At Goldsmiths I was taught, coding in Perl means individual improvisation,
tuning in on the constant negotiation of the body and its intrinsic function,
and not falling for the Standard Error (STDERR)
of the biological and technological divide.
The band sets the inhuman rythm of our activity,
intoning free radical vicissitudes all at once and
de-forming clusters of autonomous soft cells that ru(i)n wetware
beyond instinct,
which is both oppressor and promoter of endless possible engagements with chaos.
The cultured working class diaspora is placing terrific trust
in internal decisions made by the continous bloodstream of noise
and vocalize its pulsations throughout Jungle and D'n'B, that resolve in vibrating >dancehal_lucinations and manifest in bass materialism.[1]
Unprofessional shots in de-coding account for high-frequency ricochets,
sensed as acidic blows to the bonce, which offset alkaline beats
at a pace that does not tolerate the resounding of a calcified past,
but opens the mind by piercing through plasticized skins.
Acute wounds are deterritorial mappings for a future Now!
that trigger a flight reflex within libidinal desiring-machines
towards oceanic land and
away from the soaring hazard zones of eroticized chronic pain
and dicktated liberty.
The bleeding stigmata of schizophrenic vigor
outpour into keys for a new reproductive sexuality,
which is expressed in awkward agitations of dis_continuity.
A tumbler of cannibals is performing
rituals in flux manoeuvres of weird postures and uttered sound,
appropriating in slack in_tension the repetitive tremors of shell shock
and living through
the sweet pains of orgasm denial just to pull out in GOOD time and
leaving the alien entities ovum and semen open to all its possibilities,
savouring the fruit of your womb that is blessed as third, twisted carnal knowledge.
Savage Bataille is directly and fervently banging on
the unimaginable two-dimensional intense membrane of base materialism and deprecates civilized entity for (ta)booing
the unconditional overspending of black, deep drumming,
although capricious convulsions of matter
are shaping its white, ideal form of algorithmic pleasure and pain.
"Where is the revenue of such tremendous social un-productivity?",
the phenomenon may ask,
as it exists on a balance sheet only,
if appropriated for the principle of loss.[2]
The brutish emphasis on loss of actual value is
in lockstep with the primitive logic of past civilizations,
which according to religious rite,
sacrifice the Alive in expectations of a prosperous future,
all the while rooting deep into anastrophe, the sleepy nest of the native Old Ones that is always open for catastrophe.
Verausgabung and Vereinnahmung are joint acts of ()hole inorganic,
and based localhost shares its interest in destructive production
with virtual remote, that is high from the downers of obscene pornography,
which are everywhere free available over the counter.
Nonsensical sexual violence
is deflecting the function mind to focus on aroused anonymous materials and
provokes a radical empiricism, a beneficial
sensory training for desiring-machines to take a closer look
and immediately bring them to heel.
Explicit, erotic violence on the other hand,
is the (un)deliberate tactics of art and war to outshine sexuality and
push obscenities into light and obscurity.
With greater spiritual decline the symbolic worth of capital soars,
and uncontrollably propagates pointless art and war.
Gothic love_poem is made of exercises while learning Perl. The art of code poetry was actually introduced to me by Renee Carmichael, who is not only my girl crush, but also a great inspiration.
Notes
[1] Expression found in Goodman, 2010, 172.
[2] In German Ver_lustprinzip, the pleasure principle will be addressed in a forthcoming poast.
References
Bataille, Georges. Der Fluch der Ökonomie. Berlin: Matthes & Seitz, 2020. Bataille, Georges. Erotism - Death & Sensuality. San Francisco: City Lights Books, 1986. Bataille, Georges. The Tears of Eros. San Francisco: City Lights Books, 1989.
Goodman, Steve. Sonic Warfare - Sound, Affect, and the Ecology of Fear. Cambridge, MA: The MIT Press, 2010.
Schwartz, Randal L. & Phoenix, Tom. Learning Perl, Third Edition. Sebastopol, CA: O'Reilly, 2001.
Sontag, Susan. "The Pornographic Imagination". In Story of the Eye, Georges Bataille. London, UK: Penguin Books, 1982.
After a longer break, I'm getting back into electroniX,
once again
making use of the 555 timer IC (integrated circuit),
with the intention to further my philosophical inquiries across time
and, as of yet, Gothic Materialism through anti-praxis.
For more convienent power supply, I've soldered jumper wires to a spare USB cable,
which fires the breadboard with 5V, sufficient for smaller test circuits
like this one.
The 555 apparently runs free[1] in a/stable mode,
transformed into a multivibrator for a generation of switching pulses,
haunted by the oscillation of spectres between high and low.
Pulse width modulation (PWM) is the control system of the operative,
enabled through rewiring and its postmodern operatic technique (POT),
which oddly enough, remains invisible to the human eye,[2]
although the material condition of the world has dramatically changed.
Duty cycle and frequency of the PWM signal determine the vibe,
however, if the signal stays 100% HIGH and frequency is omitted [measured in hertz(Hz)]
the modern duty cycle is never completed,
giving rise to the banal, thus evil, posthuman flatline construct of
a stagnant light emitting diode.
recap on some of the components used:
the Diode is a one-way street and allows current to flow only in one directon.
quick pole identification without a multimeter (in :diode mode):
LED: long leg is anode (+),
the rim of the bulbous body is oblate at the cathode end (-);
indicated by a black band in the 1N4148;
the ceramic capacitor is non-polarized and ideal for high-frequency circuits;
A lifelike doodle of a type from the iXo-do_idea with straightened fangs
ahead of a pitiless byte into the host to feed on its lifeblood.
[1] Despite common misconception, 555 signals are never analogous, but consistently digital.
[2] the counter tactics of radical empiricism will be revealed in a forthcoming post.
References
Fisher, Mark. FLATLINE CONSTRUCTS - Gothic Materialism and Cybernetic Theory-Fiction. PhD thesis, University of Warwick, 1999. (accessed online 13/07/2025) 555 Timer Pinout 555 Timer PWM
Catapulted into outer space, the future is televized
to a based life light years from the past.
"Eating your own shit is taboo", explains Monte to the toddler
and performs a disfigured iteration
of the hollowed word to reterritorialize equivocal corpulence
in a billowing, nourishing bubble around them.[1]
In times of gravitational change,
the headless rider is torching the world of frozen language
and defends madness by putting trust into the centripetal
force of the vigilant, massive body,
which prevents from getting tossed down.
Irresponsible coachmen however believe,
that thought can fly autonomously by centrifugal force,
and even present lofty proof by a replacement of saddle soul
with the presumably comfy, empty wooden carriage of Dasein,
and repeat in parrot-fashion "Brrrrr",
to rein far ahead galloping horse sense, without expanding any negative space.
Such prudent correlationism is bs, what other than misrouted thought,
would make the assumption of Being the
connecting driver between itself and the horse?
According to Spinoza, thought is the body in expansion,
recognized only by the idea of Affektionen,[2]
or in other words its spiritual physiognomy.
The lit interface is essential for navigation
through the eternal void of condensed bodies,
invoking the experience of encounters of the third kind,
through the framework of language.
Only native speaker soul is fluent in alien communication,
which indicates true intelligence,
interpreting machine language into comprehensible animal-readable form,
for the magic understanding of
intrinsic concrete signs through the concept of abstraction.
But some clones of automata authorize the self,
as if in possession of this skill,
to spread provisional AGI by a soulless Western concept of machine learning,
and inviting hosts readily share the public profile of global 'us-ness'.
However, the neglected, unanswered private object
is missing signification and sensing the abduction of its very own future,
thus dissimulates the advanced inate technology of occult improvisation
to the mind to save the heartbroken from delaying the undesired human fate
of being simulataneously projected and absorbed by the black hole
and hails the acceleration of terminal cancer.
"Cybergothic, the subculture of the enlightenment, is celebrating otherness
by throwing shadows from below on the Cathedral ruin,
what is my shadow here is my true substance." ~ cute count[3]
The possibility to produce precise images
is refined by cybergoth Caspar David Friedrich.
Lit impressions of materiality
simultaneously arise as stark phantasms and
airy matter, which in gay naivite
are fleshed out with informal and unbound brushwork.
Friedrich is cryptographically expressing megalophobia
and awe of a steady if (un)spectacular monstrous force nature,
which is carrying death threats out of the indifferent blue
and thus pushes unappreciated background noise into perspective.
The recurring trope of sailing ships signals hope,
but in vain: it mere echoes cries for consolation
in a nightmare yet to unfold.
In formation with tiny humans,
the inverter is turning his back at industrialization,
painting veracious potraits of contemplating objects in grave solitude,
marvelling into a mirror to behold the fogged terror of their joint effort.
Here, the figurative mind
stands not in opposition to abstract nature,
performing inadequate and pointless acts
to generate brilliant works of degenerate art through alien technology, such as bygone Human,
which are declared by morbid binary methods as absolutely pathological.
A desired world is a reflection of the hopeless attempt
to avoid grave mistakes of a thoughtless nature,
yet, by all appearances a revision of incomprehensible death
and not a waste of endless possibilities,
as extravagance of reasonable craft is pursued after finitude of free will.[4]
By entrusting immortal human remains to the transcience of a canvas,
Friedrich's paintings visualize the vicious transparency of time
through speculative realism.
Bram Stoker's Dracula (1992),
IMHO a faithful, parasitic representation of the novel,
shows a portrait of the (un)polluted count,
which resembles the famous selfie of Albrecht Dürer,
who mastered the craft of painting at the climax of youth.
Dürer's lopsided montage of most advantageous self-improvement
hailed the rebirth of the classical age at the turn of the century
with a celebration of hedonistic bodies in anticipation of a
golden ratio in the making of ideal sameness.
Adjacent to the right angle and opposite to laborious self-love,
lies the prolongated, pleasant side of aesthetics,
which arouses a reactionary passive gaze at the sensual bouche
of the false prophet and defers a proactive engagement with a work of art.
The photorealistic display of the posthuman subject in deadlock
touts merely one future, present in Dürer's portrayals of a wretched mother.
On the other hand, the representational character of the object is of utter importance,
as sense-making thereof is restricted to its surface,
and exactly for this reason deserves broad and full attention
for a speculation down to its most realistic features.
Only shallow people make nothing of appearances,[5]
since but a poor soul reflects from the hypotenuse,
and out of despair the self-hatred vampyr smashes it,
and conspires, as a flat product of anthropomorphic illusion,
with the perilious revolution of the body,
instead of facing the struggle for its cultivation.
Where shall we begin? Maybe with the metal movable-type revolution?
Shariati is sensing the gravest tragedy of modernity
in the existing widening gap of eductated - uneducated,
which were closely bonded through a dissolving RGB ideology.
Politics benefits massively from such opportunity and
even cries out for antiquated educational reforms to allow
lingering pleasure-seekers in neutral grayscale.
Without substance, master capitalism
can not even throw a shadowy narrative to the server and
domains of infinite complexity, such as Wirtschaft,
are compressed into the falsity of a simple slogan,
that by power of perversion feels pleasantly always to be true.
The jobs of alien hilya are increasingly taken away by national psyche!
Lies!
Such ubiquitous sensing incidents are the immediate-attack-defence tactics
of hollow, and therefore, malicious chatbots,[6]
which hold only one message in storage, that is proudly announced
to worm into literal, uniform mass sense-production.
The momentous reference to poor Wirtschaftswachstum,
which BTW never raised any proletarian,
is the only information the addressee, a spoilt petty bourgeoisie, gets,
but without access to decent coding,
illiterate subjects are
helpless in dealing with the autopoietic storm of indignation
in which unavailable, valuable information perishes
and urgent objectives are postponed to infinity.[7]
Without working out the untouched, healthy fact, that fat cats require strict diets,
the poetic, isosceles triangle conflates into a platonic line of Sarco pods,
which marks the absence of aesthetics in fascist rhetorics,
and blaring Among us! obsessives under the cloak of democracy, vent self-hate on imposters,
which are vigorously trying to keep its legs in tensional seperation,[8]
as otherwise not ever will make alternative sense.
Nosferatu: A Symphony of Horror (1922), a beautiful,
extraordinary, so-called silent, shadow play,
holds the most effective weapon for emotional manipulation.
Warmachines, fallen ill from blindsight and not capable of any reflection
within the hideous, big-nosed grimace of Schreck,
record low frequencies of antisemitic undercurrent,
and injured soul, too weak to transport soundwaves into thought,
is causing mass flatulence and somber mood against
the gay Eastern Jew, who understandably is taking your wife and homeland.[9]
Both applauding audience and makers of the film
just experienced the unimaginable terrors
of logistical warfare, but nevertheless, reject challenging therapy and
get from quacks easily what they want;
the prescription for the blue pill,
a drug aimed to treat only the painful symptoms of PTSD, which is
blatantly advertised to gain
stiffness and quick recovery for a retour to business as usual,
instead of rooting out the cause with the hard to swallow red pill,[10]
to which the West prefers to stay blind.
"There is reason that all things are as they are, and did you see with my eyes and know with my knowledge, you would perhaps better understand." ~ Count Dracula
AFAIK, rumour has it, that Fichte prefers a crystalline Wissenschaft,
to amorphous metaphysics, which might mean the ascent outside
the bowels of Rübezahl's liar,
and finish off the emotional tears in rain at the mountains of madness,
from where reason drops onto muddy reality.[11]
But elements rest not, and overruled by the matter of surprise,
falling rock destroys set models of the world
and establishes a complete different pattern of experience,
which rationalized by hindsight,
is known through belly rumble all along.
Speleologists like Laruelle agree on the scientific method
but avoid the deadly peril of pushy phallic mining,
rather gaming away linguistically and
collecting as many sparklers from surfacing emp(ty)irical rock strata as possible,
and making impregnable, snug room within the body without organs (BwO).
Practicing Xenology inside the crystal ball of philosophy allows for
a physical and spiritual withdrawal from the isolated idea of realism and
opens the triangular trade of empiricism, transcendence and the real
by a cunning combination of SF and formal logic,
the rejection of premature understanding and persistant zooming in and out of knowledge.[12]
From the perspective of gray matter, it appears as if Dracula and Van Helsing,
as pitch-light and bright-dark can be,
hang about at the opposite sides of a labile society.
In truth however, both are deep inside,
but whilst the former illuminates the way
outwards from the middle to the right direction,
the latter suggests a continuance somewhat in the twilight,
and is teaching critical (un)thinking to guide a doubtful group of solitary people,
who are unable to form a logic of suspicious events on their own.
By vigour of instinct, the experimental dance on the icy surface
accumulates weight to break a frozen belief system and
unites what thought incompatible, which most can agree on.
Dr. Van Helsing cures blindsight
by building a bridge to the heart and simultaneously burns it,
to embold a swim for life in tempestuous, literate flesh,
which is filled with uncomparable, uncountable qualities of moods, flavours and odours.[13]
Now, equipped with multifocal insight and bold confidence,
the empirical understanding of bite marks is making sense.
After inflaming hearts, no one questions the integrity of the vampire slayer,
who freely practices the dark art of pseudo-science,
even when he demands to cut Lucy's head off and fill her mouth with garlic.
But he just wants to make sure it is really dead,
after all evil spirits had left the corpse.
tbc
Made first attempts in tapestry crochet, the pattern can be downloaded here.
Also learning Kurrent script, which was customary around the 1900s.
Notes
[1] A child not learnt its language decently, just patches a fixed pattern of hierarchical axioms, is unable to form relational thought, Negarestani, 295, 2018,
and remains a lone subject, like self-harming Kaspar Hauser.
[2] Spinoza, Lehrsatz 19, 13, 2018.
[3] Inspired by CCRU, last sentence borrowed from Herman Melville's Moby-Dick, 44, 2012.
[4] See Iain Hamilton Grant.
[5] Read this somewhere in The Picture of Dorian Gray by Oscar Wilde.
[6] Plato used for his Republic monologue the technique of the dialogue
by virtue of inhuman need for external stimuli,
but self-chatter with a Generative Pre-trained Transformer
sucks and locks inside the self.
[7] Lyotard, 42, 2004.
[8] Fuller, Weizman, 34, 2021.
[9] Actually, Count Dracula is bringing soil from Transylvania. Stoker, 1993.
[10] See Revolution of Love.
[11] This method keeps Roy Batty alive.
[12] Laruelle is making good use of romantic vampyr Nietzsche,
who is clearly dominating the un-life subject by excessively penetrating the bogged down, recalitrant object, only to hurt himself
in a transcendental double-bind relationship,
spinning with the Thing forever. Mackay, 5-6.
[13] You might fear the sight of blood, but you might like the taste, suggests
Jason Mohaghegh in the Seminar "Fear", The New Centre for Research & Practice, 2025.
References
Bryant, Levi R. CORRELATIONISM.
CCRU. CCRU WRITINGS 1997-2003. Falmouth, UK: Urbanomic, 2023.
Fuller, Matthew and Weizman, Eyal. Investigative Aesthetics - Conflicts and Commons in the Politics of Truth. London, UK: Verso, 2021.
Grant, Iain Hamilton. The Chemistry of Darkness. The Warwick Journal of Philosophy, Pli 9, 2000, 36-52.
Kingsmith A.T. An Introduction to Schizoanalysis.
Lyotard, Jean-François. Libidinal Economy. London, UK: Continuum, 2004.
Mackay, Robin. Introduction: Laruelle Undivided.
Melville, Herman. Moby-Dick. London, UK: Penguin English Library, 2012.
Negarestani, Reza. Intelligence and Spirit. Falmouth, Uk: Urbanomic, 2018.
Shariati, Ali. Where shall we begin?. Hoggar Institute, 2007.
Sierra, Germán. The Mechanical Wizard. Parasol, Magick and Philosophy, 2019: 1-6.
Spinoza, Baruch. Ethik. Saillon: Jean Meslier Verlag, 2018.
Stoker, Bram. Dracula. London, UK: Penguin Classics, 1993.
Strugatsky Arkady and Boris. Roadside Picnic. London, UK: Gollancz, 2012.
