We'll be right back. Road drivers, trains running riot. Yellow and ad for new diets. LED displays. Pricewaterhouse. Come see what we can do for you. Watch us step in the slaughterhouse. Streets wet, but it's over now. Death in an evening gown.
Modest heel, and we had a crown. Alan Greenspan fucking iran. She came, finished it with her hand. Litter cigarette, they split in the dark. Men's egg for minarets, but we'd already harden our hearts. Rapunzel's head kept growing and the nails It was quiet except the ocean fog like a veil Rapunzel's head kept growing and the nails It was quiet except the trees moaning as the sun fell Come see what we can do for you Watch your step in the slaughterhouse
We let death pass the fear Watch your mouth in my mama's house The night ran quiet And the riot Dark as God Through the air like Colby Bryant 08 season The year after gone That scream Anything is possible That's physics Said the night of pasta Black gospel Flipped the card And the fortune fell Seven of swords yelled I can take one more The blood pulse I can make my own It's World War 4, they're young 20s so they stop the war Grab a stick, bust a hole through the core It's a bitter earth, a billion eyes act like swords Aching the pus poured, going in the ocean Passing in the same offshore condition Closed eyes, see bliss While the righteous are these swords in the midst
It was quiet and set the siren jail On some old dirty shit, A-Sun Overload A-Sun Rapunzel's head kept growing and the nails It was quiet except the ocean Fog like a veil Rapunzel's head kept growing and the nails It was quiet except the trees moaning as the sun fell Hi everyone!
My name is Eduardo Camargo and I am your host of the Ghost Lemurs of Madagascar. Currently, we had some changes over the months of this year. Unfortunately, my co-host Erika had to leave due to work reasons. Erika accompanied me in the last two episodes, in the first two episodes, and she was the one that made the logo for the series. so if you liked the logo and her insights I surely recommend to check her on Facebook or Instagram and see her work as an artist her name is Erika Stoddard Araujo
and she makes amazing work with performance art and a variety of media well, we're now at the half of the book of the CCRU writings, finally This episode then is on part 4, called Black Atlantis. Right now I'm going to go from some of my key interests in this specific part. After this we have part 5, which is called Barker. As we know, the text on Barker is one of the most famous entries on the CCIU writings. It is one of the most recognizable and traditional texts coming from the CCIU.
And here on the part of Black Atlantis, which precedes it, I feel that they are approaching, in some ways, the idea of Afrofuturism, and this is highlighted in many of the essays that we can find here. And we opened with a text called Hyper-C. Hyper-C features the term of Afroatlantian. And the idea of the Afro-Atlantean is going to be the one that's carried through this whole section. There's this idea of them becoming an alien and mutant population.
and there's also some connections which the CCIU tries to make between Voodoo and the ideas of the Lost Continents, which they have worked so far. What they do here, the first text is called Hyper-C, and I believe that in Hyper-C which is very close to hyperstition or hypercybernetic they are creating yet another layer of fictional writing they are like bringing a new entity which we haven't read so far on the book
they also again they reclaim the idea of the y2k as a time bomb here we also gonna have the same traits we've seen so far you know parts one two three which is how to disrupt time how to make this through a sort of ritualistic way. There's also biblical connotations because our society is labeled as Babylon, the capital of fake time. Which is how the one God universe binds and controls society. This idea is, once again,
going back to the Cthulhu Club, there is a lost civilization on the depths of the sea and I really like this phrase which ends the first text which is set your clocks to merit him. So it's the idea that in the sea we have a different time, a different universe as well, but this universe mainly is differentiated from the normal universe through a question of time. I think it's pretty interesting that they are using the sea and the ocean and subaquatic images to bring back.
Once again, they don't like the idea of the metaphor, but yeah, these are some of the signs that they are working on. And it's hard for me for not to bring another question which I've been dealing, I've been reading, which is the idea of the sea as this icon or this image or this force which can drag you through a whole transformation. I was reading recently on the oceanic feeling according to Freudian, which is a sort of the sensation of feeling the sublime aspect of the sea, the aspect of the scale that can easily be grasped,
and this certain tranquility that comes with the idea of being on the sea, and yet the sea has this whole strong enigmatic quality. And as I was reading recently on the trauma of birth, Arthur Rank, who broke with Freud because of this book, Rank was one of Freud's favorite disciples, and he gets punished by Freud by making some inversions on the importance of the Oedipus complex because for Rank, what is the primal trauma?
The first trauma, it isn't exactly the feeling of castration. Castration is a very small part of Rank's thoughts. while it is the birth itself as a traumatic experience which conditions or reaction or emotional reactions to life. And it is essentially this trauma which goes through all other traumas. All other traumas, in some way, they are related and Rank works it very elegantly through his text. He sort of makes a chapter progression which you feel you are accompanying a child growing up.
He starts with the idea of what is the infantile sensation of this, and then the mother receives a role which quite doesn't have this same significance as she has for Freud. And then he starts with this and he goes through sexual fixation, he goes through symbolic adaptation, and he ends on the therapeutic effect. Before this, he has psychoanalytic knowledge and philosophical speculation, so he's sort of making a genealogy of the phases that you can go through and the reactions and ethical reactions that you can have for this trauma.
And the idea of the reaction of this in general is that you have a series of activities in which you aim to return, sometimes more evidently, sometimes in a more sublimated way, we aim to return to the womb. and I believe that there are many images that Rank work with and some of them are, for instance, you have the night and the stars and the darkness as forms of return of the womb. You have water as well. Water is like an element which reminds us of the intrauterine situation, as Rank calls it.
So I think it's, I like how the sea is worked through this section because it reminds me of all of these connotations on the sea and how the sea is both enigmatic and in a certain way gives the sensation of freedom, of sublimity, and yet is a very dangerous and unknown place. I think there is certainly something to be said about how little do we know about the depths of the sea and the same fascination which we hold for the space and the stars and everything that's afar from us. So in some ways I believe that the sea is an inversion of the relationship we have with sky gazing
and with spatial exploration and all these sort of ideas of exploration. So, keeping with this idea, the next test is from subversion to submersion. The Galactic Bureau of Investigations report to the Galactic Federation on new sonic insurgencies. here I believe that once again we have a return to the idea of the sonic we do know how it is important for the CCRU the use of music as a liberating force and Hyper-C here is something that acts almost as this virus
once again something we have since the beginning of the book that comes back and here on this particular passage at this first paragraph from Superversion to Submersion it is written Hyper-C is associated in particular with sonic intelligence weaponry and has taken credit for many recent examples of infoterrorism which have been conventionally but erroneously labeled as musical recordings as we know later this is going to be argued both by Fischer or Kodwishun or even we can witness this on Code 9's work, this idea of the music as a sort of weaponry
or something that can be mobilized to the spreading of ideas or the spreading of desire, the spreading of something that can corrode the actual order. and here I believe it is the first time that Hyper-C appears but they are once again this sort of standing models projected images from the CCIU for instance another passage Hyper-C has abandoned all traditional political methods and goals it has succeeded utterly from the representational and signifying regimes of the dominant operating system
So once again we have like this delusion on overdrive, this delusion overturn of the idea of representation or the signifying regime to go to a sort of primordial or more immediate experience. the idea of the outside then is already being tensioned here. The outside is one of the most one of the most important concepts from the idea of Nick Lander specifically works with this as as something which he you know it is even funny to talk about
this in relation to Lander since his Twitter is outsiders. But yeah, it plays an important part for these thinkers. The idea to break away from the experience of being human, to find other forms of experience that are not binded by reason or by any sort of order. The idea of virality. There are some people which claim that, and I think they are wrong with this claim, that at places we see that people defend that the idea and the emphasis on the outside is something that should be credited to land, or at least in a different reading, but giving it the same importance as well in Kenting Melasu.
But people who aren't particularly attached to any relationist legacy place the outside on another set of thinkers, a set of thinkers which actually predate the levels, which are the French thinkers of the beginning of the 20th century. People such as Bataille or Blanchot, Bataille and Blanchot mainly, I believe, are the ones that are already dealing with this in a very similar tone. Of course, they don't have the same images or vocabulary, but their emphasis and of course, Lens' book on Bataille is the clearest example of this. Their interest for this outside, for this placement of the experience,
certainly comes from these thinkers as well. Well, once again, we have here, this can be exemplified by a single phrase, which agents must be aware that contact with Hyper-C tends to dissolve our conventional sense of reality. The chief danger to Galactic Federation operatives may be that agents begin to question the reality of their missions. In many cases, operatives have been fooled into doubting the existence of the Federation. A particularly nasty Hyper-C tactic involves treating the Federation as science fiction. As one reputed Hyper-C Sino puts it, everything you see, everything you hear, it might be a mirage.
Once again, we have the emphasis on science fiction and the idea that the whole world can be understood through the lens of these self-fulfilling prophecies, of these abiding and strong fictions which become true to their rituality. and here then it is a sort of report from what we have been called as One God Universe then becomes the Galactic Federation. So we have a division from subversion to submersion
what is how they are they are looking at the tactics employed by Hyper-C and there is another passage which deals with music which I believe that sums up their point pretty well which is the abstraction of sound made possible by new technologies enables a high-turtle unimaginable distribution of the secret code rhythm patterns. Hyper-C is dedicated to spreading. Operatives should take special care of sonic strains labeled Wave 2, Detroit Techno, Kata Jungle, Two-Step, Def Garage, Sino Futurism. Once again, the importance of the music as a sort of tactic of spreading ideas and
this new form of experience. The second part is something which most people who already use the internet in some ways feel. I believe this comparison has been memmed lengthily but I think it holds which is how this whole thought of the CISKIU and Acceleration is taught in some ways is co-existent with how this is approached on the anime serial experiments lane and I believe it is a very good treatment of what is the formation of subjectivity through the contact with the internet. It's mainly about that but it also as well has this
horror feeling, it has these many conspiracies, these ideas of how humans are binded by the same frequency, we have a sort of collective unconscious. This is all working on the anime in a very endearing way, and I would recommend it actually to anyone who's interested in these ideas to see on how they work on fiction as well. The third aspect is, and this is particularly interesting to think on their indictment to Deleuzean thought once again, that it's not only a question of decoding, even though Mark Fisher maintains
that the perception of the body, the approach to the CCIU, to Deleuze was mostly a sort of Gothic body without organs, the emphasis on the Artaud side of Deleuze instead of the... There are many aspects of Deleuze's oeuvre which we couldn't see, but you have a more of a traditional philosophy work from Deleuze before his work with Guatari, which is based on calculus and another series of stricter and somewhat traditional operations. And you have the idea that we can say that it has been vulgarized by now.
And I don't say this to diminish these thinkers, because if it has been vulgarized, it is precisely because it became completely unavoidable, maybe. But you have this idea of the constant deterritorialization, which is something that, on the defense of the people that go through this vulgar perception, it is something that is ultimately defended by land. this extreme deterioration which leads to be free of all of the bindings of the human. But on the third part of this text, it is said that it codes another way of perceiving time.
So I think this is interesting to place this question of the desire as this productive force. it is not only a question of uncoding and then we have many methods of how to have experiences which go against this rigid education and way of seeing but it's also a way of coding you have to build something else you can't be pure void it's the whole idea that with too much intensity the body without organs dies it can't sustain itself So I think if we emphasize the importance of the re-territorialization instead of only de-territorialization,
we are, of course, I don't believe in only canonical readings, but I think we're making more justice to what Deleuze and Guattari have proposed. And then, finally, we have a sort of regression on part four, which is negative evolution which is a very very interesting idea that um people don't want to be transhuman in the sense that they want to be overpowered superhuman beings uh like this whole um let's say for example uh we have like tetsuo the villain of akira
Not everyone wants to be like this telekinesis, edgy lord of destruction, but it can also be a regression to a simpler form of life. And this is actually carried out on another text. We have then channel zero, which is, I believe it's reading verses, so it has more of a poetic character. it has this idea of a frequency or a tv channel and it has this narration of the coming of the black snow then we have the profile of zelda maria de monterre madame centauri once again we have the this sorceress which is part of the couture club there is also a citation on her to relate
her to a real person as we've seen with Vispadov and Burroughs. Here you have the anthropologist Zora Neely Hurston. I know that she has a vast work on voodoo and similar practices and it is interesting to see that they weren't only like fetishizing these ideas in different cultures they were actually at least somewhat aware of the of serious studies towards through this because on this whole part we had the Zelda Maria or Madame Santauri is presented as someone that works with black Atlanta magic traditions she also believes to be a reincarnation of Blavatsky
and she writes, according to the text, books called The Laws of Atlantis, released in 1966 with over 1,000 pages. This is only seven years after she came in contact with the pneumogram, which we have explored mostly on the previous episode and enters in contact with a demon. It's curious that not only Centauri is placed as an influence on Afrofuturism as well as on Hyper-C, but she's also placed as someone that influenced Otavia Bluntler and William Gibson.
And I like this idea of bringing, once again, these layers of fiction and other ideas and reality as a way to complexify the situation. We finally get to Maximilian Krab, which was obviously his surname already indicated, but he is a subapartic researcher and entrepreneur, as the subtitle indicates. and he is also the grandson of Vladimir Vysparov and his uncle is Captain Vysparov Peter
there is also his translation of the normal chant we have listened a little bit of the normal on the previous episode and it is Crab who actually goes to live into the depths of the sea on the laboratory and he performs an AoE associate actually. The ancient order of Eschaton associate is someone that makes the ritual that provokes a negative evolution to a crab which slowly becomes a form of aquatic and primordial being. remembering the whole idea which we had about the trauma of birth and the return to the womb
as something which is deeply, deeply related to the water. And finally, I believe that there is one of the most intriguing texts which I came across so far on the text. And it really is that because I think it touches on a mythical aspect, which it has been brought up before, but in some ways reminds me here specifically of Ursula Le Guin, both by the simplicity of how it is written. it is very, it is sort of a myth told in a very direct way, it isn't overcarried with cybernetic jargon.
And you have then the tale of the frog people and it is this idea that this deity goes on a time journey and what they find in the past it is the frog people you only have frog people there she was very tired and she just carried on on her journey and eventually when she gets to the water she swings and swings and swings in encountering more and more frog people and the she's like this
deity Bubamo is amused and says tell me why are you here already in this endless sea with no land to hop on or air to croak with it makes no sense to me at all then the frog people are laughing and pointing to the distance when a approaching figure of the deity of Bubamo as a very old person appears scaring many frogs and then she says what a childish trick to play on myself i must have traveled around the whole of time the other way bringing the frog people with me why don't i ever learn uh this was very curious for me and written in a way that i don't know it
I feel that many things are synthesized in an interesting way here. The demonic entities such as the whole idea of Black Atlantis which has been worked through this section, the question of the water, this negative evolution as you had a sort of previous humanoid species to the human. and finally you have this last passage which I think it's particularly interesting and time travel obviously this encounter with the self of an older self at the end
of this whole part it is written Bubamu was so old by then and also so young that she died and was unborn at the same time And for a moment, there were only the frog people. At least, that is what the frog people have always said. So, that's what I have for today. I hope you have enjoyed it. This wasn't an exception to how our new format is going to work. I'm going to bring in guests in the next episodes so we can have a dynamic approach to the text. These guests are going to be interviewed, so they're going to talk about their own work.
But I'm going to assign to them at least one or two texts from each part of which I will be previously commenting alone upon. We will have this divided format where I will make, as I made, a brief commentary on the part and then later the interview and the perceptions of the guest. And I hope you have enjoyed it. Unfortunately, I had many changes last year which made it hard to do this, but I really like the idea of going through this whole book and I hope you keep up with me. So, see ya. Stay well.