Posted on September 17, 2005 at 23:10:57.
In Reply to: |Fragments of a zombie anti-reason (part 2 of that other stuff)| posted by M Satai
ANTHROPOPHAGOUS, Zombie and the Outside
By RN
I eat everything: people, buildings, stars, trees. I am a maggot, a cancer, a plague from Saturn. I consume but I produce nothing, not even a fertilizing shit, only an unfertilizing shit, an alien shit. There is nothing growing in my wake.
Attractors of the Outside. Moderate techno-capitalism, pseudo-flux economy (post-industrial solid), and horror genre have understood the potentialities of Zombie well; early Stelarc's works are suggesting Zombie as a machine engineering "unexpected ways of accessing, interfacing and uploading the body". The idea is that Zombie is not fertilizing by any means as you suggested. However, it is an extended site to an extreme and senseless degree of superficiality on whose plastic anomaly control cannot be scaled but commits a moderate suicide, gaining a phantom movatar capable of uprooting the remnants of monolithic solid and transforming them to liquid interfaces which do not avoid the anonymous intensities of outside but prepare themselves for them; they prepare themselves for the moment that the anonymous intensities of the Outside impact upon their surfaces; this is the exact moment in which the whole impact (Call it encounter with the alien) is triggered within the panorama of Genesis. Here is no moderation, domestication of intensity or Capture process at work but potentializing a horizon in which the intensity becomes a 'free' and 'desiring' partner in engineering the Genesis Project. The conventional horror genre as the knowledge of the Outside is very well aware of the involuntary fertilizing lines of the Outside and how it is possible to panoramize or landscape (without direct domestication or control) the Outside and its horror in regard to Genesis Project and its appropriated/ing (architectonic) intensities.
The horror of the Outside or the Outside as an avatar of horror are frequently visualized through such extended and dynamic surfaces such as movatar, telematic scaling of subjectivity, or the Zombie genre in which self becomes a skin, a shedding skin, a grotesque dynamic ground, unconventionally irrigating itself by the anonymous intensities coming from the Outside -- alien. Such a ground makes extremely versatile architectonic lines, that is to say 'desiring slopes' out of the anonymous intensities of the outside, traveling on an undefined slope (Äy/ 0) whose missing coordinate is covered by ground through the Genesis Project (Äy/Äx).
I've discussed the entire panorama in Pestis Solidus article; here a part of discussion (skip the following passage if you've read Pestis Solidus):
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The halftone of two pulsional principles: The diametric discourse of this and not-this is assembled through the appropriation of a processing intensity (comes from without) triggered at the threshold of a surface; traveling on an undefined slope, namely, horizontic sphere or a slope with a missing coordinate: Äy / 0 'coming from the Outside'. As the processing intensity edges at the threshold of the surface, it sparks and the surface recoils back to a regulating intensity (not necessarily regulated), and a surfactant, an active surface or a liveware (the appropriating ground). The surfactant concentrative engine is accustomed to enter an atmosphere of resistance through the heart of the impact panorama.
This resistance toward the processing intensity unfolds as micro / macro slopes and spreading out circular configurations through which the diametric discourses are initiated. Here it goes, the entire of this panorama recoils and deposits in Genesis. Genesis is assembled through both surrendering and resisting attitudes toward anonymous intensities coming from the Outside, the economy of 'solidus-in-circulation' tries to both exploit and resist the processing intensity. While the regulating sphere renders the intensity as a regulator (appropriator: fertilizer) appearing in polar (positive or negative) coordinates, the resisting sphere exploits this appropriator (+/-) as a trigger to configure the whole Genesis Panorama through diametric (polar, inclusive/exclusive, dynamic, genetically configured) discourses. In Genesis, everything is under the Solid essence of these regulating mechanisms that propel solidity as the surplus value of the entire panorama (Genesis). Plunged into the Genesis panorama, solidity appears as framing (but dynamic) molds (mold and cast process of solidity) ... molding (genetically configure: Origin) compositions in the form of slopes ... making them work through slopes. What we call rigidity is the off-threshold or the most insignificant part of this 'panorama i.e. Genesis or 'Solidus-in-circulation' ... or when the undulating slopes of the pseudo-flux become stagnant ... or when the appetite of solidity for Genesis and origination steps down.
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I'm both a heretic and a renegade in the schizoanalytic approaches toward outside and its horror (See Death as a Perversion). Blinded by the immensity and pestilential bonds of Druj-, I've lost all my faith in the horror whose germinating (un)ground is merely outside (so all its avatars: aliens, viruses, etc.); instead, I've been possessed by the schizotrategic maneuvers of paranoia (including that maneuver toward the Outside), and the strategic horror of Druj- working through p/0 (consider p for paranoia, power, puissance, etc); Vaaung's Meltdown Plague diagrams such a darkness fibroproliferating the anonymous intensities disloyal, untrustworthy and treacherous to all dimensions but where in its epidemic and 'cruelly open' sense.
On the other hand, the conventional zombie survives at all cost (as what portrayed by Fulci, Romero, Franco, et al.) to be unsummoned by the Holy Water at last; it has a close affinity with Holy Water; it advertises holy water like a billboard in a desert advertising Coca Cola. My favorite Zombie is the one in Joe D'Amato's poorly directed but inspiring movie, ANTHROPOPHAGOUS; (He)it is a fake Zombie (a pretentious zombie); the riddle of (his)its terrible hunger (the story of the movie) is enriched by 'what comes out of this hunger': undoing (him)itself, trying to eat (him)itself but just leaving a mess behind while visualizing the horror of his(its) ultimate hunger before his(its) speechless anthropomorphic preys.
BTW, I read your zombie piece many times; it doesn't advertise holy water but the vitriolic odor of something exhumed and filthy. I love this piece.