Monday, 5 September 2016


Allow for the vertical scream to echo through Gotthard Base Tunnel - the demon portal is open;


The precis began with a long hold on a color still that Case at first assumed was a collage of some kind, a boy's face snipped from another image and glued to a photograph of a paint-scrawled wall. Dark eyes, epicanthic folds obviously the result of surgery, an angry dusting of acne across pale narrow cheeks. The Hosaka released the freeze; the boy moved, flowing with the sinister grace of a mime pretending to be a jungle predator. His body was nearly invisible, an abstract pattern approximating the scribbled brickwork sliding smoothly across his tight onepiece. Mimetic polycarbon.
Cut to Dr. Virginia Rambali, Sociology, NYU, her name, faculty, and school pulsing across the screen in pink alphanu merics.

`Given their penchant for these random acts of surreal violence,' someone said, `it may be difficult for our viewers to understand why you continue to insist that this phenomenon isn't a form of terrorism.'
Dr. Rambali smiled. `There is always a point at which the terrorist ceases to manipulate the media gestalt. A point at which the violence may well escalate, but beyond which the terrorist has become symptomatic of the media gestalt itself. Terrorism as we ordinarily understand it is inately media-re lated. The Panther Moderns differ from other terrorists pre cisely in their degree of self-consciousness, in their awareness of the extent to which media divorce the act of terrorism from the original sociopolitical intent...'

William Gibson - Neuromancer.


Capital is alive; its body infested by Ancient Mesopotamian demons; a mind is now moving bodies external to it; Capital inauguration of chaos; psycho-geographical cluster headache; summon transparent plastic humanoids; Ninsei neon; rainbow pixel labyrinth; terrorism is no longer physical violence but a state of control; as my satnav told me 'keep right, and exit ahead'.

We can take apart capital, open its body and pull out its organs - we can lay its nervous system out on the steel, drain its blood, observe its skeleton - but we cannot locate its thoughts. It has become a self-regulating machine; its interior microrobotic unit attempting to reconstruct its damages; the terrain is an orbit of extreme violence; nuclear winter; capital must evolve to survive, in doing so, mutates its power-structure into a demonic form of surveillance; non-human actant parasite helix; pixar repetition is a way of measuring our reaction from an early age; computer game violence is hygenie (see IDDQD-Death of Godmode); proceed to be reduced to meme-logic; what is abstracted by that satanic force leaves us with its waste material; art is just a form of accumulation; the tunnel ends in the desert; oil/lube for war-machine;

V. An autonomous chemical weapon belonging to earth as both a sentient entity and an event. Petroleum poisons Capital with absolute madness, a planetary plague bleeding into economies mobilized by the technological sigularities of advanced civilizations. In the wake of oil as an autonomous terrestrial conspirator, capitalism is not a human symptom but rather a planetary inevitability. In other words, Capitalsim was here even before human existence, waiting for a host.

R. Negarestani - Cyclonopedia.


First wave
and again
and again
and again (though even Merkel cant make her mind up)
and once more incase we didn't hear the first time

Putin-dome//take your vitamins//Germany must prepare//Paranoia sets in//

Some call it repression.
Some call it liberation.

Media is endoscope into the stomach [middle east]; this focus causes motion-sickness to the accelerationist; terrorism damage control to the far west; there is something far more horrific when violence is put through the artificiality of western culture; the desert operates as a violent cell travelling across the Earth//

Wednesday, 31 August 2016


Gesticulation around the void [black female posterior]; maladaptive neurotic anxiety the falsify reality of bubble butt, repress bubble butt resurface as the obscure object of desire.

Don't do the same old things you used to do, you say I've given you a sweet taboo… Lina – Playa’ No More, ‘Stranger on Earth’, 2001.

The black liquorish foxy brown cultural expectation of hypersexuality repressed through individual super-ego.

Deny the threat of Lil’ Kim and prepare for a transcendental anxiety;

When I lay on my stomach and throw my legs back y'all probably won't know how to act… Foxy Brown, ‘I Taste Just Like Candy’

The power as given antecedently by a greater power – BeyoncĂ©, Mary J Blige, Rihanna, Janet Jackson, Aaliyah, Patti LaBelle, dig that – pop ya collar, a meaningless waste of energy, consistent and purposeless… no diggity. An exaggerated lumbar curve, sacral curvature altered to unnatural proportion – beyond race and beyond female and further through the architecture of desire, the cosmology of Azealia Banks, I guess that cunt getting eaten – transmogrification of blackness, of a hysterical ebonics, of sublime, of avidity, of a sensual current; all folding and crawling into a black and unknown and uncontrollable force – is Nicki Minaj masculine and castrated?

The Minaj structure is not about being black, it is not about being female, its purpose is to provide an extra-terrestrial psychopathia-sexualis – it throws a curve ball into the afrofuturism – by presupposing an exaggeration into a familiar appeal.
The Minaj structure seeks, through its extra-terrestrial sexual foreplay – and a series of events in which it both emasculates and causes excessive subservience to the spectator [similar perhaps the emblematic appearance that the word ‘nigga’ attempted] – to standardise black-female objectification. However, there is limited-to-no irony in the acts that presume that this is its cause, rather – it appears to maximise a strange despot of machine-like fantasy through a consumable and productive outlet. It reinforces and it redefines sexuality in black-women, it becomes a counterproductive puerile Freudian pixilation of sexuality

This is mother fuckin’ Afro-Dadaism. 

What happens is that we no longer objectify Minaj for being female, nor do we objectify Minaj for being black – so it leaves us to distinguish that the architecture of Minaj places us ‘spectator’ into deadlock, leaving us objectified. We can no longer subject Minaj to an Alloplastic adaptation – it’s formlessness cannot be placed into any fixed structure – we must submit to Autoplastic adaptation – into Pupa.