom ma nias is irresista b l e . What d a rk eve nts coa lesced to prod uce C u rtis' madness? I read key passages ove r a nd over aga i n : 17th J u ly 188 3 . I know n o w t h a t I wi l l neve r leave this p lace. T h e j u ngle is rotting me i nto nothi ngness. M y s u p p l ies a re exha uste d . C l o u d s o f mosquitoes torment me a nd I a m plagued b y t h e pou nd i ng, crushi ng, smot h e ring heat. 28th J u ly 188 3 .

I have broken from eve rythi ng, i n a ny case p a rtici pated i n so met h i ng a bo m i na b le . . . be h i nd the tatte red masks of m a n a nd God . Ch ristian civi lization is no better t h a n the prancing of savages . . . How co u l d h u m a n fe l lows h i p exist after this? By now, the Ta k N ' Ma's ferocity is legendary: they were "the most u nspea ka b le savages on e a rth", acco rd i ng to one of C u rtis's less eth n ogra p h ica l ly sensitive biogra p h e rs. The sa me so u rce rema rked that the Ta k N ' Ma rites "co u l d not be conte m plated by a ny decent Ch ristian without risk of the loss of his m i n d . " These practices, cou p led with the ravages of the m a l a ria which afflicted C u rtis in his fi n a l days, would have been e nough to com p lete ly u n h i nge a ny E u ropea n ma le, eve n one as fa mously th ick-ski n ned as Ceci l 'Mad Dog' C u rtis. But Curtis seemed, i n the end, to co nfront an awful reve lation whose e normous horror co uld not be red u ced to these two factors; rather, the d isease a nd the Ta k rituals we re themse lves, he see med to i m p ly, pa rt of some se nseless pattern i n which his whole life was a lways fated to be engu lfed. 24th August 188 3 . Need less t o say, the Li mbic Key co nti n ues t o e l ude m e . I strongly suspect i t is a fictio n . The Order a re p u rsuing a ch i m e ra - the sense of dest i ny has not depa rted, howeve r. On the contra ry, I was m e a nt to be here, i rrespective of the motives of those who sent m e . Other forces we re at work. I have been chose n si nce the begi n n i ng of ti m e . C u rse t h i s blasphemous fate. My dayti me obsession with C u rtis tra n sferred easily i nto d re a m s in which C u rtis featu red heavi ly; i n te rri bly vivid nightm a res I sometimes fe lt I was meeting C u rtis; at other t i mes, I had the u n ca n ny conviction that I was seeing the j u ngle la ndsca pe through his fever­ da rke ned eyes. Given the circumsta nces, these nocturnal encou nters we re h a rd ly u n motivated, b ut the d reams had a naggi ngly i nti mate q u a l ity a bout the m . As if I had experienced them them m a ny ti mes before, a n d was o n ly now re m e m be ri ng the m . The i nte nse, o p p ressively s u bd ued atmosph e re that ben ighted M u N 'Ma culture was i n every way a t odds with the excitem e nt that leapt i nto m y hea rt as I lea rned more a bout it. It was i m mediately evident that Mu cultu re was i ndeed based u pon a system of d re a m magic, i n which the Nago - or d re a m witch - occupied a n exa lted positio n . The N ago fu lfi l ls a wide-

ra ngi ng oracular function i n M u cultu re . Medicine, the settlement of d isp utes, advice a nd cou nsel; a l l a re i n the D re a m Witch's power. Those who sought her wisdom would m a ke so lita ry pi lgri mages to the te m p le, bea ri ng a p p ro p riate gifts. A s i m p le rit u a l fol lows, d u ring which they offe r sacrifices a n d m a ke requests. On the night fol lowing - it is said - they receive a Nagwi or d ream visit. It is said of the N ago that she neve r spea ks, except in d rea ms. When I asked to visit the Nago, the M u elders m e re ly nodded, showing neither enth usiasm nor hostil ity. They greeted my e ntreaty with the sa me sense of fated i n evita bi lty with which they seemed to acce pt a l l matters. The N ago's te m ple is located on the side of a cl iff, an h o u r's tre k t h rough thick j u ngle. Fittingly fo r a peo ple whose deity, Mur M u r, is a sea creatu re - a " d re a m i ng serpent", it is so metimes said - the tem p l e looks out upon the ocea n . As I was guided t h ro ugh the pri meva l vegetation, I thought o nce m o re of Ceci l C u rtis a nd the Ta k N ' M a . 11th August 188 3 . T h e la nguage o f these savages is i m pe netra b l e . They n o w pro m i se t o 'ta ke me t o Kata k.' To meet myself, the refore ! O r perhaps a ra bid dog ! ! The fata l i rony of this entry has often been re ma rked u pon by co m mentators. C u rtis wou ld o n ly understa nd the N ' Ma's taxonomy too late. C u rtis's Ch ristia n t h i n ki ng would have been little assista nce i n u n rave l l i ng the Ta k be l ief system; the fact that the Ta k's god, Kata k, was m a nifested i n dogs, volca noes a nd i ndeed C u rtis h i mself cou ld o n ly a ppea r no nsensica l to a m a n of his ti me a nd backgro u n d . C u rtis m ust have at fi rst assumed that the Ta k's a ppa re nt reve re nce fo r h i m was the natu ra l response of "savages" to their " bette rs. " He cou l d not have suspected, as he was a n noi nted by the Ta ks, that he was destined to be the sacrificia l ha rbinger of the Ta ks' ultimate destructio n . Perha ps i t was o n ly towa rds t h e e n d that he rea l ised that his a rriva l and the a poca lyptic e ru ption of Kra katoa had a lways been coi ncident i n Ta k fol klore : their tri ba l stories said that "the Fiery End" would be the hera lded by the a rriva l of the "white Katak" - 'Mad Dog' C u rtis.

27th August 188 3 . T h e feve r has me lted away the wa l l s betwee n waking a nd s l e e p . Consciousness has become a loathsome fog. I sense that the i ncessa nt ru m bl i ng of volca nic activity is con nected with the visions that plague me co nsta ntly now . . . . it fe lt as if I we re carried down my s p i ne . . . . Thi ngs a ncient beyond i magination . . . . beyond the u lti mate gate of ruin a nd i n sa n ity . . . oce a n s of su bte rra n e a n fi re . . . S o Curtis' fi n a l days beca me a verita ble jou rney i nto h e l l . The C u rtis biogra p hy I h a d with m e i n I ndonesia conta i ned facs i m i les o f t h e journ a l, showing a ma rked decl ine i n the h a n dwriting. By the e nd, the hand was so spidery that one was a l m ost tem pted to q ue ry the attri bution - cou ld this ba rely legi ble scrawl have been p roduced by the sa me i ndivi d u a l ? My h e a d sti l l fu l l o f C u rtis, I w a s led i nto the Va u lt o f M u r m u rs, the sacred cave rn below the Nago te m ple i n which the Dre a m Witch receives her s u p p l i ca nts. The N ago sat at the other end of the grotto, folded i nto its deep shadows. Fee l i ng a sense of u nca n ny fa m i l ia rity, I asked the i nevita ble q uestion. "Where was C u rtis taken?" The Nago nodded, a nd left, h e r si lence u n broken, i n accord a n ce with custom . The next m o rni ng, I awo ke t o a fee l i ng of i m mense a nti-cli max. I ra nsacked m y m i nd for traces of the previous night's d re a m s, reca l l i ng not h i ng. Yet t h rough this a l m ost p a i nful disa p pointment, older m e m o ries su rfaced, dating - I se nsed with icy ce rta i nty - fro m my seve nth yea r. It was the n ight of the Ce ntury's Eve, 3 1st Dece m be r, 1899. (No Freudian schola r ca n m iss the significa nce of the yea r 1899 - the date of the fi rst p u b l ication of The I nterpretation of D rea ms.) A fem a le voice spoke . " Echidna, Echidna, wa ke u p . " I had assumed - " p reviously", if such a time-designation m a kes a ny sense - that this was the voice of my mothe r. N ow I knew it was the voice of the Nago, spea ki ng to i n my own tongue. But I was no longer sure to whom - or what - it was addressed. I was entire ly ca rried away. My body felt i m possi ble. Touching my face, I e ncou nte red o n ly the featu res and l i m bs of a little girl . Below the wa ist, however, a l l was confusion, s n a ki ng end lessly i nto itse lf, o r rather, i nto d e pths beyond se nse, trave rsed by l a nguid spi n a l waves that c u l m i nated i n a d ista nt h i nt of a ta i l . My d re a m body floated i n what a ppea red t o b e a n u ndersea cave r n . A s I l a y there, I behe ld, movi ng towa rd me with grim pu rpose, a raft ca rrying a sole m n, spectra l pa rty. I recogn ised,

from the m a ny boo ks reco u nting the C u rtis lege nd, the crimson ma rki ngs a nd ce re m o n i a l masks o f the Ta k N ' M a . A n d o n the raft w i t h them - rec l i n i ng i n a ma la ria l swoon, d ressed i n Ta k rit u a l ga rb - w a s t h e u n m ista ka ble figu re o f Cecil C u rtis. They we re bringi ng h i m t o m e . Except I w a s d isso lvi ng, beco m i ng indistinguisha ble fro m the wate r w h i c h held me. And when I tu rned aga i n to where C u rtis had been but a moment ago, I hea rd o n ly a nguished ga rgles: the growls and s n a rls of som e creatu re that see med to be pa rt dog, p a rt cat, ba re ly h u m a n . I fe lt claws i n what should have been my side. Then there was a p l u m e of b lood which I at fi rst thought was m i ne, but when I loo ked agai n, I saw it gouting from the other creature's flesh, wh ich, I was sudd e n ly awa re, was beco m i ng a bsorbed i nto me - eve n as my body was losing a ny se nse of its l i m its. Wa rped perceptions da nced past my d re a m eyes. D a rting acce l e ration a nd a byssa l slowness fused in a wholly u nfa m i l i a r ti me-se nse. I suddenly beca me awa re of the cyclopea n edifices of a lost civi l ization; though "civi lization" sca rce ly see med the word for the a li e n vistas that swa m before me, swa r m i ng city-shoa ls q u ive ri ng with a wholly i n o rga nic a n i mati o n . Something t o l d m e , a w h i s p e r o r a n i ntuition - i n t h a t d rea m i ng ocean both b le nded utterly that this was the lost conti nent of Le m u ria, specu lated upon by conte mpora ry a rchaeo logists a nd mystics. What was left of my m a m m a l body flickered out of focus; it fe lt c l u msy - a l l fi ngers a n d t h u m bs. As I loo ked down a t m y ha nds, they beca me tra nsl usce nt, a nd I saw, i n scribed i nto the i m possi ble geo m etries of the d re a m cave's wa l l beyond, an a rra nge m e nt of ten ci rcles, a n u m b e r of s m a l l e r ci rcles, a nd a series of i ntercon nect i ng li nes. This was my fi rst e ncou nter with what ca me to be ca lled the N u mogra m . It was o n ly later that I was a ble to u ncove r the n u meric re lations encrypted i n its a ncient patterns - the d ream showed me o n ly the sha pes a n d their re lations. But, eve n i n those ea rly, h a l l u ci n atory m i n utes, as I made my fi rst h u rried tra nscri ptions of the d rea m-image, I knew that I had i n front o f me a key that wo u l d u n lock a l l t h e secrets o f my l ife . A la byri nth h a d opened u p, a la byri nth whose com p lexities cou ld be conta i ned no more by o u r s u pe rnatura lisms than by o u r sciences. It was a la byri nth i n which my fate - a nd that of the N ' Ma, Ceci l C u rtis, a nd more cosmic prese nces - had a lways been ta ngled together. I was u n ravel led i n this maze of coi ncide nces, a nd co uld do nothing but fol low its t h reads forever. 1. N u mogra m a nd Otz Cha i i m .

To those fa m i l i a r with the Western Magica l Tradition, it is l i ke ly that the N u mogra m w i l l i n itia l ly evoke t h e Qa bbalistic Tree o f Life . Both a re co nstructed as deci m a l diagra m s, i nvo lvi ng we bs of con nectivity betwee n ten basic zones, myste rio usly twisted i nto a cryptic ultra-cycle (that l i n ks upper a nd lowe r regions). Both treat na mes as n u m be rs, and n u m e rize by digita l red u ction a nd cu m u latio n . Both include passages across a bys m a l wate rs a n d t h ro ugh i nfe rnal regions. Both m a p zones o nto spi n a l levels. Despite these ma nifold i nterl i n kages, there a re com pe l ling reasons to consider the Tree of Life a scra m b led va ria nt of the N u mogra m, rather t h a n a p a ra l le l system . D u ri ng its long passage t h ro ugh Atl a ntea n and post-Atla nte a n he rmetic tra d itions the syste matic d isto rtions of the N u mogra m (i ntrod uced to confuse the u n i nitiated) grad ua l ly h a rdened i nto e rroneous doctrines, a nd a dogmatic i mage of the Tree. Most evidently, a vu lga r d istribution of the n u m bers - i n their exote ric cou nti ng-orde r - was su bstituted ( red unda ntly) fo r the now esoteric n u m ogra m matica l distri b ution, which p roceeds i n acco rda nce with i m m a ne nt criteria (the web e m e rging q a b ba lisitica l ly from the zone-n u m bers the mse lves). More devastati ngly, the o rginal consistency of n u me racy a nd la nguage seems to have been fractu red at an ea rly stage, i ntrod uci ng a division betwee n the n u m be r of the Se p h i roth ( 10) a nd that of the H e b rew a l p h a bet (22). The res u lt was a b re a k betwee n the nodes of the tree a nd the i ntercon necti ng paths, ru i n i ng a l l p rospect of deci phe rment. The Sep h i roth segme nted ove r-agan ist their con nections - become static a nd struct u ra l, whilst the paths lose any rigorous p rinciple of a l location. A strictly a na logous outcome is evident i n the segme ntation of the Ta rot i nto Major a nd M i n o r Arca n a . I n creasi ngly desperate, a rbitra ry, a nd mystifying atte m pts to re- u n ite the n u m bers a n d their l i n kages see m s to have bedevi l led a l l succeeding occ u lt traditions. 2. N u mogra m a nd I C h i ng. There is considera b le evidence, both i m m a n e nt a nd h isto rica l, that the Chi nese I C h i ng a n d the N m a n u m ogra m sha re a hype rcultura l matrix. Both a re associated with intricate zygonom ies, or dou ble-n u m be ring syste ms, a nd process abstract problematics i nvo lving su bdivisions of deci m a l a rrays (as suggested by the Te n Wi ngs of tra d itio n a l I Ching com m e nta ry). Digita l reduction of b i n a ry powe rs sta b i l izes i n a six-step cycle (with the va l ues 1, 2, 4, 8, 7, 5). These ste ps correspond to the lines of the hexagra m, and to the time-circuit zones of the N u mogra m, prod ucing a bi nodeci m a l 6-Cycle (which is a lso ge ne rated i n reverse by q u i nt u p l icative n u m be ri ng). I n both cases a s u p p l e m e nta ry rule of p a i ring is fo l l owed,

accord i ng to a zygonovic crite rion (9-twi n n i ng of red uced va lues: 8 : 1, 7 : 2, 5 :4, ma pping the hexagra m l i ne pa i rs). The n u m ogra m time-ci rcuit, or I C h i ng hexagam, i m p l i ctly associates zero with the set of excl uded triadic va l ues. It is i ntrigu i ng in this respect that n u m e rous i ndications point to a n ea rly struggle betwee n triadic a nd b i n a ry n u m be ring practices i n a ncient chi nese cult u re, suggest i ng that the b i n a ry domi nation of deci m a l n u me racy syste matica lly produces a triadic residue consistent with n u l lity. The hexagra m itself exh i bits obvious tension in this respect, si nce it rei nserts a triadic hype rfactor i nto the red u ced bi nodigita l set (co m po u nded by its s u m mation to twe nty-seve n, or the t h i rd powe r of t h ree). An a ncient bi notriadic pa ra l l e l to the I Chi ng, ca lled the T'a i Hsuan Ching (or Book of the G reat Da rk) consisted of eighty-one tetragra ms, reve rsing the re lation of foregrou nded a nd i m p licit n u m e rica l va l ues. The d ivision of Lao Tse's Tao Te C h i ng i nto eighty-one sections suggests that this n u merica l conflict was an a n i mati ng factor i n the ea rly histo ry of Taoism. 3 . Eth nogra phy of the N m a . N m a cult u re ca n not b e decoded without t h e key p rovided b y t h e Le m u ri a n Ti m e -Maze. The i nfl uence of a hype r triadic crite rio n of t i m e is evident in the re l ics of N ma ki nship orga n ization, ca lend rics, a nd associated rituals. Prior to the ca l a m ity of 1883, the N ma consisted of true tri bes (tri p a rtite macrosocia l divisions). They we re distrib uted i n a basic tride ntity (i nte rlocki ng l a rge-sca le gro u pi ngs i nto Ta k- Mu- a nd D i b-N m a ), s u p ported by a triangu l a r patri loca l ma rriage-cycle. Each ma rriage identified a wom a n with a n u mogra m cu rre nt, o r time-passage. (Ta k-N ma wom e n ma rrying i nto the M u-N ma, M u- N m a ditto D i b­ N ma, D i b-N ma d itto Ta k-N m a ) . The com mon ca lendar of a l l t h ree tri bes was based u pon a zygotriadic system ( using 6 digits to d ivide a d o u ble-ye a r pe riod of 729 days i nto fractio n a l powe rs o f t h ree). T h e M u- N m a sti l l e m ploy such a ca lendar today. (The cu rre nt M u - N m a ca lendar is adj u sted b y reg u l a r i nterca lations o f t h ree additiona l days every seco nd cycle, or fou r yea rs. The earlier p ractice of i nte rca lations is not easily recovera ble). I n the rit u a ls of the N m a the ti me-ci rcuit is concretized as a hyd ro-cyc l e : a division and reco m bi nation of the waters. The three stages of this recu rre nt tra ns m utation a re, 1) the u n d ivided waters (oce a n ic), 2) cloud-b u i lding (eva poration), a nd 3) down-po u r ( p reci pitation, rive r-flow). These a re associated with t h e great sea -beast ( M u r M u r), t h e l u rke r o f stea m i ng swa m ps ( Odd u bb), a nd that which h u nts a mongst t h e ragi ng storms

( Katak). The cycle is closed by a retu rn to the a bys m a l wate rs, i ntrinsica l ly l i n king the order of ti me, and its recurrence, to a n u lti mate cataclysm ( prior to a ny o p position of cyclic a n d a poca lyptic t i m e ) . It is i n t h i s context that t h e tra nscu ltu ra l del uge-mythes ca n b e restored to its a bo rigi n a l se nse (which a lso corresponds to the H i nd u Tri m u rti, with its t h ree stages of creation, preservation a nd destructio n ) . 2 : Lea ks from t h e Miskatonic B u n ke r-Hotel Notes, fractions, ra ndom thoughts, n ight d re a m s, psychic lea kage . . . Dr Sa rko n, da rkness, Miskatonic b u n ke r-hote l : 8/8/00 . . . Ca nto 5 - worm bom b : re rece nt shredding of o ld, dea rth text said t o b e hidden off fa r Eastern island n r Kra katoa . Professor Ba rke r had been there; see n somet h i ng; now disa p pea red; fea red dead or at least cryogenica l ly froze n by a government who fea red the worst. They said he'd i n ca nted a p h rase - maybe t h ree - that xxxxxxxxxxxxxzzzzzzxxxxxxxyyyy (sorry, la ptop term i n a l spl uttered, wo rd sense juddered) re ndered tem pora l fold/la pse a nd n e u rologica l dispersion i nto psychedel ica l ly a ltered Pan -state left screa m i ng. Natives of isla nd knew how to control this; at least kee p it at bay. Text had fa l l e n i nto hands of a ca rgo cult then some how a l l traces lost . The US of Americas was m e ntioned; CIA surm ised fledg l i ng blackm a i l story that Ba rke r was cloned a nd that at least two were wrea king u n h i ngedness i n t h e West somewhere . B u t t h e d a m age had a l ready been d o n e long before . Money had gone i nto my acco u nt - a payoff from The [green] Fuzz to some how kee p q uiet. I d o u bt it . . . M ust h ide these cutti ngs . . . J a n 8th, 00. J a pa nese trawler m e n fi nd stra nge sto ne bas-re lief i n fis h i ng net. Archaeologists date it as pre-history a nd, t h i n k, t o fo l l owers o f Dago n . May, 00. New York. I ns u ra n ce agent sent to trace m i ssing p u l p thriller write r fo und d ra i ned of bone ma rrow in a ba ndoned ci n e m a . 12th J u l, 00. British gove r n m e nt refuses asyl u m to deformed spine ch i l d re n from R u m a n ia n leper colony as civi l wa r reconve nes . . . S o the story was true? And we'd been give n t o t h i n k i t was a fictio n . H i s cheeks exploded a s tho' fi l led with a n a l u m i n i u m n a i l cl uster. An e m i nent Victoria n scie ntist a nd rad ica l free thi n ke r u n locks a ncient evi l ( beyond time and space ) . G i rl had da ughter or, should that read . . . ? Ma rried i nto English a ristocracy who now hold key to terri b le secrets. Most of a poca lyptic eve nts of 20th Century d i rectly respo nsible

to havok u n leashed by sa id Victoria n a n d h idden psych-fear. N azis, M a u Ma us, Pol Pot, Amin, m e re distractions to t h row us off the sce nt of so met h i ng rea l ly fucki n' bad. This u n holy 'fa m i ly' is widespread t h roughout Engla nd, Massachusetts a nd pa rts of Lit h u a n i a . J ust t h i n k, the l i mey a ristocracy responsible for the i m pe n d i ng . . . Ba rke r knew this (so he sho u l d ) . S o h i s i nte ntions were good? I n the l i m ited sense of the voca b u l a ry, yes, at least we think so . What was s h redded then? Pa pers- Pa pers? Jou rna ls, jottings, notes. Some stra nge gro u p vaguely affi liated to an eld ritch department of a hidden English U nive rsity had stu m b led - accide nta lly a nd che m i ca l ly - onto si m i l a r. Threat was thwa rted before it was too late. G ro u p sought to ca use s i m i l a r d isru ption t h rough platforms deemed popu l a r tho' u n pop u l a r with a uthorities. F i l led gra phic nove ls, sto ries with K-ca ntos: audie nce wo uld u n beknowi ngly recite . I magi ne if we'd had let this out? Jeeesh . They'd created a whole pantheon o f gods - M u r M u r, Kata k, the l i ke - t h i n g is, what these li mey schm ucks d i d n 't rea l ise was that these thi ngs actua l ly fucki n' existed . We ca l l it the poetic pa ra l l e l ("as above, so below" the idea's been a ro u nd fo r ce ntu ries) - if it's in yr head it's there cos it exists ! Then it's o n ly a matte r of b ri nging it out. See? Magic, techno logy, drugs, sex - eve n fucki n ' yoga - a ny sti m u l us ' l l do the job. Ba rke r knew this (so he should). What ha ppened to the gro u p? They had to be e l i m i nated, taken out. Liq uidated?

No, people would become suspicious. They we re b ra nded i nsa ne - ne utra lised - made outcasts: this was the most effective way. We' re sti l l mopping u p the tra i l s, so me as fa r off as Czechoslova kia, Southern Engl a n d . Yo u s h o u l d leave now. Have n 't you got t o be i n Was h i nton? Tha n ks fo r the d ri n k . . . The futu re was i n evita b l e . He knew t h is now. Li ke a laser movi ng o nto its ta rget. Fixed . I m penetra ble yet l ucid ly clear. The Fuzz knew what Ba rker was. Ba rke r probably was The Fuzz. I nterchange a b l e . Wa iting o utside that hidden door. He had n't bee n cloned. This was puerile gossip, a fact-lie mythed a bout by rogue Fuzz senti nels (d-ra i led in the dista nt 60s fracas) l i n ked vagu ley to a Colo m bi a n ca rtel ( paid off i n snow). Fact : coca i n e was se riously desta bi lising Western economies but too m a ny politicia ns had a ha bit. M a ke note . . . deface from j o u rna l : that's a nother story. Ba rke r was rea l, as fa r as yo u could ca l l anyt h i ng rea l . A self-re p licati ng proto-e l uvia l orga nism proba b ly been h e re 65 m i l lion yea rs - la nded fro m dista nt star, fa r beyond o u r ga laxy; maybe fi rst asleep i n ice caves u n d e r e a rth's crust - a spore, woke n b y sa id natives of isla nd nr Kra katoa after e a rth shift thousands of yea rs before . Records - what sti l l exist show h i m a p pe a ri ng t h roughout h istory at key poi nts . . . possi bly one of Ba rker's se lfs was e m m i nent Victoria n who messed up rea l good . Then in the latte r p a rt of o u r time Ba rke r had set up DigiGe netech softwa re e ngi neering a nd com p letely domi nated ( read deci mated) globa l ma rkets. S p i ked e m a i l ; vicious clown s i m u lation ga mes; ho rror typing packages; si nister tentacled datasave rs . . . What a perfect way to K-os; eve ry little progra m m e encoded with so me fucki n ' sooth; each key pressed; eve ry mouse click phasi ng energy, strengt h e n i ng o u r oldest, u n n a meable ene my; debilitating o u r own a l ready debil itated senses . . . Pa rt of Ba rke r had lea rned to love h u m a n ity; pa rt of h i m to pity it, but by then it was too late a nyway. The gossa m e r t h i n mesh of cosmic time a n d space had been wre nched. Each l ittle dive rsion was wea ring us t h i nner. The jo urnal was sta i ned with slightly b row n i ng sweat; o ld fashioned paper gliche this time. These leads kee p d isa p pe a ri ng i nto each other a nd now I'm not so s u re . The sta rs look eve n more bright tonight. A com et flashed past, i l l u m i nating the whole of the town - it's ta i l ora nge, fizzing p i n k. Fax is ch ucki ng o u t rea ms o f u n i ntel ligi ble scri pt. Am awa iting next

move . Antici pate ca l l from Fuzz operatives. Any ti me now. Ca rniva l wo uld be sta rti ng soon . The i n ha bita nts of D u nwich would ce l e b rate this every yea r as they had done for h u n d reds of yea rs eve r si nce the festiva l was introduced by trave l lers who retu rned from Easte r island late 16th Centu ry. Tobias Ba rke r, m e rcha nt, was one of those trave l l e rs. C h i l d re n flashed past the window : scre a m i ng, l a ug h i ng. Pa rtly hidden by street la m ps; their faces masked i n som e stra nge a m a lga m of cotton, wood a nd plastic. It's a l ready begi n n i ng . . . I thought I hea rd a knock a t t h e door. Roo m service? 3: Tem pleto n The n a m e of Profesor Ra ndolph Ed m u nd Te m pleton is i nextrica b ly ta ngled with the secret perplexities of t i m e . It was he who, by way of a yet ba rely co m p re hended time-anoma ly, provided the model for H P Lovecraft's Ra ndo l p h Ca rter . . . And yet it was this 'sa me' R E Te m p leton w h o - on M a rch 2 1st 1999, whi lst delive ri ng a lect u re at Miskatonic devoted t o a rigo ro us critique of HG We l ls - awo ke suddenly as the Th i ng that l u rks be h i nd the mask of I m m a n ue l Ka nt, coi ncide nta l ly discove rering the tra nsce nde nta l time-machine. Te m p leton sits i m mobile i n his attic roo m, i m m e rsed i n the dece ptive ly e rratic ticking of his old na utica l clock, lost i n meditation u pon JC Chapma n's hermetic e ngravi ng. It now seems that this com plex i mage, long acce pted as a portra it of Ka nt, constitutes a dist u rbing monogra m of his own ch ro nologica l pred ica m e nt. As if i n mocke ry of sta ble fra m i ng, t he pict u re is su rro u nded by stra nge-loop coi l i ngs of O u ra bo ros, the cosm i c s n a ke , who traces a figu re of eight - a n d of moe b i a n eternity - by endlessly swa l lowi ng itse lf. Suspe nded from its lowe r jaw is a cryptic device of i ntricate ly ba la nced ci rcles a nd sta rs (ancient sym bols of the AOE). Above the sepe nt's head, a facsi m i le of Ka nt is etched i n profi le, the face fixed i n a n a m i a b le - i f dista nt - expressio n . What was i t though, that h i d be h i nd the death-mask, where it cut-off, below a nd be h i nd the jaw, fa lse e a r, a nd d o u b le h a i r-line? What was this pecu l i a rly form less body, shadowy neck-flesh, and suggestion of a ce rvica l fi n? As he sta red, and hideously re mem be red, Te m pleton fe lt as though he knew.

Te m p leton has long asse rted the i m possi bi lity of e m p i ri ca l t i m e-trave l . Si nce the ego is bound by its own nature to l i ne a r-seq u e ntia l ity (he conti n ues to i nsist) neither it nor the orga nism is eve r tra nsported t h rough time. Neve rtheless, he descri bes the Critique of P u re Reaso n as a time-trave l l i ng m a n u a l, a lthough of 'a nother ki n d . ' He uses Ka nt's system as a guide for engi neeri ng time-synthesis. The key is the secret of the Schematism, which a lthough " a n a rt concea led i n the depths of the h u m a n sou l " - concerns only the u n utte ra ble Abomenon of the Outside ( N i h i l U lterius). In exteriority, where time works, that pa rt of you which is most yo u rself has not h i ng i n co m m o n with what you a re . When Te m pleton fe l l i nto hi mself that day he fo u nd, i nstead of what he thought hi mself to be, the Th i ng ( i n itself (at zero-intensity) ) . It was, perha ps, or necessa ri ly, that conti n uous hype rbody - the Lurke r at the Th reshold - which HP Lovecraft names Yog Sothoth . . .

7 : . Pandemonium Pa nde m o n i u m is the com p lete system of Le m u ri a n demonism a nd t i m e so rcery. It consists of two princi pa l co m ponents: N u mogra m (ti m e - m a p) a nd Matrix ( listing the na mes, n u m be rs a nd attri butes of the demons). The system is constructed accord i ng to i m m a ne nt criteria latent i n deci m a l n u m e racy, a nd i nvo lves o n ly basic a rithmetica l operations (asse m bled from additions a nd subtractions). The N u m ogra m, or Deci m a l La byri nth, is co m posed of ten zones ( n u m be red 0-9) a n d their i ntercon nections. These zones a re gro u ped i nto five p a i rs (syzygies) by ni ne-su m twi n ning [zygonovism]. The a rithmetica l diffe rence of each syzygy defi nes a cu rre nt (or con nection to a tractor zone). Cu rrents constitute the p ri m a ry flows of the n u mogra m . Each zo ne n u m be r when d igita l ly c u m u lated defi nes t h e va lue of a gate, whose red u ction sets the cou rse of a correspo n d i ng c h a n n e l . Cha n n e ls co nstitute the secondary flows, time­ holes, or secret i ntercon nections of the n u mogra m . The a rra ngem e nt of cu rre nts divides the Maze i nto t h ree basic time-syste ms. Fi rstly, the cu rrents of the t h ree centra l syzygies m utua l ly com pose a cycle, rotating in a nticlockwise ste ps. Le m u ri a n sorce ry ca l ls this i n n e r loop the Ti m e -Circuit. Second ly, a nd t h i rdly, in both the U pper a nd the Lowe r syzygies the cu rrents prod uced fo ld back i nto (a h a lf of) themse lves, co nstituting a utonomous loops: the Warp ( u pper), a nd Plex ( l ower). Wa rp a nd Plex ci rcuitries a re of a n i ntrinsica l ly cryptic nature, which is com po u nded by the e n igmas of their i nterco n nectio n . They a re va riously considered to be Outside- or Outer-time. The gates a n d the i r cha n ne l s knit the Maze together, provi d i ng con nections between otherwise i ncom pati ble t i me-systems. They open a nd close the ways of sorce ro us traffic. Although each gate dera nges time i n its own way, their operations va ry with a ce rta i n regio n a l co nsistency.

I n addition to the twins (with their cu rre nts a nd time-systems), a nd the gates (with their cha n nels a n d t i me-fa u lts), there is a t h i rd occult t h read ru n ning t h ro ugh Le m u ri a n time­ so rcery: that of the d ista nces (or of the demons). Betwee n a ny pa i r of zones, howeve r see m i ngly disco n nected or u ncon necta ble they may seem, there is a n i rred ucible (or hype r-) dista nce, which Le m u ri a n cult u re syste matica l ly cha racterizes as a si ngu l a r entity. These e ntities a re si m u lta neously ga ps, l i n ks, ho les, a nd d e m o ns, with pa rtic u l a r tra its, featu res, aspects, a nd potentia ls. Each demon is co nsidered to be i ntri nsica l ly zygonomous (or double - n u m be re d ) : both add ressed by a u n i q ue zone-net cou ple of desce n d i ng va l u e ( net-spa n ), a nd a lso ca l led by a mesh-serial, which is i m m a ne ntly defined by a seq uential matrix {00-44). Each demon a lso has a tona lity or pitch, ra nging from the h ighest freque ncy (Ana -7) to the lowest (Cth-7). A l l syzygetic d e m o n s have a ne utra l (or N u l l ) pitch. Since they a re prol iferated by a d igita l c u m u lation to the n i nth powe r, the demons a re forty­ five i n n u m be r, att u n i ng them to the Gate-City of the Plex-c h a n n e l - Utte rm i n u s of Cth e l l l (Gt-45 ), which is ide ntified with the m icrocosmic l a i r of a l l demonic popu lations (the Le m u ri a n Pandem o n i u m ) . According t o lem u ri a n demo nism, each d e m o n is itse lf a swa rm, or si ngu l a r coa lesce nce, b ut a lso a com ponent of a l a rger a rray, which ca n be so rted by type. The t h ree pri nci ple demonic gro u pi ngs a re Chronodemons (va rieties of distance wit h i n the time-circu it), A m p h idemons ( ruptures i n the time-ci rcuit, openi ngs to the Outside), a nd Xe nodemons (de n izens of the outer gu lfs). Demons a re a lso gro u ped by phase (defi ned by i n it i a l net-span d igit). Each phase is opened by a door, to which is attri b uted a d o m a i n, a pla neta ry affi n ity, a n d a spi nal leve l . Demons ca n b e cha racte rized by t h e va rious rites ( routes, o r routi nes) that they d raw t h ro ugh the hype r-time of the maze. There is a rite fo r each way in which the net-spa n of a demon ca n be i ntegrated i n exte nsion (or traced across the flows of the n u mogra m ) . Such rites a re the basic co m ponents of demon traffic, constituting modu les of practica l cultu re, each of which is associated with an o m e n, a nd a powe r.

I n Weste rn hype rfictiona l lore the matrix of a l l demons ( Pa ndem o n i u m ) is ca lled Necronomicon, The Book of Dead N a m es, l isting all that is exce pted from the white -magic boo k of life . N ecronom icon is a docu ment copied episodica l ly from ve rsions of a n origi n a l text, w h i c h w a s itself retrodeposited o u t o f the futu re i nto the d e e p past. It t h u s scra m b les scie nce-fiction with a rchaic lege nd, ind icating a Le m u rodigita l hype rso u rce . Pandemonium Matrix ( Extracts fro m the Le m u ri a n Necronomico n ) . Mesh-00 : Lurgo ( Legba ) . (Te r m i n a l ) I nitiator. (Cl icks Gt-00). Pitch Ana-1. N et-Spa n 1 : :0. Amphidemon of Openi ngs. (The Door of Doors). Ci p h e r Gt-01, Gt-10. 1st Door (The Pod ) [ M e rcury], Dorsa l . 1st Phase - l i m it. Decadology. C/tp-#7, Mj+ [7C] . Rt- 1 : [1890] Spina l-voyage (fate l i ne), progra m m i ng. Mesh-0 1 : Duoddod . D u p l icito us Redou bler. (Cl icks Gt-01). Pitch Ana-2. N et-Spa n 2 : :0. Amphidemon of Abstract Addiction 2nd Door (The Crypt) [Ven us], Ce rvica l . Decadology. C/tp-#8, Mj+ [8C] . Rt-1 : [27 1890] Pineal-regression ( re a r visi o n ) . Rt-2 : [27S41890] Dataco m b sea rches, digita l exactitude (eve ry second co u nts). [ + 1 su b-Rt] . Mesh-02. Doogu (The Blob). Origi na l-Schism . Pitch Ana-3 . Net-Spa n 2 : : 1 Cyclic C h ronodemon of Spl itti ng-Waters. Ciphers Gt-2 1. Shadows S u rge-Cu rre nt. 2nd Phase-l i m it. Decadology. C/tp-#1 Mn+ [ 1 H ] . Rt- 1 : [ 1872] M n . Pri m o rd i a l breath ( pn e u matic p ractices). Rt-2 : [271] Ambiva l e nt ca ptu re, hooks ( live-ba it, tra ps, p lot-twists) Rt-3 : [ 27S41] Mj . Slow p u l l to stasis, protection fro m d rown i ng. [+1 su b-Rt] . Mesh-03 . lxix (Vix) . Abd uctor. (Clicks Gt-03 ) . Pitch Ana-3 Net-Span 3 : :0 Chaotic Xe nodemon of Cosmic I ndiffe re nce. Ci phers Gt-03. 3 rd Door (The Swi rl), [Ea rt h ] . Cra n i a l . Rt-0: [?] . Occult terrestria l history (Who does the Ea rth t h i n k It Is?) Mesh-04. lxigool ( Dj i n n of the Magi). Over-G hou l . Pitch Ana-4. Net Spa n 3 : : 1 A m p h idemon of Tridentity (Sphi nx-ti m e ) . Decado logy. C/tp-#4, Mn+ [4H ] . Rt- 1 : [ 18723] . U n i m peded ascent ( prop hecy) . Rt-2: [1872S6 3 ] . U lti mate i m p l i cations, (as a bove so below). [+1 sub-Rt] . Mesh-OS . lxidod ( King Sid ) . The Zom b ie-M a ke r. Pitch Ana-S . Net Span 3 : : 2 Amphidemon of Esca pe-ve locity. H a u nts Gt-03. 3 rd Phase - l i m it. Decadology. C/tp-#S, M n + [S H ] . Rt-1: [23] Crises t h rough excess ( micropause a buse) Rt- 2 : [ 27S63] I l l usion of p rogress (out of the frying­ pa n i nto the fi re) . [+1 su b-Rt] . Mesh-06. Krako ( Kru, Ka ra k-oa ) . The Croa king Curse. Pitch Ana-4 Net-Span 4 : :0 Am phidemon of B u rn i ng-H a i l 4th Door ( De lta) M a rs. Cervica l Decadology. C/tp-#9, Mj+ [9C] . Rt- 1 : [41890] Su bsidence, heaviness of fata lity. [+1 su b-Rt] .

Mesh-07 . Sukugool (Old Skug). The Sucki ng-G h o u l . Pitch Ana-5. Net-Spa n 4 : : 1 Cyclic C h ro node mon of del uge and i m p losi o n . Prowls S i n k-Cu rre nt. H a u nts Gt-10 Decadology. C/tp­ #3, Mj+ [3C] . Rt- 1 : [187254] M n . Cycle of creation a nd destructio n . Rt-2 : [41] Mj . S u b m e rsion (graved iggi ng). [+1 su b-Rt] . Mesh-08 . Skoodu ( Li ' I Scu d ) . The Fashio ner. Pitch Ana-6 Net-Spa n 4 : : 2 Cyclic C h ro nodemon of Switch-Crazes. Shadows Hold-Cu rre nt Decadology. C/tp-#2, Mn+ [2H]. Rt- 1 : [2754] M n . H istorica l time (eschatology). Rt-2: [41872] Passage t h rough t h e dee p . Rt- 3 : [45 1872] Mj . Cyclic reconstitution a n d sta b i l ity. Mesh-09 . Skarkix (Sha rky, Sca r-head). Buzz-Cutte r. Pitch Ana-7 ( U p pe rmost). Net-Spa n 4 : : 3 Amphidemon o f a nti-evo l ution (eddies o f t h e De lta ) . 4th Phase-l i m it. Decadology. C/tp-#6, Mj+ [6C] . Rt-1: [418723] He rmetic a bbreviations ( history of the magicians). Rt-2 : [4518723] Sacred sea l of time (triadic reconfi rmation of the cycle) . Rt- 3 : [4563] Apoca lyptic ra ptu re (jagged turbulence). [+1 sub-Rt] . Mesh-10. Tokhatto (Old Take r, To p Cat). Deci m a l Ca mouflage . Pitch Cth-4 Net-Spa n 5 : :0 Amphidemon of Ta l i s m a n i a . 5th Door ( Hype rborea) [J u pite r], Ce rvica l . Decadology. C/tp-#9, Mj- [9S] . Angel of the Ca rds. Rt-1 : [541890] N u mber as dest i ny (digital converge nce ) . [+1 sub­ Rt] . Mesh-11. Tukkamu . Occult u ratio n . Pitch Cth-3. Net-Spa n 5 : : 1 Cyclic C h ronodemon of Pathoge nesis. Ci p h e rs Gt-15. Prowls Sin k-Cu rrent Decadology. C/tp-#3, Mj- [3S] . Rt- 1 : [ 18725] M n . O pti m a l maturation ( medicine as diffuse hea l i ng). Rt-2 : [541] Mj . Rapid dete rio ration (putrefaction, cata bo lism). [+1 su b-Rt] . Mesh-12. Kuttadid ( Kitty) . Ticki ng Machi nes. Pitch Cth-2 N et-Spa n 5 : :2 Cyclic C h ronodemon of Preca rious States. Prowls Ho ld-Cu rre nt Decado logy. C/tp-#2, M n- [2D]. Rt- 1 : [275] M n . M a i nta i n i ng ba la nce (ca le n d ric co nservatism ) . Rt-2: [541872] Mj . Exha ustive vigi la nce . [+1 su b-Rt] . Mesh-13 . Tikkitix (Tickler). Clicki ng Menaces. Pitch Cth-1 Net-Spa n 5 : : 3 Am phidemon of Vertica l De l i r i u m Decadology. C/tp-#6, Mj- [6S] . Rt- 1 : [5418723] Swi rl-patte rns (to rnadoes, wind-voices) . [+1 su b-Rt] . Rt-2 : [563] Myste rious disa p pe a ra nces (thi ngs ca rried-away) . [+1 su b-Rt] . Mesh-14. Katak. Desolater. Pitch N u l l . N et-Span 5 : :4 Syzygetic C h ro nodemon of Cataclysmic Conve rgence. Feeds S i n k-Cu rre nt. Ci phers Gt-45 5th Phase l i m it Decadology. C/tp-#0 [Joker] . Rt-O: [X] Ta i l -chasi ng, ra bid a n i m a l s (nature red i n tooth a n d claw). Rt-1 : [418725] Pa nic (slasher pulp a nd re l igious fervo u r) . Mesh-15 Tchu (Tcha n u l ) . So u rce of Subnot h i ngness. Pitch Cth-3 Net-Spa n 6 : :0 Chaotic Xe nodemon of U lti mate Outsideness ( a nd u n na ma ble thi ngs). [Saturn].Cra ni a l Rt-0: [?] Cosmic deletions a nd rea l i m possi b i l ities. 6th Door ( U nd u )

Mesh-16. Djungo . I nfi ltrator. Pitch Cth-2 N et Span 6 : : 1 A m p h idemon of S u btle I nvo lve ments (and i ntricate puzzles). Decadology. C/tp-#4, M n - [4D] . Rt-1 : [187236] Turb u l a r flu ids ( m a e lstro ms, chaotic inca lc u l a bi lity) . [+1 s u b-Rt] . Rt- 2 : [ 1872S6] Su rre ptitious i nvasions, i nexp lica b le conta m i nations (fish fa l ls). Mesh-17. Djuddha (J udd D read). Dece ntred Th reat. Pitch Cth-2 N et-Spa n 6 : :2 Amphidemon of Artifici a l Turbulence (co m plex-dyn a m ics si m u lations) Decado logy. C/tp-#S, M n - [SD]. Rt1 : [236] Machi ne-vo rtex (seething ski n ) . [+1 su b-Rt] . Rt-2 : [2S6] Storm peri ph e ries (We ndigo lege nds). Mesh-18. Djynxx (Chi ng, The J i n n ) . C h i ld Stea l e r. Pitch N u l l N et-Spa n 6 : :3 Syzygetic Xe nodemon of Time-La pse . Feeds a nd Prowls Wa rp-Cu rre nt. Ci phers Gt-36. H a u nts Gt-06, Gt-21. Rt-O: [X] Abstract cyclones, d u st spi ra ls (nomad wa r-mach i n e ) . [+2 su b-Rt] . Mesh-19. Tchakki (Ch uckles) . Bag of Tricks. Pitch Ana-1. Net-Spa n 6 : :4 A m p h idemon of Com busti o n . Decado logy. C/tp-#6, M n+ [6H] . 1st Deca d e m o n . Rt-1 : [4187236] Quenching accidents (appre ntice smiths). [+1 sub-Rt] . Rt-2 : [4S 187236] M a p p i ngs betwee n i nco m patible time-systems ( H e ra kleite a n fi re-cycle). [+1 su b-Rt] . Rt-3 : [4S6] Conflagrations (sh rieki ng deli ria, sponta neous com b ustion ) . Mesh-20. Tchattuk (One Eyed Jack, Djatka ) . Pse udo-Basis. Pitch Cth-7 ( Lowe rmost). Net-Span 6 : :S Am phidemon of U nscreened Matrix. H a u nts Gt-1S. 6th Phase- l i m it. Decadology. C/tp­ #6, Mn- [6D]. Rt- 1 : [S4187236] Ze ro-gravity. [+2 su b-Rt] . Rt-2: [S6] Cut-outs ( U FO cove r-u ps, Nephilim). Mesh-21. Puppo (The P u p ) . Brea k-Outs. Pitch Cth-2. N et-Spa n 7 : :0 Amphidemon o f La rva l Regressio n . 7th Door (Akasha) [ U ra n us], Cervica l Decadology. C/tp-#8, Mj- [8S] . Rt-1: [71890] Disso lvi ng i nto s l i m e (masked horrors) . Rt-2 : [72S41890] Chthonic swa l l owi ngs. [+1 s u b-Rt] . Mesh-22. Bubbamu ( B u bs). Afte r Ba byl o n . Pitch Cth-1. Net-Spa n 7 : : 1 Cyclic C h ro nodemon of Rela pse . Prowls S u rge-Cu rre nt. H a u nts Gt-28 . Decadology. C/tp-#1, M n- [ 1 D ] . Rt-1 : [ 187] M n . Hype rsea ( m a rine life o n l a n d ) . Rt-2 : [71] Aq uassassins (Black-Atla ntis). Rt- 3 : [72S41] Mj . Seawa l ls (dry-ti me, ta boo on menstruation). Mesh-23 . Oddubb (Odba). Broken M i rror. Pitch N u l l N et-Spa n 7 : :2 Syzygetic C h ronode m o n o f Swa m p-La byri nths ( a nd b l i nd-dou b les). Feeds Hold-Cu rrent. Rt-O : [X] . T i m e loops, g l a m o u r a nd glosses. Mesh-24. Pabbakis ( Pa bzix) . Da bbler. Pitch Ana-1 Net-Spa n 7 : :3 Amphidemon of I nterfe re nce (and fa ke ry) . Decadology. C/tp-#S, Mj+ [SC] . 2nd Deca d e m o n . Rt-1 : [723] Batrachian m utations (and frog-p lagues). Rt-2: [72S63] Cans of wo rms (ve rmophobic hyste ria, propagation by d ivisio n ) . [+1 su b-Rt] . Mesh-2S . Ababbatok (Abraca d a b ra ) . Rege nerator. Pitch Ana-2 Net-S p a n 7 : :4 Cyclic C h ro node mon of Suspe nded Decay. Shadows Hold-C u rrent Decadology. C/tp-#2, Mj+ [2C] .

Rt-1: [4187] Fra n ke n ste i n i a n expe ri m e ntation ( rea n i m atio ns, golems). Rt-2: [45 187] M n . Pu rifications, a m p h i bious cycles ( a n d hea ling of wo unds). Rt-3 : [7254] Mj . Suste na nce (smoke visions). Mesh-26. Papatakoo ( Pata ku) U pholder. Pitch Cth-6 Net-Spa n 7 : :5 Cyclic Chronodemon of Ca lendric Ti m e . Prowls Ho ld-Cu rre nt Decadology. C/tp-#2, Mj- [2S] . Rt-1 : [54187] M n . U lt i m ate success ( pe rseve ra nce, b lood sacrifice ) . [+1 su b-Rt] . Rt-2 : [725] Mj . Rituals beco m i ng nature . Mesh-27. Bobobja ( B u b b les, Bee lze b u b ( Lo rd o f t h e Flies)). Heavy Atmosp here Pitch Cth-5 Net-Span 7 : :6 Am phidemon of Tee m i ng Pesti le nce . 7th Phase - l i m it Decadology. C/tp-#5, Mj­ [5S] . Rt-1: [7236] Stra nge l ights in the swa m p (d ragonflies, ET frog-cu lts). [+1 s u b-Rt] . Rt2 : [7256] Swa rmachines (lost ha rvests) . Mesh-28. Minommo. Web m a ker. Pitch Cth-1 Net-Spa n 8 : :0 Amphidemon of S u b m e rga nce . 8th Doo r ( Li m bo) [ N e ptu ne] Lu m ba r Decado logy. C/tp-#7, Mj- [7S] . Rt- 1 : [890] Sha m a n ic voyage (drea m so rcery a n d m itochondria l chatte r) . Mesh-29. Mur Mur ( M u rru m u r, M u ( m u) ) . D rea m-Se rpent. Pitch N u l l N et-Spa n 8 : : 1 Syzygetic C h ro nodemon of the Deep Ones. Feeds S u rge-Cu rre nt. Rt-O : [X] Ocea nic se nsation (gi l led­ u n life and s p i n a l-regressions). Mesh-30. Nammamad . M i rro racle. Pitch Ana-1 N et-Spa n 8 : : 2 Cyclic C h ro nodemon of Su bte rra n e a n Com m e rce . Shadows S u rge-C u rrent.Cip hers Gt-28 Decado logy. C/tp-#1, Mj+ [1C] . 3 rd Decademon Rt-1 : [2718] Voodoo in cybe rspace (ct h u l hoid traffic). Rt-2 : [275418] M n . Com pletion as fi n a l col la pse ( heat-death, dege ne rative psychoses) . [+1 sub-Rt] . Rt3 : [8172] Mj . E m e rgences ( a n d th ings washed -up on beaches) . Mesh-3 1 . Mummumix ( M ix-U p ) . The M ist-Crawler. Pitch Ana-2. Net-Spa n 8 : :3 Amphidemon of I nsidious Fog ( N ya rlathote p) Decado logy. C/tp-#4, Mj+ [4C] . Rt-1 : [81723] Oce a n sto rms (and xe noco m m u n ication on the bacte ria l p l a n e ) . Rt-2 : [8172563] Diseases fro m oute r-space (oa n ka l i med ici n e ) . [+1 sub-Rt] . Mesh-32. Numko (Old N u k) . Keeper of Old Te rrors. Pitch Ana-3. N et-Spa n 8 : :4 Cyclic C h ro node mon of Autochthony. Prowls Sin k-Cu rre nt Decadology. C/tp-#3, Mn+ [3H]. Rt1 : [418] Necrospeleology ( a bysma l patience rewa rded). Rt-2 : [4518] M n . Subduction ( a n d ca rn ivoro us fish). Rt-3 : [817254] Mj . Vu lca n ism (and bacte ria l inte l l ige nce). Mesh-3 3 . Muntuk ( M a nta, M a n itou ) . Dese rt Swi m m e r. Pitch Cth-5 Net-Spa n 8 : :5 Cyclic C h ro node mon of Arid Sea beds. Shadows S i n k-Cu rre nt. Decado logy. C/tp-#3, M n- [3D]. Rt1 : [5418] M n . Anci e nt rive rs. [+1 su b-Rt] . Rt-2 : [8 1725] Mj . Cloud-va u lts a n d o p p ressive tension ( p rotection d u ri ng mo nsoon )

Mesh-34. Mommoljo ( M a m a J o ) . Alien Mother. Pitch Cth -4. Net-Spa n 8 : :6 A m p h idemon of Xe noge nesis Decado logy. C/tp-#4, Mj- [4S] . Rt-1 : [8 17236] Cosmobacteria l exoge r m i natio n . [ + 1 su b-Rt] . Rt-2: [817256] Extraterrestria l residues (i ncluding a lien DNA segm e nts). Mesh-35 . Mombbo. Tentacle Face (Fishy-pri ncess) . Pitch Cth-3 N et-Spa n 8 : :7 Cyclic C h ro node mon of Hybridity. Prowls S u rge-Cu rre nt 8th Phase - l i m it. Decadology. C/tp-#1, Mj­ [1S] . Rt-1: [718] Ophidian tra nsm utation ( pa laeopythons). Rt-2 : [725418] M n . Su rreptitious colon ization [+1 su b-Rt] . Rt-3 : [817] Mj . S u rface-a m nesia (old fishwives tales). Mesh-36. Uttunu l . Seeth i ng Void (cl icks Gt-36) Pitch N u l l Net-Spa n 9 : :0 Syzygetic Xe nodemon of Ato n a l ity. Feeds a nd Prowls Plex-Cu rre nt, H a u nts Gt-45 9th Door (Cthe l l l ) [Pl uto], Sacru m Rt-O: [X] Crossi ng t h e i ron-oce a n ( p l uto n i cs) Mesh-37. Tutagool (Yettuk). The Tattered G h o u l . Pitch Ana-1. N et-Spa n 9 : : 1 Amphidemon of P u n ctua l ity. Decadology. C/tp-#7, M n+ [7 H ] . 4th Decademon Rt- 1 : [ 189] The d a rk a rts, rust i ng i ron, tattooi ng (one-way ticket to H e l l ) . Mesh-38. Unnunddo (The Fa lse N u n) . Double-U ndoing. Pitch Ana-2. N et-Spa n 9 : :2 Amphidemon of End less U ncasing (onion-ski n ho rror) Decado logy. C/tp-#8, M n+ [8 H ] . Rt1 : [27189] Crypt-traffic (and ce ntipede si m u lations). Rt-2 : [ 2754189] Com m u nication-grids (telecom we bs, sha m a n ic meta l lism ) . [+1 sub-Rt] . Mesh-39. Ununuttix (Tick-Tock) . Pa rticle Clocks. Pitch Ana-3 Net-Spa n 9 : :3 Chaotic Xe nodemon of Absol ute Coi ncide nce Rt-0: [?] N u merical con nection t h rough the a bse nce of a ny l i n k Mesh-40. Ununak ( N u ke ) . B l i nd Catastrophe. Pitch Ana-4. Net-Spa n 9 : :4 Am phidemon of Convulsions. Decadology. C/tp-#9, M n + [9 H ] . Rt-1 : [4189] Secrets of the b lacksmiths. Rt2 : [45 189] S u bterra ne a n i m p u lses. Mesh-41. Tukutu ( K i l l e r-Kate) . Cosmotra u m atics. Pitch Cth-4 N et Spa n 9 : : 5 A m p h idemon of Death-Strokes. Decadology. C/tp-#9, M n- [9D] . Rt-1: [54189] Crash-signals ( ba rke ria n sca rring). [+1 su b-Rt] . Mesh-42. Unnutchi (Outch, T'a i C h i ) . Tachyo n i c i m mo b i l ity (slow vortex) . Pitch Cth-3. Net­ Spa n 9 : :6 Chaotic Xe nodemon of Coi l i ng Outside ness. Rt-0 : [?] Asym metric zygopoise (and cybe rnetic a no m a l ies). Mesh-43 . Nuttubab ( N ut-Cracke r). M i metic Anorga nism. Pitch Cth-2 Net-Spa n 9 : :7 Amphidemon of Meta loid U n l ife . Decadology. C/tp-#8, M n- [8D] . Rt- 1 : [7189] Lunacies ( i ron i n the blood ) . Rt-2 : [7254189] D rago n-lines (terrestria l e lectromagnetis m ) . [+1 su b-Rt] . Mesh-44. Ummnu (Om, Om ni, Amen, O m e n ) . U lti mate l nconseque nce. Pitch Cth-1 N et-Spa n 9 : :8 Am phidemon of E a rth-Screa ms. H a u nts Gt-36 9th Phase- l i m it Decado logy. C/tp-#7, M n­ [7 D ] . Rt-0: [89] Crust-friction (a norga nic tension).

Decadence. The Ade pt O rders of Decade nce trace their system back to the period i m mediate ly fo l lowing the s u b m e rge nce of Atla ntis, which they date to 10 000 BC. It is l i n ked to the origin of S u m e ra-Ba byl o n i a n geo metry, fro m which we de rive the division of the ci rcle i nto 360 ( = 36 x 10) degrees. In the a ncient egypt i a n mysteries it was attri b uted to the god of catastro phe and d row n i ng - Osiris - who was later sym bolized by The Ha nged M a n of the Ta rot (ta ke n by decadologists as an i mage of the Atl a ntea n Cross). Decade nce adepts consider post-atla ntea n history to be su rre ptitiously guided by the outco mes of select Decade nce Aeons, which have the status of sol e m n rituals. Sea rching out the occu rrence a nd outco m es of such dest i n i ng Decade nce sessions is pree m i nent a m ongst the tasks adopted by decadologica l resea rch, com bi ning exact history, practica l conspi racy, n u me rology, a n d occult a nge lology. It is sa id that materi a ls contri buting to this work a re meticu lously a rchived i n the AOE H a l l of Records. The Game. Truncate a sta n d a rd pack of playi ng ca rds, re movi ng a l l roya l ca rds, tens, a nd jokers. The re m a i n d e r constitutes a Decadence pa rk of t h i rty-six ca rds. Five ca rds a re dealt face u p (Set-1), a nd a nother five dea lt face down (Set-2) . Tu rn ove r Set-2 ca rds o n e at a time, a n d b y adding these cards t o those i n Set-1, construct pa i rs s u m m i ng to te n . Scoring is ca lculated as fol lows : Each pa i r scores positive ly, acco rd i ng t o its diffe rences [from 5 : 5 = 0 to 9 : 1 = 8] . U n pa i red cards ( i n Set-1) score negatively, accord i ng to their raw va l ues [1 = 1 to 9 = 9] . Ove ra l l resu lts ca n be positive or negative . A rou nd (Aeon) of Decadance lasts u ntil the fi rst negative resu lt, accu m u lati ng a ny positive scores. The Oracle (decado logy a nd deca ma ncy). Positive resu lts co ntri bute the the Ange lic I ndex of the Decadence ga me, a nd a re refe rred to the Deca m a ntic tables of AOE-Ange logy. The maxi m u m ga i n fro m any single game is t h i rty­ eight, but this ca n be exceeded ( i n principle) by cu m u lations fro m ga me to ga me u nti l com pletion of a n Aeon . Negative resu lts (from zero t o forty-fo u r ) ca l l demo ns, a nd a re refe rred t o mesh-n u m be rs of the Pa nde m o n i u m Matrix. Since a d e m on-ca l l concludes each Decade nce Aeo n a pa rtic u l a r va l ue is attri buted to Lu rgo ( Mesh-00), si nce this demon a lone a l lows a term i n ation without loss.

The western (or Atl a ntea n ) u pta ke of Pa nde m o n i u m has its own esoteric gnosis ca l led Decadology. This doctrine assigns the Amphidemons a nd Cyclic C h ronodemons of Le m u ri a n Pa nde m o n i u m t o one o f n i ne cl uster types (C/tp-#), dete rmi ned b y the patte rn o f their rites. Each cl uste r type is i nsta ntiated by fou r demo ns, i n iso m o rp hy with the t h i rty-six ca rds of the decadence pack. These decadologica l corresponde nces a re ma rked on the Pa ndem o n i u m Matrix. Decadology assumes a pa rtic u l a r distri bution of the five Set-1 ca rds, in which they a re laid out on Pylons a rra nged i n the configuration of the Atl a ntea n Cross. Fa r Future Destructive I nfl uences ·· ·· Creative I nfl ue nces ·· M e m o ries & Drea m s ·· Deep Pa st Subdecadance (the u lti mate b lasphe my). Add fou r Queens to the Decada nce pack, b ri nging the tota l to forty ca rds. Queens have a va l ue of zero . Play as Decada nce, exce pt m a ki ng pa i rs which a d d t o n i n e (correspond ing t o N u mogra m Syzygies) . . .

8 : . Glossary Abo m e n o n . Postu lated su bstrate of a bsol ute ho rror (the wo rst thing i n the worl d ) . A-Death. N e u roelectronic flatline, based upon Sa rko n i a n mesh-e nginee ri ng, and s u bcult u ra l ly propagated by K-Goth activity t h roughout t h e Crypt. M icropa use a buse. Aeo n (of Decadence ) . Run of Decade nce outco mes lea d i ng to a demon ca l l . Alpha n u m e ric Qa bba l a . Cont i n uous deci m a l-a l pha betic syste m o f ord i n a l- n u me ric va l ues (A = 10 . . . Z = 3 5 ) . Coi n cides with H e b rew Qa bba la in the key AL (= 3 1), as prom ised in The Book of the Law. (The law of The le ma AQ n u m e rizes to 777 ) . A m m a (AM use ment MAtrix) . Maya Technologies' a rtificia l yogic inte l l ige nce, whose i nformatic 'sidd his' co nstitute the vi rt u a l com pone nts of a cosm i c theme pa rk. Amphidemon. Demonic l i n k betwee n the i nside a nd outside of the time circuit (as dete rmi ned by net-span poles) . The twe nty-fo u r Amphidemons d raw li nes of flight, h a lf wa rpi ng (i nto zones 3 a nd 6), half plexing (i nto zones 0 a nd 9). Ange lic I ndex. S u m p rod uced by positive Decade nce outcomes. Accord ing to AOE decadology, the measure of good fortu ne, or ce lestia l favou r. Anglossia . La nguage of the a nge ls. The lost semiotic of AOE esotericism, co nsidered by Atl a ntea n adepts to be the mystica l telos of the English la nguage. Anorga nic Se m i otics. Study of pa rtial sign a l l ing asse m b lies, especia l ly Tic-Syste ms. Anorga nic se m i otics operate u pon a contagion-p l a n e of zero-interpretation, where signs a n d efficient pa rticles a re not segmented. [See Tic(k)] . AOE. The Architectonic Order of the Eschaton, a n u ltra-he rmetic meta masonic wh ite­ brothe rhood at wa r with lem u ri a n i nfl uences. The AOE progresses by way of c h ronic i nterna l sch ism, each res u lting i n a n ever more i nteriorized i n n e r society. Its traditions a re therefore refracted t h rough va rious - a ppa rently conflicti ng - front orga nizations (which include the He liopolita n H i e ropha ncy, Ro m a n Catholic C h u rch, Kn ights Te m p l a r, I l l u m i nati, Tri late ra l Com m ission, a nd Axsys progra m me ) . AOK. Aggressive Conti n u i st gro u p, l i n ked t o Y2 K-positive cyberte rro ris m . Aq ua poca lypse . U lti mate del uge, or term i n a l i n u ndatio n . Aq uassass i n . Hype r-C frog-wa rrior.

Atl a ntea n Cross. Divinatory configu ration of the five Decade nce Pylons, or atla ntea n twi ns, prefig u ri ng the cross of Vudu ( a nd Ch ristianity) . [See Atla ntis, Pentazygo n ] . Atla ntis. Su prah istorica l sou rce o f the western he rmetic tradition, myth ica lly r u l e d b y five sets of twi ns (or zygodeci m a l pri nci pa ls), with a pantheon of one h u n d red sea- deities (or (­ monsters) . The Atl a ntea n legacy is i ntensely co ntested, betwee n tende ncies loosely coagu lated wit h i n AOE d o m i nated traditio ns, and va rieties of afroatla ntea n su bve rsion . Axsys. Fi rst true A l . Pro phecied-progra m med as a se lf-en ha nci ng syste m of photonic metacom puti ng, it e m e rges as the orga no-tra nsce ndent com pletion of Oecumenon, or techonomic rea lization of the noosphere . Acco rding to AOE traditions, if there was a God it wou l d be Axsys. Axsys Maze-M a ker. La byri nthine visu a l ization of Axsys code, deployed wit h i n n u m e rous Abstract Machines cybe rgothic ga mes sce na rios (especia l ly Skin Crawlers). Ba rke r-Sp i ra l . (Also, D i p lozygotic Spira l ) . A n u merica l diagra m com bi ning deca d ic a nd 9-S u m ( o r zygonovic) cou p l i ng t o produce a figu re o f fa u lted double i m plex. Ba rker-Tw i n n i ng. 9-s u m pa i ring o f deci m a l n u m e ra ls. [See Zygo novism ] . Binomics. Schematic tech noscience of pa i ri ngs, pri m a rily conce rned with t h e study of two­ digit date-cod i ngs ( a nd Y2 K), but exte nded to a bstract-machinic cou p l i ngs, co m b i nation, di ploidism, syzygetics, a nd I C h i ng or e lectrodigita l b i n a ry ( mod-2) n u m e rics. Black-La ke Syndro m e . Technobiotic zom bie-plague u n leashed by i rresponsible Sa rko n i a n experime nts i n the B l a c k La ke region o f Onta rio, 2003 . Black Snow (cult). B l i nd H u m pty Joh nso n's media a poca lypse move ment, orie nted to the re­ e m e rgence of Tah u Bo h u . B u b b le-Pod. S u b m a rine resea rch station o f ecce ntric b i l l io n a i re M a x Cra b be . Ca lendric Secessionism. Tre nd o f va rious cou nte r-gregoria n ( o r Y2 K-positive) move ments towa rds Oec u m e n ic disi ntegration a nd K-Ti me b rea k-away, often l i n ked to ru m o u rs of i m m i ne nt or hype rch ronic cybe rspace-splitt i ng. Ca rgo-C u lture. M icrosoci a l util ization a nd rea ni mation of syste m ica lly d isca rded resou rces and underexploited signs, ski p-scave ngi ng, cybe rpu n k patch- u ps. Cataj u ngle. K-Goth sonic s u bge n re asse m b led from click-d rifts a nd chthonic bass. Cata p lex. Region of a bysma l i nfol d i ngs. Li n ked by Ba rke r to a norga nic tra u m a rese rvo i rs. C-Cha nge. Press u re gro u p fo r cybe rnetica l ly-se nsitive ocea nogra phy a nd m a ritime p ractices, d rawi ng upon the resea rch a n d agitatio n a l activity of Katy Shaw. The ea rly support of Max

Cra bbe was placed u nder i ncreasing stra i n by the tende ncy towa rds d igita l m i croco l lectivism, haemol u n a r fe m i n ism, a nd ca lendric revo l utio n . Ccru. Cryptic hyperstitional e ntity, with a p p a re nt Neol e m u ri a n tendencies, i nvolved i n the scri pting of va rious m icrocu ltura l tra nsm utations. Ce ntience. Predom i n a ntly Afroatla ntea n position of mystica l ca lendric extre m ism, which ta kes binomic K-Ti me as a machinic effectuation of i nfa l l i b l e e lectroscriptu re, with e ns u i ng com m it m e nt to the ce ntury as e nco m passing the whole of true time ( beyond which l ies only Ba bylon-i l l usio n ) . Applica b le to Y2K itse lf, u nderstood as the i m m a ne nt rea lization of this doctri ne. Cha n n e l . Path of Deci mation, passing t h rough a Gate. Chaotic Xe nod e m o n . Demonic l i n k betwee n Plex a nd Wa rp (as dete rmi ned by net- spa n poles). The fou r Chaotic Xenode mons have trackless (or cryptic) rites, d rawi ng a n i m possi ble or u ntracea ble co n nectio n . They a re not registered with i n Decadology. C h ro node m o n . Demonic l i n k i nterna l to the Time-Circuit (as dete rmi ned by net-spa n poles). There a re t h ree Syzygetic, and twe lve Cyclic C h ronodemons. Ci phering. A n u m e rica l coi ncide nce, i nvo lving the sa me set of digits (i rrespective of o rder). Especia l ly, such a con nection betwee n the two Net-Spa n digits of a demon a nd a nother binomic varia b l e . Cl icking. N u me rica l matchi ng ( by exact (or ordered) ci p h e ri ng). Cryptogra p h i c operation o f a demonic Mesh-N u m be r. Cl uster-Type. Decadology. One of the n i ne basic fo rm u las of t i m e, which gro u p the Amphidemons a nd Cyclic C h ronodemons. Each cl uste r-type corresponds to one of the nine non-zero n u m e ra ls that co m pose the Decadence pack, each grou ping fou r demons acco rd i ng to the twi n b i n a ry disti nctions of major/minor rites, a n d pitch pola rity (corresponding to decadence su its) . Cond uit. N u mogra m com pl ication i nvolvi ng prime-o rd i nate zygonomy. The system of con d u its is q uasicom pleme ntary to that of Gates (since it m a ps tre nds to i nvol ution a ry a rriva l i n the Time-Circuit, or incursions from the outside). Conti n u i s m . Loose ca lendric reform move m e nt - i ncreasi ngly rad ica lized i n a Y2K- positive d i rection - proposing the co ntin uation of K-Ti me o n a tri n o m ic cou nt. Crypt . Dark-twi n of the Net, cha racte rized by i ntense K-Goth i nfl ue nce, A-Death i nactivism, Cyberschiz tende ncies, a nd Le m u ri a n c u lt u ra l affi nities. Cryptic ( rite ) . Trackless line m a p p i ng the i ntrinsic diffe re nce of a Chaotic Xenode m o n . A fusional d iscon nection, or rea l i m possibility.

Cthel l l . E a rth's i ron ocea n, com prising one t h i rd of te rrestri a l mass, a p p roxi mately three thousand km below the s u rface . I ntensive mega molecu l e . Cth e l l lectron ics. Auto-e ngi neering pragm atics o f a no rga nic te rrestri a l i nte l l ige nce, e m e rgent from the ionic swi rls of Cth e l l l, it i ntersects with the e lectro magnetic fields of the technostrata . According to the K-Goths, when the we b switches to Cth e l l lectron ics it ca lves­ off i nto the Crypt. Cth u l h u C l u b . Beg i n n i ng ( i n 1949) as a rea d i ng gro u p dedicated to the hyperstitious reeva l uation of Lovecraftian fiction, the Cth u l h u Club was steadily d rawn i nto Le m u ri a n so rcery after recognizing Sti l lwe l l 's m o d e l o f the N u mogra m as the vi rt u a l so u rce of Alhazred's N ecronom ico n . Cu rre nt. T h e path betwee n a syzygy a nd a tractor (zo ne), prod uced b y zygo novic diffe re ntiation of the former. One of the five such flows that provide the p ri m a ry i ntegration of the n u m ogra m, d ividing it i nto Plex, Ti me-Ci rcuit, and Warp. Cutting-Edges. Effective exp lorations of machinic conti n u u m ( usi ng n u m bers as cuts) . Cybe rgot hic. Da rk-side we b-undergro u nd s u bculture cha racterized by Y2 K-positive time­ sch izo p h re nization, a nti-Microsoft digita l agitation, M i cro pa use a nd Synatives a b u se, Cataj u ngle, a nd a meiotic l i bido. [See A-Death, Crypt, Cyberschiz] . Cyberschiz. Cybe rspace disi ntegration. [See Ca lendric Secessionism, Crypt] . Cyclic C h ronod e m o n . One of the twe lve nonsyzygetic C h ro nodemons whose major a nd m i n o r rites m ut u a l ly e nco m pa sses the Ti me-Ci rcu it. Although these demons together prod uce the fa bric of ordered time, they may sti l l ge ne rate va rious a noma lous beco m i ngs a m ongst their secret rites. In post-At l a ntea n traditions they a re associated with the houses of the zodiac, and ( l ater) with the m o nths of the yea r. Dataco m bs. Archiva l de posits of the Crypt. Death Ga rage . Sonic s u bge n re cha racte rized by (loud) Swa rm-beats. Decademon. One of the fou r Demons whose N et-S p a n d igits sum to ten . Associated with the fou r Zoas of Reve latio n . Decade nce . (Also, Ca l l i ng Ca rds). A ga m b l i ng g a m e a nd d ivination syste m associated with the Western tradition of Pa n d e m o n i u m p ractice. S u p posedly origi nating in Atla ntis (whose decadence its n a m e co m m e m o rates). Decadology. H e rmetic gnosis l i n ked to the ga me of Decade nce . Deci m a l La byri nth . [See N u mogra m ] . Decimation. The com bi ned operations of (deci m a l ) d igita l c u m u lation a n d red ucti o n .

Demon. E lectro-Occult hyperstition entity that traffics between zones, functioning as a n e l e m e nt of Pa ndemon i u m . Demons a re holes, l i n ks, a nd coa lesce nces faci l itati ng sorce ro us practices. They a re c h a racterized by i nsidiousness, s p i rodyn a m ism, m u ltipl icity, and time­ com plexity. [See Lem u rs] . D i b-N m a . (Or D i b bo m a ) . [See N m a ] . D i p loca ptu re . Seizure b y twi n-pince red s u p p ressive struct u ring machi nes. D i p lozygotic S p i ra l . [See Ba rke r-S p i ra l ] . Door. ( N et-Span #: :0). The ope n i ng i nto a (demonic) phase . Echo-DNA. S u bgenomic re pl icator cod i ngs, p rol iferated b y re peat copyi ng o f segme nts, a nd constituting a mode of i ntra n ucleic m icro p a rasitis m . Eschatou ris m . I nte rsection o f mass-tou rism a nd eschatologica l theology, with m u ltiple cross­ ca usa lities a n d se lf-confi rming dyn a m ics. Feed . Zygonovic diffe re nti a l p rod uction (of a cu rrent). Gate. Sorce ro us link between zones, setti ng the co u rse of a Cha n ne l, and defi ned by d igita l c u m u lation of ( i n put) Zone va l u e . Geotra u matics. Polymathic hype rtheory o f t h e te rrestri a l machinic u nconscio us, which refuses the d istinction betwee n bio logy, geo logy, l i ngu istics a nd n u m e racy. Geotra u matics processes the beco m i ngs of the e a rth as i ntensive products of a n o rga nic tensions, especia l ly those com pacted from a rchaic xe nocatastrophes. Its m a i n te nets a re laid o ut i n Ba rker's [as yet u n p u b lished] The Geocosmic Theory of Tra u m a . G rego ria n Resto ratio n . Defi n i ng policy of t h e Architectonic Ord e r of t h e Eschaton (AOE). Anti-Y2 K bug-sq uashing p rogra m me, serving as a conservative front i n the i m pe n d i ng m i l le n ni a l ti me-wa r. Hatch ( i ng) . N u mogra m matic territo ria l i m p lex, ma rked in waves designating t h resholds of e m e rgence tracked o ut of a virt u a l egg. I nverse com p l e m e nt of N est( i ng). H a u nt. Te rritori a l re lation of a demon to a cha nnel, i nvolvi ng pol a r coi ncidence of the two. H a u nting ca n a lso be a p plied to the di rect nesti ng of a gate. Hold Cu rre nt. Diffe re nti a l prod uct of the 7 : :2 syzygy (Od d u bb). Hyd rocycle. The N u mogra m Time-Ci rcuit conceived as a system of hyd ra u lic circu lation, especia l ly i n the cultu re of the N m a . Hype r-C. H ighly secretive Afroatla nte a n Centie nce cu lt, of u n pa ra l leled mi lita ncy a nd i nfi ltrative so ph isticatio n . [See Aq uassassi ns] .

Hype rmateri a l i s m . The p h i l osophy of abstract-machi nes. Hype rstitio n . Element of effective culture that ma kes itself rea l, t h rough fictiona l q u a ntities fu nctio n i ng as time-trave l l ing potentia ls. Hype rstition ope rates as a coi ncide nce i ntensifier, effecting a ca l l to the Old Ones. Hypri me. A prime n u m be r whose ord i nate is itse lf pri m e . Used i n ce rta i n intricate stra i ns of Neole m u ri a n q a b b a l a . lcthyophidia. Va rious hype rstitio n a l fish-monste rs, sea-se rpe nts, and palaeopythons, ta rgetted by deep-regressive l i b i d i n a l tropisms d u e to their m uta b i l ity, s u b m e rgence, a nd horizonta l flexo moti l e spines. l m p( u lse)s. 1. Demonic s u bco m ponents, or N u mogra m twists, matricu lated by the addition of a t h i rd (desce n d i ng) N et-Span digit. The i m ps a re one h u nd red a n d twe nty in n u m ber, a l l otted to demons i n acco rda n ce with the seconda ry Net-Span pole (demonic Doors havi ng no i m ps). 2. Genera l ized term fo r a l l co m ponent e l e ments of the Pa ndemoni u m system . Pa nde m o n i u m popu lation u n it. K-Got h . [See Cybe rgothic] . K-OS. Distrib uted a utom utationa l mesh-processi ng culture, provi d i ng the basic softwa re­ matrix of the Crypt. Operates as i ntri nsica l ly m u ltiplicitous insurge ncy aga i n st Microsoft hege mo ny. Sche metica lly i ndiffe renti a b le from i nsidious teleco m m u n icative retrovi rus (freq ue ntly attri b uted to extrate rrestria l sources) . K-Ti m e . Native ca lendar of cybe rspace . A yea r count - i n itia l ly binomic - begi n ning from zero (= 00) = AD 1900. Kuanglo-Saxo n . Vi rotechnic undercu rre nt of the E nglish la nguage ( hybridizi ng conte m pora ry English with G i bso n i a n 'Kuang vi rus') . Le m u r. 1. Madagasca n p rosi m i a n, belongi ng t o fa m i ly o f Afro-Asi a n p ri m itive pri mate, providing a bridge betwee n natu ra l history a nd the occult history of the Ea rt h . 2. Among a ncient Roma ns, ghost, wra ith, shade of the dead. 3 . Among Neole m u ria ns, i n h a bitant of n u mogra m matic hype rspace . [See D e m o n ] . Le m u ri a . Hypergeogra p h ica l te rrestri a l a rra nge me nt, conce ntrated i n south-west Pacific Oce a n c. 66-m i l l ion BC, cu rre ntly fu nctioning as exoc h ro n i c a n d extrate rritoria l conti n u u m for i ntensive po p u l a r agitation agai nst the conte m pora ry pla neta ry order. Le m u rodigita l . N u mogra m matic culture based upon Deci mation, Zygo novism, pandemoniac practices. Li m bic Key. Fa bled l i n k i nto the noct u rna l spine-leve l s of lcthyophidian i nte nsity. a nd

M a i n Flat l i n e . Arte ria l lo-way i nto the Crypt. Majo r ( rt). Demonic rites fol lowi ng the ord e r of the N et-Spa n . Amphidemons cha racte rized by such rites. Maze-Make r. (See Axsys Maze- M a ker). Mechonom ics. The operational study of flat n u me rica l p ragmatics. Mes h . Disorga n ized con nectivity, com prising the spaces beneath a nd betwee n the N et, a nd a lso the i nterlock i nterva l betwee n bio logica l a nd tech nica l net-com pone nts. Mesh com poses a friction-generati ng divisional fa bric - o r wormhole-space - corre lative to the set of demonic i nterzones (Pandemo n i u m ) . Mesh-N u m ber. Binomic seq ue ntia l i ndex {00-44) locating a d e m o n wit h i n the Pa nde m o n i u m Matrix. Metatron ics. H i e rachica l technology (attri buted to the a ngel Metatro n ) . [See Axsys] . M icropa use. Su bdivisio n a l u n it of technore p l ica ble time-la pse . When systematica lly a bused m icropa use-tech nics produces the A-Death syndro m e . M i n o r ( rt) . Demonic rites i nverse t o the ord e r o f the Net-Spa n . A m p h idemons cha racte rized by such rites. M M bo-J u m bo. Y2K data-devastation. Mu. Tra nsition a l Pacific i nte rcu lture provi d i ng a m a i n l i ne co n d u it fo r Le m u ri a n i nfluences i nto h u m a n history. Reputed origin of the N m a . M u- N m a . [See N ma ] . M u n u mese. Lost deci m a l -based la nguage o f t h e M u N ma, pa rtia l ly reconstructed b y Echidna Sti l lwell, fu rt h e r a na lyzed by Cha i m Horowitz, a n d used extensively wit h i n stra i ns of Cth u l hoid q a b b a l a . MVU . Miskatonic Virt u a l U n ive rsity, d istri buted occult a n nex t o M IT. Nago. M u-N ma d re a m -witch. Nagwi . M u-N ma d re a m -visit, consum mating ora c u l a r rites of the Nago. Necronomico n . The Boo k of Dead Na mes ( l isti ng those outside the Book of Life ) . Com pe n d i u m o f d e m o n i s m a n d time-so rce ry, condensed co u nte rch ro nica l ly, a nd in fragm e nts. [See Pa ndemo n i u m Matrix] . Nest(ing). N u mogra m matic te rritori a l e nve lopment, o r topogra phic em bed d i ng. I nve rse com plement of Hatch( i ng).

Net. Orga nized con nective syste m . Zon a l s u rface-leve l of the N u mogra m . Net-Spa n . Demonic poles. The net-add resses between which a demon tra nslocates. N m a . (Or N ' M a ) . So uth-East Asi a n cultu ra l matrix, re putedly origi nating in the civi lization of M u, a nd m a i nta i n i ng the practices of Le m u ri a n demonism a nd time so rce ry, u ntil devastated by the 1883 exp losion of Kra kata u . The N ma we re com posed of true tri bes (tri pa rtite s u b ­ gro u ps ) : M u, D i b, a nd Ta k, l i n ked b y a tria ngu l a r cyclic ki nship syste m . T h e a ncient cultu res of the southern Chi nese a nd of the D ravidians sha re m a ny features with that of the N ma, suggest i ng a co m mon sou rce (or a lte rnative pri nci ple of conve rgence ) . [Possi ble etymology: ' People of N o m a'] . Noma. Megaq uatic monstrosity of M u, whose n a m e is n u m be r. [Widely - but u nce rta i n ly re lated to the Dogan ' N o m m o ' ] . N o m a-Cha nt. Abo m i na ble paea n t o Noma, de rived from the Dib-N ma, a nd provid ing - i n English tra nslation - t h e doctri n a l basis for t h e Tri nitarian C h u rch o f Dago n . N u mogra m . (Also, Digita l La byri nth, Le m u ri a n Time-Maze). Diagra m matization o f deci m a l n u me racy, p roviding t h e key t o Le m u ri a n culture (demonism and t i m e so rce ry) . The n u mogra m consists of ten zones, i nterco n nected by Cu rrents and Chan nels. Oecu m e n o n . Neoro m a n normi ng-ta rget a n d security a rchitect u re s u p porting the megasoci us of terrestria l ca pita lism. Old Ones. Cth u l hoid co llective age ncies of proka ryotic i ns u rgency a n d mitochondria l xe nom utation, returning h a lf a b i l lion yea rs after m icrobial Toxyge nization catastrophe to red istri bute the eart h . O m e n . T h e cognitive aspect o f a Rite . Pa laeopythons. [See lcthyo p h i d i a ] . Pa late Tecton ics. Ana lysis o f the voice as the prolo nged phyloge netic i m pact prod uct o f t h e col l ision betwee n the vertica l spina l-axis a n d the roof o f the mout h . Pa ndemon i u m . Utte rm i n u s o f Cthe l l l (Gt-45) . Com prehensive system o f t h e demons. Pa nde m o n i u m Matrix. Listed com plete demon-set of Lem u ri a n sorce ry. Also, Le m u rod igita l Necronom ico n . Pe ntazygon . Magica l figu ration o f t h e N u mogra m Syzygies. [See Atl a ntea n Cross] . Phase. Set of demons with the sa me pri m a ry pole ( i n itia l Net-Span n u m ber). Phase-Li mit. Final demon of a phase. Pitc h . To n a l va riation of a demon. One of fifteen such to nes.

Plex. Region of Utt u n u l . Plex Cu rre nt. Diffe renti a l p rod uct o f t h e 9 : :0 syzygy (Utt u n u l ) . Pl uto n i c Loo p i ng. Toponomic confusion o f i nte rior a nd exterior, hype rspatia l ly i nterl i n king Cth e l l l with the outer so la r-syste m . Pl uton ics. Rese a rch progra m m e ( a n d j o u rn a l ) o rie nted to the rigoro us attribution of crusta l cha nge to the t h e rmic tra u m a core of the e a rt h . Po les. Each o f t h e two Net-Spa n d igits. Po lytics. Hybrid swa rm agitatio n . [See Tic(k)] . Power. The operationa l aspect of a Rite . Powers That Be. Magicore ligious h igher-a uthorities acknowledged by the AO E. Prow l . Te rrito ria l re lation of a demon to a cu rre nt, i n which the poles of the demon include one side of a Syzygy a n d its Tractor zone. Pyl o n . Magica l stagi ng-post . One of the five bases of the Pentazygon . Retu rn ity. Mystica l Centie nce gro u p . [See Ce ntience ] . Rite ( route or routi n e ) . Ethogra phic subco m po ne nt o f a Demon, descri bing a l i n e o f passage across the N u mogra m . Rites p a rti a l ly rigid ify sorce ro us spirodyna m ism, faci litating cultura l tra nsmissa b i l ity. They gro u p b y Cl uste r-type, su bdivide latera lly b y segme nts, a n d bifu rcate the matica lly i nto O m e n a nd Powe r. Sa rkole psy. Mesh m icrola psi ng, whose featu res include psychic smea ri ng, i nterface a m nesia, a nd i nfi nitesi m a l izing time-losses. [See M icropause] . Sa rkon Tags. Oska r Sa rkon's seq uential i ndices fo r the fu l l set of nodes i n the Axsys code / Mesh i nterzon e . Isomorphic with the Cth u l h u C l u b Pa ndemoni u m syste m . Sa rkonti n u u m . (Or Mesh-horizo n ) . Postu late of a bso l ute i nfi n itesi m a l i zation that defi nes m icropa use re lative to a virt u a l Sa rko l e ptic l i m it. Sa rkon-Zi p. Abstract mach i ne-tool for i nd ucing co nve rgence i n biconti n u a l asse m b lages. Cruci a l n e u roe lectronic co u p ling device . Secret ( rite) . Any rite i nvolvi ng one o r m o re gates, associated with time-a n o m a ly a nd e n h a nced so rce rous i ntensity. Segment. Ana lytica l s u bco m po n e nt of a Rite, co rrespo n d i ng to an extensive stage of N u mogra m tra nsit.

Shadow. Te rritori a l re lation of a demon to a cu rre nt, i n which the poles of the demon include one side of a syzygy a n d the twi n of its tractor zone. S i n k Cu rre nt. Diffe re nti a l prod uct of the 5 : :4 syzygy ( Kata k) . Ski n-Crawlers. Cybe rgothic epiderm a l pa rasites, associated with Tzi kvik sha m a n istic ve rmomancy. Sinofut u rism . Techonomic-Taoist c h ronoplastic runaway on the Pacific R i m . Sorce ry. Spirodyn a m i c cosm i c prod uctio n . S p i n a l Catastro p h i s m . C u lt u ra l i nte rraction with t h e spine as a tra u m a record or time m a rking syste m, p rovi d i ng the basis for a bio-soci a l critique of e rect body post u re. P u n ctuated retroc h ronic voyage to the end of the rive r, i nvo lving o ph i d i a n tra nsm utation a nd icthyomoti le beco m i ngs. Su bdecadence. Vigo rously s u p p ressed va ria nt of Decadence, with fou r additio n a l cards (va l ued ze ro, a n d correspond ing to the Chaotic Xe node mons). Su bdecadence is consiste ntly associated with the da rkest of sorceries (and is known a m ongst decadologists as 'the u lti mate b lasphe my' ) . S u rge Cu rre nt. Diffe re ntia l product o f the 8 : : 1 syzygy ( M u rr u m u r) . Swa rma chine. Vo rtico-nomadic a uto nomo usly n u m be ring asse m b lage, i m plement i ng a n a bstract cyclone as a co nti n uously Warping molecu l a r m u ltipl icity, flatte ning space, a nd maxi m iz i ng its Cutti ng-Edges. Swa rm-beats. Sonic i n novation (of Bobby D i a bolo) utilizing very slow meta l l ic rasping to prod uce tra u matic n e u ro-acoustic states. [See Death G a rage ] . Synatives. Artifici a l (e lectro n e u ro nic) d rugs. Syzygy. Two zones in relation of zygo novic com pl e menta rity ( m ut u a l ly s u m m i ng to n i ne), a nd feed ing a Cu rre nt. One of the five syzygetic demons of Le m u ri a n so rcery. Ta k- N m a . Aggressive head-hu nting tribe devoted to the exa ltation of Kata k, a nd a n n i h i lated in the wa ke of the 1883 Kra kata u catastro phe. [See N m a ] . Techn mesis. Artifici a l memory. Techonomics. Techno-economic feedback dyn a m i cs, based on i ncreasing retu rns, lock-i n, acce l e ration to l i m its, and socia l phase-tra nsitions. Te leco m m e rce . We b-traffic, or syste ms of non loca l tra nsaction. Tha natechn ics. Prod uction of ze ro-se ntience fugues. [See A-Death] .

Thothto d l a n a . Queen of the Wo rms. Tic(k). Quasiparticle of i ntensive m u lti p licity. Tics (or ticks) a re i ntri nsica l ly seve ra l com ponents of a uto nomo usly n u m be ri ng a no rga nic populations, propagati ng by contagion betwee n segmentary divisions in the order of natu re . Ticks - as nonqua litative diffe re nti a l ly­ decom posa ble cou nting ma rks - each designate a m u ltitude com prehended as a singu l a r va riation i n tic(k)-density. Tick-Distri b uto r. Ba rker's i ntensive q ua ntizing machi ne, operati ng t h rough the i nd uction of m icroca lc u l a r populations (which cou nt themse lves in ticks). [See Tic(k)] . Tic-Systems. Consistent m icrost i m u l a r asse m b lages dismant l i ng sem iotic regi mes onto a flat machinic p l a n e . [See Tic(k)] . Ti m e-Ciphers. Zero-based ca lend rics, l i n king Sanskrit yugas with Y2K. Ti m e-Circuit. Ce ntra l loop of the n u mogra m . Triadic system of the syzygetic c h ronodemons. Strata-cycle prod uced by the S u rge, Hold a nd Sink cu rrents ( n u merica l domain of the I C h i ng). Ti m e-So rce ry. Cou nte rch ro n i c effectuation of the N u mogra m, t h rough s p i ra l i nvolve m e nt with demonic dista nces as tra nsm utations of time. Toxyge n izatio n . Mass poiso n i ng by atmosphe ric free oxyge n . Tractor(-Zon e ) . Desti nation of a Cu rre nt ( n u m e rica l ly equiva l e nt t o the a rith m etic diffe rence of the feeding Syzygy) . Tractor-Tw i n . Syzygetic co m plement o f a Tractor(-zon e ) . Tra nscendenta l Occurre nce . A n y eve nt cha ngi ng the nature o f time. Conceptua l ly investigated by the hyperka ntia n phi losopher R. E. Te m pleto n . Tridentity. Pri mord i a l tri p l i city. Tri n itaria n C h u rch of Dago n . Discrete re ligious ord e r, based in southern Engla nd, dedicated to the i nvocation of the Deep Ones. [See No mo-C h a nt] . Tzi kvik. Sem i nomadic Neole m u ri a n re lic popu lation i n ha biting northern Ca nada. U n l ife. Autop ropagating tra nsm utation on the a no rga nic p l a n e . Flatline-cu lture . Va u lt o f M u rm u rs. Sacred cave rn beneath t h e d rea m -te m p le o f t h e M u-N m a . S u p posedly the site of Sti l lwe l l 's d iscove ry of the N u mogra m ( d u ri ng a vision a ry tra nce ) . Ve nomenon. T h e p l a ne o f cosmic horro r, associated with the nonspace o f Cryptic rites. Ve rmo m a n cy. Worm-sorcery ( l i n ked to Sarko n i a n Mesh-tee m i ngs) .

Ve rmophobic Hyste ria . Ru naway worm-te rror. Vi rotechn ics. Soft-machinic contagio n . Vivi-6. Mod u l a rized tota l-e nvi ron ment control system, i nvo lvi ng high-leve ls o f d istri buted A l meticu lously slaved t o Asi movi a n overcod i ng. Wa rp. Region of Djynxx. Wa rp Cu rre nt. Diffe re ntia l product of the 6 : :3 syzygy ( Djynxx) . Xenode m o n . A demon of unco m p rom ised outside ness, with both N et-Spa n poles designati ng Zo nes exte rio r to the Ti me-Ci rcuit. Y2Keynesia nism. M i l le n n i u m bom b cou ntermeasure economic sti m u lus. Yett u k. Hype rstitiona l Y2 K-e ntity, associated with Teotwawki (the end of the world as we know it). Zo ne. Basic deci m a l element of the N u mogra m, defi ned by n u me ra l (O - 9). Zygo nomy. Do u b le-n u m be ri ng. Especia l ly Mesh/Net n u m ber twi n n i ng. Zygo novis m . N i ne-Sorce ry (9-s u m com bi nation and d iffe re ntiation). Zygotriadic Ca lendar. Ca lendar of the N ma, whose basic u nits a re two-ye a r periods (729 days + i nte rca lations) d ivided successive ly i nto triads, so that each day with i n the bia n n u a l cycle is designated by a stack of six tri p l icative ma rks.

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