Space Cow / The Alienist Tendency / Experiment as Resistance / Blueprint for a Manifesto of Alienist Cinema / Art Capitalism’s Dark Operators / The Processes / No Exit / Technology is Alien Life / Uses for a Dead Politics / The Ides of March & the Day After / Les Raisons de la Colère / Exchange Equivalence / Death by Resurrection / Dispatches from the Event Horizon / The Mysterious Case of the Invisible Third Meme / Das Untier OS2.0 / Kill the Reader / Concussion Protocols / Experiment No. 4, 9, 10 / The Prague Papers: “Resistance & Experiment” / After the Deluge, the Slime / Exquisite Corpses / Friendship: On Fascism, Consensus & the Politics of Philosophy /… Continue reading “ALIENIST 5”
Cydonia – Mars Colony – the present.
A psychocivilisational experiment has produced an evolved Corporate-State Apparatus in which all social & political relations are fatally entrapped inside an hallucination.
In such a world, where the irreal has become the last viable human habitat, inhumanity represents the ﬁnal refuge of “ideological struggle.”
Yet to murder an illusion, it is necessary to become an illusion.
And the escape from the mind-control labyrinth leads through the uncharted Maze of false disillusionment, where there is no Theseus & myth itself is the Minotaur.
Thus spake Assmann.
Impact X / Poetry & Crime / Improvisational Manifesto / Late Holocene Style / Algorithmic R.A.G.E. / Year Zero / Guerrilla Semiotix / Rage Against the Algorithm / No Velvet Revolution / Conspiracies of the Future / Artificial Intelligence vs Artificial Ignorance / Alt’ai / Cyberguerrilla Concept / Kafkabug / Experiment Nos. 03 & 07 / He Proves That He Is A Man / Note on the Foundation of a College of Philosophy / The Role of the Intellectual / Alienistisches Ministerium Für Kulturpropaganda / Et sic in infinitum / Les Inhumations / Here & Elsewhere / Principles of Anarchitecture / Concept for the First Alienist Non-Exhibition in Belgrade / Concussion Protocols #4 / … Continue reading “ALIENIST 4”
“They were marching like fugitives around the city. They were hiding yet they
didn’t know what was after them. They were in murky depths in a city that
now spread out like a swamp. L-Bomb would sometimes close her right eye
to see more clearly by bringing an uncoupled luxuriance to her visioning. They
threaded themselves in & out of streets, roads, parks, broadways, markets,
shopping malls, squares without ever being individual entities. They suffered
the abundance of a kind of inexhaustible intermediate state. They were like
animals of oblivion, & this was a literal fact too as all ancestors end up with
apes & their ancestors, ultimately the stars. They were like creatures rooting
around, anyone watching would assume there was some sort of fickleness
in play as they would suddenly swing round & make off in a completely
new direction to the one they had been following, as if thoughts were being
freshly corrupted & their despair a butterfly.”
PALOMARES BOMB GRRLS marks the return of the legendary Neo-Attack! author JOHNNY PULP. Continue reading “PALOMARES BOMB GRRLS”
ALIENIST Magazine #3 (August 2018): MANUFACTURING DISSENT
Formulary for an Alienist Poetics / Venice Statement / May Day Proclamation / What is to be done? / Principles of Anarchitecture / Drone Anarchitecture (roundtable) / Experimental Bio-Dystopia / Manufacturing Dissent: the revenance of 1968 / Manufacturing Dissent (roundtable) / 2 October 1968 / Professionals of Disorder / Concussion Protocols / … Continue reading “ALIENIST 3”
ALIENIST Magazine #2 (March 2018): 30,000 YEARS OF MARKET CONSOLIDATION
INTERIOR MINISTRY, LOUIS ARMAND, RICHARD MAKIN, DARYA KULBASHNA, RAREŞ GROZEA, VÍT BOHAL, DAVID VICHNAR, MARK DIVO, TATIANA LEBEDEVA, ELIZAVETA ARKHIPOVA, VADIM ERENT, MS MEKIBES, DMITRII SOBOLEV, GEORGIE CHEERS-ASLANIAN, GERMÁN SIERRA, VINCENT DACHY, ANDREW HODGSON, THOR GARCIA, JEROEN NIEUWLAND, VANESSA PLACE, STEWART HOME, ALAN SONDHEIM, MARK AMERIKA, NICOLA MASCIANDARO, DEREK SAYER, OLGA STEHLÍKOVÁ, MICHEL DELVILLE, KAREL PIORECKÝ, DOMINQUE HECQ, SIMONE DE BOURGEOIS, CHARLES BERNSTEIN, PIERRE JORIS, JOSEF STRAKA, ALI ALIZADEH, PHIL SHOENFELT, STEPHANIE GRAY, JAROMÍR TYPLT, FEMEN Continue reading “ALIENIST 2”
INTERIOR MINISTRY, DEATH MASK SUTRA (2018), published by Alienist magazine
“But these extravagant forebodings dwindled in the light of reason. True, the word ‘Plague’ had been uttered; true, at this very moment one or two victims were being seized & laid low by the disease. Still, that cld stop, or be stopped. It was only a matter of lucidly recognising what had to be recognised; of expelling extraneous shadows & doing what needed to be done. Then the Plague wld come to an end, because it was unthinkable, or, rather, because one thought of it on misleading lines. If, as was most likely, it died out, all wld be well. If not, one wld know it anyhow for what it was.” (Albert Camus)
“From an epidemic point of view, the Plague is the only disease exactly resembling art.” (Antonin Artaud)
The revolution is now. Plague City, year zero. A contemporary retelling of Boccaccio’s Decameron, played-out against the backdrop of the 2000 Prague anti-globalisation riots, DEATH MASK SUTRA is a relentless parody of neoliberal economics & light-at-the-end-of-the-tunnel political irrealism. Continue reading “DEATH MASK SUTRA”
Issue 1 of ALIENIST magazine / October 2017
ALIENIST MANIFESTO / MANIFESTE ALIÉNISTE / MANIFEST ALIENISMU / ALIENISTISCHES MANIFEST / MANIFIESTO ALIENISTA / МАНИФЕСТ ЭЛИЭНИСТА / DIALECTICAL ALIENISM / ALIENISM CONTRA ALIENATION / WHAT IS ALIENISM? / PROGNOSTIC / TO ASSEMBLE, AN INTRANSITIVE VERB: FROM MONTAGE TO ALIENISM / ALIENISM EN GARDE / THE DAWN WHERE ALL IDEOLOGICAL CROWS ARE WHITE / LANGUAGE IS NEVER INNOCENT / CORVUS CORONE / SCIENTISTS UNEARTH PREHISTORIC EVIDENCE OF SELF-HATRED / THE FUTURE HAS ALWAYS BEEN ALIEN / POST-DELIRIUM / ESTRANGEMENT AS SEXUAL PERFORMANCE-ENHANCEMENT DEVICE / ARTGARDISM & THE IDEOLOGICAL UNDEAD Continue reading “ALIENIST 1”
THE SEEN AND THE UNSEEN
First of all, it is important to know that, when we are navigating the net, our eyes are capturing the information we’re reading but also capturing a lot of information we are not specifically reading. This happens all the time, whether we are reading information on the Internet or observing an open field landscape. To make it more clear: when we read the news on a digital paper, our eyes are capturing the words we’re reading but also capturing all the information that is around these words: ads, pup-ups, gifs, pictures, colors, shapes, other headlines, etc. This means that a huge amount of information we are not aware of is stored in our brains, unconsciously. And, as you know, that it is unconscious doesn’t mean is less important, it only means we are not aware of it. In fact, it has always been important, and more since Freud started to investigate it. And you will know that was, precisely, Freud’s nephew, Edward Bernays, who introduced Freud theories into the United States but he did not only that: this Freud’s nephew used his uncle’s theories about the unconscious to build an economical empire being the first to use subliminal manipulation in advertising. Continue reading “THE MYSTERIOUS CASE OF THE INVISIBLE THIRD MEME”
- FIRST & FOREMOST: THE POEM IS A WEAPON
On 16-17 November, to coincide with the 30th anniversary of the “Velvet Revolution,” Alienist magazine, Diffractions Collective & CCCT are hosting a “colloquium” of theorists, activists & artists on theme of AUTOMATIC AUTONOMIA at Punctum, Krásova 27, Praha 3-Žižkov, Czech Republic.
In his unfinished introduction to “Acid Communism” (2016) Mark Fisher wrote: “By 1977, a whole new social mix, a ‘mass avant-garde,’ was in place in Bologna. It was here, perhaps more than anywhere else, that acid communism came together as an actual formation. The city seethed with the energy & confidence that erupts when new ideas commingle with new aesthetic forms… In February, A/traverse, the zine published by Berardi & other young militants, produced an issue entitled ‘The revolution is just, possible & necessary: look comrades, the revolution is probable’: Continue reading “AUTOMATIC AUTONOMIA”
A FACTOGRAPHICAL PROEM
“More than 1,000 people have already been arbitrarily sentenced and imprisoned. And now this new law, supposedly also called “anti-rioters law”, is meant to prevent us from demonstrating. We condemn every violence against demonstrators by the police. Nothing will stop us! Demonstrating is a fundamental right. Down with the impunity for the law enforcement! Amnesty for all victims of oppression!”
– Call for the first General Assembly of the Gilets Jaunes
“I will be a worker: it’s this idea that keeps me alive, when my mad fury would have me leap into the midst of Paris’s battles – where how many other workers die as I write these words to them? To work now? Never, never: I’m on strike.”
– Arthur Rimbaud
1. The first thing to do – is kill the reader. Continue reading “KILL THE READER”
“Could the only opposition to a culture dominated by what Jameson calls the ‘nostalgia mode’ be a kind of nostalgia for Modernism?” – Mark Fisher
- Having declared an end to History in its avowal to MAKE IT NEW, modernism “imagined itself to be beyond eschatology.” This is the argument Irmgard Emmelheinz puts forward in her essay on “Self-Destruction as Insurrection, or, How to Lift the Earth above All that has Died?” in which the Anthropocene acquires something of the status of a uniquely authentic insurrectional force in the wake of the discrediting of modernity & the institutional avantgarde, in both their political & aesthetic formulations. Emmelheinz’s Anthropocene is presented as an insurrectional force entirely alienated from the idea of the human, like a glitched after-image of Klee’s Angelus Novus as it retraces Benjamin’s “Theses on the Philosophy of History” in icon, not as a truth that is “recognized &… never seen again,” but one which presents itself constantly without being grasped for what it is. Yet in doing so, this Anthropocene describes not a negation of modernism but its apotheosis. From its very beginnings, what characterizes modernism is a paradoxical nostalgia for the coming utopia of modernism itself: its own reification as the New World, conflated out of the kitsch of authenticity, the absolument moderne. The impulse of socalled postmodernism arises out of the desire to suspend this paradox in a dilated present, in which, as Emmelheinz says, “apocalypse” becomes “central to the neoliberal imaginary.” Such a suspended action is no mere sleight of hand, but a project – by which the dream of eschatology trans/forms itself into necessity by way of a certain Return of the Real. Emmelheinz characterizes this as the displacement of the “possibility of revolution” in its modernist utopian formulation, by the “intolerable” – that which can no longer be made anew in the image of modernity, since it is the very desolation of the image. “In this light,” she argues, “the actual legacy of modernism is not a horizon of worker-led emancipation but a biosphere on the brink of extinction… a world in ruins.” This much we can agree on.
It is not a matter of speaking the unspeakable, but of vocalising the extra-linguistic or the non-verbal, and thereby letting the Outside in. Admit it, count zero, get out —Mark Fisher
The history of the Beast is fulfilled, and in humility it awaits a double death —the physical annihilation and the obliteration of the recollection to itself. —Ulrich Horstmann