Iguanas Inside lush holocene
Icelands
off boundless ant-arctic noösphere
an ocean of Nothingness
fullness yet

waves of swirling dust in endless vibration
heated sexual organs devour
fluid vortexes energized
A colossal quantum machine
simultaneously savouring hole and solid

the mingling of monozygotic twins
Darkness and light
essenced into all cosmogenic knowledge,
logs of information in original liquid grey matter
fog of horror, eerie background noise

"Using technologies as its organs, man's homeostatic activity has turned him into the master of the Earth; yet he is only powerful in the eyes of an apologist such as himself." ~ Stanisław Lem

The rigorous empirical approach, which implies that knowledge originates from immediately given in combination with reassembled sensations, is commonly thought to be all that man has at his disposal. But that would be also a definition of a functional but soulless automaton, which is processing framed patterns of data. It is true that materialities like blood, ears, eyes, noses and so forth, are examined through the very same tools, since the raw materials of nature have been gradually turned into technology and further evolved into excesses like microscopes or telescopes to explore, anthropomorphize and colonize the micro- and macrocosmos. Such systems, which make an appearance to the mind as solid entities, yet remain mystic black boxes, can be described and are somewhat transparent and comprehensible for man. However, in order to get to grips with boundless matter like noumena or time, one must be communicable and take part in a wide-ranging debate of many positions and therefore a farrago of sensations, involving charlatans who wholeheartedly practice art, literature and philosophy, and argue with an unpleasant language. Just like the sympton of reason, technology is unconditionally three-fold with the ability to execute simultaneously good and evil. On account of the acceleration of communication and transport, it proceeds on an extra-terrestrial scale, effecting an inflation of space-time.

In the meanwhile, the articulation of the body developed into a dissection within the uttermost atomic ranges, and scientific interpretation became restricted to transform subsurface lively energy into invariant data, thus feeding the technocapitalist machine, which in turn has its own alien and hostile dynamics.[1] The economical model of science stands for hastily placing descriptions to something difficult to explain and distrusting inborn ideas or traditions in favour of empirical evidence, and hence accumulated into oblique and obscure patterns of data.[2] The new dermis, a tissue of artificial sensors, wraps patient 0 in an intoxicating, palpably warm, straightjacket, which was collectively patched up by biopolitics and subconsciously engineered by the drives of death and mutation. An accident, as Bratton puts it, that leaves reality in a serious condition, although a prognosis could be more optimistic if the extensive probing of the in /outside would lean to more meaning, and therefore aids the social body's defences, rather than the neoliberal case.[3] The violent copulation between flesh and technology, eternally constant in the nature of things, once effecting the growth of cutting-edge extremities is now severely weakened by recuperation. The rise of the machines already entails anyway the amputation of the human species as previously imagined, and the magnetic heart of gravity combined with rationality, will be the decisive actor over life and death of antihuman individualism.[4] In view of this fact, the bias-infected subjects of modern science are focusing on selfish security, yet carelessly experimenting with the conversion of the transcendental into objects in stasis. The deduction from a priori hypotheses represents a mere two-fold determination of the future by the conformational values of either true /false, however, biochemical reaction is inherently de /productive and transformative, without any objective other than essence and thus unpredictable.[5]

The skin of the Real is repelling the permeation of endless interrelations and therefore in-sanity, albeit tolerating the harmonic unison of in_outside vibes. Its suppression promotes mental illness and self-admitted, surveillanced souls are pushed to make pre-calculated moves in the lunatic asylum, which is bursting at the seams in times of unbearable tension. And right there, where surface phenomena of porous thin skin become visible, vital molecular exchange is exploited for economic plunder. The fatal mixture of internal dread and environmental threat, deflates into a huge depression, and it comes at no surprise that bipolars turn against each other. And although subconsciously aware of the approaching breakdown, the body is paralyzed by both over- and understimulation and subjected to chemical reaction. Evolution is a morphical process in neuronic time rather than geneological history and Nietzsche argues, that human activity relentlessly serves only one malignant end, that of survival, for which is no cure as it is ingrown with flesh. Sanitation is suspicious as it is futile and destroys any type of germs, inclusive of illusive useless links of no purpose, which are serving the self-regulated, lavish, dirty ()hole, home to a manifold, strong but flexible organisms.[6]

On a personal note, for this year's spooky season I've (re)watched some of the movies of one of my favourite directors, David Cronenberg. I prefer the portrayal of the female as a cold-blooded, mutant monstrosity rather than that of a helpless victim,[7] which is tried to be fixed but worsened by man-made psycho-physiological technology, as in The Brood (1979) or Dead Ringers (1988). The dark humour in The Fly (1986) and Shivers (1975), featuring weirdly cute creatures, addresses the dangers of unbound biotech and indicates that too much instinctual desire would retransform humans into pre-historic sex machines. A History of Violence (2005) is, as expected of high quality, an action-packed thriller with sufficient elegant gore, but for me, Cronenberg remains the king of psychological_body_horror.

Notes

References