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originally posted by: Bybyots
Vallee is not convoluted, it depends on what the reader of Vallee is acclimated to reading.
Vallee practically nutshells his whole oeuvre in the last few seconds of the deleted Close Encounters of the Third Kind scene that corsair00 posted.
3:28
But the thing is, you can see it. Obviously. And I have in my own laymans way, found my way through the academoccult spillway to the same shamanic deleuzian periphery as these Landians.
And it is that. Dark Marxism, Borgesian/deleuzian sorcerous narrative, hyper-propoganda as theory as mythos. Science fiction as theology. Dystopia as cosmogony. The future is no longer past accumulation rather erratic blinding headlights rapidly approaching.
It is seductive. Possibly the most seductive activity I've ever engaged in. Weaving the mythos of apocalypse under the guise of innoculation against apocalyptic narrative. It is dark Marxism gone viral. Everybody is doing it!
But we can see it.
originally posted by: Autograf
a reply to: 1ofthe9
I can't speak to weird initiatory overtones, other than to say they can occur in any realm of life...
originally posted by: 1ofthe9
originally posted by: Autograf
a reply to: 1ofthe9
I can't speak to weird initiatory overtones, other than to say they can occur in any realm of life...
It feels like I have a `library angel`. I just keep running across lines of the same narrative when not looking for them. Its almost like I'm toeing the 'they noticed that you noticed them' line at times. Very unnerving. :S
Also this.
originally posted by: Autograf
I suspect much of the Vallee material will seem elementary to the scientists of the 22nd century.
I feel that I could go before a committee of scientists and convince them that there is overwhelming evidence that the UFO phenomena exists and that it is an unrecognized, unexplained phenomenon for science, but something that I think I could prove. My personal contention is that the phenomenon is the result of an intelligence that it is a technology directed by an intelligence, and that this intelligence is capable of manipulating space and time in ways that we don't understand. I could convince a committee of my peers that the phenomenon is real, that it is physical, and that we don't understand it. I could not convince them that my speculation is correct; there may be alternative speculations. The essential conclusion I'm tending to is that the origin of the phenomenon of the intelligence is not necessarily extraterrestrial.
originally posted by: Autograf
a reply to: Gianfar
LaVey (already discussed in this thread, and pictured with our hero) certainly had no such problems.
Wait a minute... Vallee...LaVey... same sounds switched? What is going on?
originally posted by: Autograf
a reply to: Gianfar
LaVey (already discussed in this thread, and pictured with our hero) certainly had no such problems.
Wait a minute... Vallee...LaVey... same sounds switched? What is going on?
The CCRU has coined the term ‘K- tactics’ to describe the action of hyperstition, using the mode of schizoanalysis, in contemporary information culture. “K-tactics,” explains Land, “is not a matter of building the future, but dismanteling the past … and escaping the technical neurochemical deficiency conditions for linear-progressive [narratives]” (1995:13). Symptomatic of a type of cultural illness induced by future shock, the hyperstitional ‘infection’ brings about that which is most feared; a world spiraling out of control. This, manifestly, is the task of the’hyperstional cyberneticist,’ according to Land – namely, to “close the circuit” of history by detecting the “convergent waves [that] register the influence of the future on its past”.
As Nick Land explains in the Catacomic (1995:1), a hyperstition has four characteristics: They function as (1) an “element of effective culture that makes itself real,” (2) as a “fictional quality functional as a time-travelling device,” (3) as “coincidence intensifiers,” and (4) as a “call to the Old Ones”. The first three characteristics describe how hyperstions like the ‘ideology of progress’ or the religious conception of apocalypse enact their subversive influences in the cultural arena, becoming transmuted into perceived ‘truths,’ that influence the outcome of history. Finally, as Land indicates, a hyperstition signals the return of the irrational or the monstrous ‘other’ into the cultural arena. From the perspective of hyperstition, history is presided over by Cthonic ‘polytendriled abominations’ – the “Unuttera” that await us at history’s closure (in Reynolds 2000:1). The tendrils of these hyperstitional abominations reach back through time into the present, manifesting as the ‘dark will’ of progress that rips up political cultures, deletes traditions, dissolves subjectivities. “The [hu]man,” from the perspective of the Unuttera “is something for it to overcome: a problem, drag,” writes Land in Meltdown (1995:14).
Exulting in capitalism’s permanent ‘crisis mode,’ hyperstition accelerates the tendencies towards chaos and dissolution by invoking irrational and monstrous forces – the Cthonic Old Ones. As Land explains, these forces move through history, planting the seeds of hyperstition:
John Carpenter’s In the Mouth of Madness includes the (approximate) line: “I thought I was making it up, but all the time they were telling me what to write.” ‘They’ are the Old Ones (explicitly), and this line operates at an extraordinary pitch of hyperstitional intensity. From the side of the human subject, ‘beliefs’ hyperstitionally condense into realities, but from the side of the hyperstitional object (the Old Ones), human intelligences are mere incubators through which intrusions are directed against the order of historical time. The archaic hint or suggestion is a germ or catalyst, retro-deposited out of the future along a path that historical consciousness perceives as technological progress.
The ‘Old Ones’ can either be read as (hyper)real Lovecraftian entities – as myth made flesh – or as monstrous avatars representing that which is most uncontainable and unfathomable; the inevitable annihilation that awaits all things when (their) historical time runs out. “Just as particular species or ecosystems flourish and die, so do human cultures,” explains Simon Reynolds (2000:1). “What feels from any everyday human perspective like catastrophic change is really anastrophe: not the past coming apart, but the future coming together” (ibid).