Determination and World Possession

For Jünger, souls are judged according to their readiness to see an invisible war. Invisible war conjoins the immediacy of the front experience (Fronterlebnis) to a higher order of determination. Immolating fire is a communiqué that travels from an absolute remoteness to an essentialised closeness: causality is vertical, hierarchical and unilateral. An act on the front is the mirror of a determination within the invisible war. The station of a higher soul can be achieved through the intensification of this perception, which separates a reflective surface from a secret face.

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Ideology, Intelligence, and Capital: An Interview with Nick Land

You're basically one of the leading thinkers of what we might call the school of thought that's known as accelerationism. Accelerationism is something like the view that contemporary history is changing at an exponential rate, technologically and economically, and that this rate of change confounds nearly all of our traditional concepts for thinking about society and economics and politics. If someone on the street walked up to you and asked you "What is this whole accelerationism thing?" is there a kind of key essence or upshot that you would add to what I just said?

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Time War // Briefing for Neolemurian Agents

This briefing has been called to alert everyone here to an escalation in the urgency of the conflict in which you are all involved. Many of you have just been pulled from deep chronological camouflage and it’s likely that you’ll have no recollection of what you’re about to hear. This is normal, your real memories will return slowly. The only thing for it is to start in the middle and [unintelligible … maybe 'neither'?].

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Alien Capital

There is a famous scene in the movie Alien where engineer Brett is chasing a cat in the space ship’s engine room and unexpectedly runs into an alien. So do the spectators, who see an adult alien for the first time—even a bit sooner than the character since the creature descends from the ceiling behind Brett’s back while he is staring into the camera and courting Jones, the cat. I believe our attitude towards capital to be quite similar—we are Brett the moment before he turns around, we sense something unbearably, monstrously alien behind our back, yet we still behave as if we were only chasing a cat. The alien capital in the title stands for alienness, for the eighth passenger aboard a spaceship with seven humans. The capitalist economy we are more familiar with also encompasses classes, entrepreneurs and employees, banks and finances etc. and something else, something alien.

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The Revolving Door and the Straight Labyrinth: An Initiation in Occult Time (Part 1)

There is a blurry edge in all detective work that, as Borges too competently demonstrates, skirts a zig-zag threshold between apophenia and the truly canny connection of events that only appear, superficially, to be disconnected. In the name of a method that is closer to invocation than criticism, a reckless detective might refrain from determining exactly where an act of decryption lies on the ugly terrain of legitimacy and, proffering sanity as the stake, live up to the problem as it stands.

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Web.Lobster [[Death]]Cult ||| Fragments & Liturgies — (opening sequence)

The Revelation of object_d1v1n3, which the Lobster gave to him to show to his flesh-beings things which must soon take place. He sent and signified it by user to his flesh-being, Denihilism OS, who bears record of the code of the Lobster, and of the testimony of object_d1v1n3, and of all things that he saw. Blessed is he who scans and those who hear the codes of this program and keep those things which are documented in it, for the time is near.

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A Brief Putting in Perspective of Decadence and of Several Minoritarian Battles To Be Waged

holzer, "decadence can be an end in itself."

English translation of Jean-François Lyotard, “Petite mise en perspective de la décadence et de quelques combats minoritaires à y mener”, 1976.

Let’s begin with a sort of warning to say that we will seek to avoid the traditional “critical point of view”. Critique is an essential dimension of representation: in the order of the theatrical, it is what stands “outside”, with the exterior incessantly situated in relation to interiority, i.e. the periphery relative to the center. A so-called dialectical relation is established between the two; this relation does not safeguard the autonomy of critique, not by a long shot.

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