Cthelllic Tendrils (#3a: Possession and Return)

Screenshot from 2018-03-28 23-36-41

From inside the Turning she whispers to the Bottomless Pit: Ogun the metal-bodied, one who is many, breaker of masks. The hour of her coming draws near, and her Cloud of Dispersion already casts its abysmal shadow. – Mother Mary Ann Haddok, Industrial Church of the Nine Knocks

In the final pages of Flatline Constructs, Mark Fisher turned his attention to John Carpenter’s 1994 horror film In the Mouth of Madness, which he provocatively described as something of a companion piece to the two volumes of Deleuze and Guattari’s Capitalism and Schizophrenia project. In the Mouth of Madness is the story of a freelance investigator by the name of John Trent, who is hired by a large New York City-based publishing company to look into the disappearance of Sutter Cane, a popular horror novelist whose novels are reputed to have ‘strange effects’ on certain types of readers. Things go off the rails fairly quickly when Trent and Linda Styles, Cane’s editor, arrive in the town of Hobb’s Endan otherwise idyllic little New England ‘burg, besides a sinisterly beckoning church that loom up on the outskirts and the fact that the town itself is a fictional setting in Cane’s novels.

What binds In the Mouth of Madness to Capitalism and Schizophrenia is the twisting red thread of market apocalypticism. Cane is ultimately revealed to be to be a conduit – initially unwittingly – for the Old Ones, who are invading the world through his books, with the massive capitalist market serving as a contagion vector for belief. The more people read, the more they believe, and the more they believe, the more time accelerates towards the impending arrival of the ancients from the Abyss. In the film’s closing moments, we hear emergency broadcasts reporting in from somewhere, panicked voices warning of mass outbreaks of schizophrenia, of waves of violence and social disintegration, and of afflicted human bodies undergoing horrific mutation. A hyperstitional configuration par excellence: fiction writing itself into reality, the Outside invading in via the wildly oscillating hype(r) circuitry of capital.

So too it goes in Capitalism and Schizophrenia: capital, described in Anti-Oedipus as a flow of “abstract or fictional quantities”, is oriented towards “the wilderness where the decoded flows run free, the end of the world, the apocalypse”. This plane of cosmic schizophrenia is constantly ward-offed by Oedipal and statist compensators – yet the more capital itself proliferates, the greater the schizophrenization that explodes back from the periphery to the center, and the more the compensatory mechanisms shake and, ultimately, shatter. When social bodiesthemselves compositions of fictional quantities and mythsare “confronted with this real limit, repressed from within, but returns to them from without, they regard this event with melancholy as the sign of their approaching death”.

Cane’s role is that of the xenocommunicant: here is a figure who is opened up, unwittingly at first, to the Outside, though which the infection of the “schizo-signal” spreads. It’s not hard to see him as a composite of, on the one hand, Stephen King, with his utterly insane sales figures and strangely mutagenic effect on cultural formations; and on the other Lovecraft (another point of connectivity with Capitalism and Schizophrenia, the second volume is particular). Carpenter filled In the Mouth of Madness with references to Lovecraft’s cosmic horror, from structure of the film itself, to the names of characters, to the New England setting, to the final actualization of the long-awaited return of the Old Ones.

If the fictional Cane is an xenocommunicant, is it a stretch to grant that same designation to the ‘real’ Lovecraft? Ludicrous as it may seemand it is only going to get strangerthis is the position that was taken by Kenneth Grant, who in the 1970s began to cross-pollinate Crowley’s Thelema doctrines with Lovecraft and UFOlogy. In Beyond The Mauve Zone Grant would even suggest that the signals tapped into by the author were “strange sigils swirled by the power-waves of [Frater] Achad’s work” – Achad being Charles Stansfeld Jones, a ceremonial magician and purported ‘magical child’ of Crowley. Peter Levenda also takes up this question in his work on Lovecraft, Crowley and Grant titled The Dark Lord; to quote him at length:

In Liber Liberi vel Lapidus Lazuli, Crowley refers to several of the images with which Lovecraft would be consumed in his stories, but especially in “The Call of Cthulhu.” Here we have a buried god that is awakened from a stone, in a coffin, in a sepulchre, and mysterious words written in an ancient book, including Tutulu. And “of pure black marble is the sorry statue” resonates with the black stone on which the statue of Cthulhu squats.Crowley believed that the first two books [the Holy Books of Thelema] mentioned above were not his writing, but were inspired works dictated to him by his Holy Guardian Angel, the ancient Sumerian personality Aiwass, after Crowley had attained samadhi during a course of rituals he undertook with his colleague, George Cecil Jones, in England. Even the undecipherable language of “Olalam Imal Tutulu” has its counterpart in the enigmatic hieroglyphics of the Cthulhu statue and the ecstatic, glossolalia-like cries of the worshippers in the Louisiana swamps. Both men—the American author and the English magician—were dealing with the same subject matter, and indeed Lovecraft had dated the first appearance of the Cthulhu statue to the same year, month and day that Crowley began writing these sections of the Holy Books.

Levenda suggests that these may not be mere coincidences (as if there is anything mere about coincidence!), but could very well be an indication of some alien entity at work: “Either Lovecraft was in some kind of telepathic communication with Crowley, or both men were in telepathic communication with… Something Else.”

[If anyone is on the fence thus far, consider Levenda’s innocuous capitalizations in light of the following AQ equivalence: SOMETHING ELSE = 268 = SCHIZOPHRENIA]

In 1949a year after Crowley’s death, the beginnings of the modern UFO phenomenon (by way of the Kenneth Arnold sighting and the mythical Roswell Crash), and the inauguration of the Aeon of MaatPeter Vysparov convened a small group of researches together to study, among other things, these very sorts of “cryptic communications from the Old Ones, signaling return”. In a manner very close to Grant’s own untimely remixing of the edgeland currents rippling through cosmic post-war modernity, Vysparov’s goal was to find the key that would zip together Lovecraft’s ‘fiction’ with the body of work produced by Crowley and his acolytes, as well as with that of certain Indonesian indigenous populations. In his correspondence with the anthropologist Echidna Stillwell, he described this nexus as the zone of “Cthulhoid contagion”. On these matters Stillwell would response with a sense of knowing hesitance:

Whilst not in any way accusing you of frivolity, I feel bound to state the obvious warning: Cthulhu is not to be approached lightly. My researches have led me to associate this Chthonian entity with the deep terrestrial intelligence inherent in the electromagnetic cauldron of the inner earth, in all of its intense reality, raw potentiality, and danger. According to the Nma she is the plane of Unlife, a veritable Cthelll—who is trapped under the sea only according to a certain limited perspective—and those who set out to traffic with her do so with the greatest respect and caution.

Down and under…

Compensation and Escape



In the earlier post Mixed Bag, I mentioned briefly Land’s argument that long-term cyberpositive trends – that is, cybernetic excitation or positive feedback unfolding primarily through technomic cycling – is continually dampened by a compensatory mechanism. Perhaps we can think of being similar to the importance of frequency compensation in electrical engineering, particularly in the case of amplifiers, which deploy negative feedback  mechanisms in order to pull back the wild oscillations and distortion engender by the lock-in to a positive feedback loop. Slotting this into the historical drift of technomic escalation, however, changes this a bit: the positive feedback process remains in the primary position, and dampening can only be secondary. Paradoxically – and this is where things get truly loopy – is that this secondary becomes a conduit through which the primary expresses itself. Consider the three forms of cybernetic circuits that cut across cyberpositive and cybernegative tendencies, as described by Land in his CCRU-era essay “Circuitries”:

  1. Long-range positive feedback: the primary cyberpositive process, characterized by continual escalation and the folding-in of machinic convergence (the ultimate unknown unknown of impending technomic concresence).
  2. Short-range positive feedback: short, harsh, unstable bursts of cyberpositivity that burn themselves out.
  3. Stabilization mechanisms: circuits that operate against cyberpositive in an attempt to suppress mutation and contagion. Ecumenonical.

These forms can be further related to the cybernetic model of history cultivated by Deleuze and Guattari in Anti-Oedipus, where development unfolds through the coding, territorialization, decoding, and deterritorialization of flows, and the modulation of these forms through mechanisms that ward off  mutagenic shocks to each historical stage. The primitive socius carried out a dual-warding suspended between the figure of the warrior and the shaman; the former, as Clastres demonstrated, played a role in preventing the formation of the State through the use of constant warfare, while the latter capture deterritorializing flows that threatened to return the socius to the biocosmic ocean. In the age of the despotic State, it was the body of the despot itself that capture these flows, which in the age of the Civilized Capitalist Machine passed to the capitalist state (as the force of anti-production that is subordinated to, yet aids, capitalist production) and Oedipus itself. For the despotic State, warding-off the impending flux of capital was paramount; for the Civilized Capitalist Machine, it is the pull of capital itself towards the edge of the edge, where everything gives way to burning, cosmic schizophrenia. Schizo-Marketization.

The long arc that bends towards this future apocalypse is the long-range positive feedback process, and the mechanisms for warding-off and capture constitute stabilization mechanisms. In each case the slippage towards what is warded off can be deferred for a while, but can never be absolute. It happens despite all attempts to halt it. What does tend to get churned out, however, are those explosions of short-range positive feedback.

In the parlance of Land’s more contemporary work, the stabilization mechanism of the capitalist epoch is precisely what Moldbug described as the Cathedral. To return to Re-accelerationism:

…the Cathedral acquires its teleological definition from its emergent function as the cancellation of capitalism: what it has to become is the more-or-less precise negative of historical primary process, such that it composes — together with the ever more wide-flung society-in-liquidation it parasitizes — a metastatic cybernetic megasystem, or super-social trap. ‘Progress’ in its overt, mature, ideological incarnation is the anti-trend required to bring history to a halt. Conceive what is needed to prevent acceleration into techno-commercial Singularity, and the Cathedral is what it will be.

In a great post on this same topic, Uri the Cyborg Nomad drops this excellent diagram of the dampening effects of the Cathedral on technomic cyberpositivity. Hopefully he won’t mind it being reproduced here:


This may seem different from the usual image of the Cathedral offered by neoreactionaries, which often seems to be a stand-in for progressive policies they don’t like. This isn’t to say that it doesn’t encompass that – the opposite, in fact! Far from being a particular mode of politics, the Cathedral defines totality of the political machine, which is intrinsically bound to self-replication (far from being stupid, politics wants more of itself), self-preservation, profit-seeking, hegemonic functioning, and – as a result from each of these – an inclination towards universalism in increasingly more managerial modes. It is for this reason that Land describes a Left Singularity that is locked into a doomed conflict with an impending future Right Singularity

[Many will immediately jump on this point and point out that this framing of singularities along a Left – Right line doesn’t quite gel with the muddied (and frankly nonsensical) history of these terms. I know, I know. To ward off in advance the endless quagmire of debate over what these terms means, consider the way in which Land is using them here: taken most generally, Left here designates the political, and Right designates anti-politics. Consider that what is being called unconditional accelerationism was, originally, called right accelerationism by Land:

a framework which would slot both the left accelerarionism and right accelerationism critiqued by unconditional accelerationism into the the framework of the Left. U/Acc, however, moves in a different direction by referring to the political in terms of a grand Left, but a mutually reinforcing secondary circuit in which left and right self-excite one another through reinforcement, antagonism, and constructive blurring. Clear as mud? Cool.]

Something that I’ve been interested in is how Land sees Neoreaction itself fitting into this schema. It designates something still internal to the Age of the Civilized Capitalist Machine – the encounter with the Dweller on the Threshold is still a ways off yet – but past the Cathedral proper, which is anticipated to be shattered into countless, fractioning polities. The death of politics, by way of the insane multiplication? Such a maneuver would constitute the annihilation of the universalist stabilization mechanisms, though it would – in the patchwork model, at least – make possible all sorts of localized, dynamic, and variable stabilization mechanisms available. This flips back to an argument posed on this blog before: that what Land designates the Cathedral and Fisher assessed as “capitalist realism” are, in fact, the same thing (once we separate capitalism from cyberpositive capital, and approach capitalist realism via the former), and that breaking through to the other side of these immense blockages opens into a plane of differentiation: micro-scaled units rising up like a nano-swarm. But, Land argues, and yet this is ultimately as doomed as the Cathedral itself, as is made clear by the brief comments on the ultimate fate of neoreaction at the end of Dark Techno-Commercialism:

Dark Techno-Commercialism — provisionally summarized — is the suspicion that the ‘Right Singularity’ is destined to occur in surreptitious and antagonistic relation to finalistic political institutions, that the Cathedral culminates in the Human Security System, outmatched and defeated from the Outside, and that all hopes that these ultimate historical potentialities will be harnessed for politically intelligible ends are vain. It is, therefore, the comprehension of capitalism ‘in-itself’ as an outsider that will never know — or need — political representation. Instead, as the ultimate enemy, it will envelop the entirety of political philosophy — including anything neoreaction can contribute to the genre — as the futile strategic initiatives (or death spasms) of its prey. (emphasis added)

There’s a rabbit hole to tumble down here, full of numogrammatic, Deleuzeguattarian, and Thelemaic resonances that are best left for future investigation – though it’s worth considering how the above relates to the neoreactionary Trichotomy. This triad model is used to survey the terrain of NRx in a way that, on one hand, illustrates its opposition to the Cathedral, and on the other illustrates its own internal oppositions. By sketching all of these out, the Trike reveals an intended motor of fragmentation, where the pieces can never really fit into a higher unity synthesis, and can only ever proceed through ongoing shattering. The three sides are: Theonomy, Ethnonationalism, and Techno-commercialism. The first finds itself into opposition to the treatment of religion under progressivist universalism, and is resolutely opposed to ethnonationalism and techno-commercialism; the second rejects political integration and the demand for multiculturalism, and is opposed to theonomy and techno-commercialism; and techno-commercialism clashes with the technomic dampening of the stabilization mechanisms, and can only ever be structurally opposed to theonomy and ethnonationalism (it’s clear that this latter force is intrinsically linked to the primary accelerating process, hence the identification of a dark techno-commercialism that rides beyond NRx into the unutterable void of futurity).

Behind the Neoreactionary Trichotomy is a second, more esoteric triadic formation that maps not the political, but fate itself: the Horrorist Trichotomy. Each point is rendered as that which cannot be escaped from: Providence, Heredity, and Catallaxy. If the Neoreactionary Trike is ecumenonical, the Horrorist Trike serves as the planomenon. The alignments are clear: Theonomy to Providence, Ethnonationalism to Heredity, and Catallaxy to Techno-commercialism.

What relevance does this strange architecture, twisting as it does through the political and arcane materialism, have to these questions of compensation and accelerating trendlines (or: why this deep dive into the far end of NRx theory)? The answer to this follows the introduction of yet another triadic formulation, one that clearly anticipates the Neoreactionary Trichotomy: the “Golden Meme” introduced by Walter Russell Mead, and discussed by Land in an ancient post from waaay back in 2011 titled “Reign of the Tripod” (reign indeed!). In Mead’s historiography, the Golden Meme (i.e. the concept of the invisible hand) is the formula that produced the two centuries of “Anglosphere hegemony” – or what ensured the long-term stability of the British empire and the United States. Three points of a triangle: “Newtonian celestial mechanics” (serving as the modernization of “the religious idea of providence”), “Smithian political economy”,  and “Darwinian evolutionary biology. Again, the alignments are clear, though at the same time they cannot put fracture a little. Both Newtonian celestial mechanics and theonomy derive from providence, but one charts a secularizing path whilst the other stakes out a religious one. Something is shifting here.

Land writes that opposition that cannot be reconciled via synthesis becomes institutionalized in a power balance. In other words, the Golden Meme functioned because the three points checked one another. A compensatory dynamo is generated, one capable of pressing down on short-term burnouts that could arise from each triangle tip. Yet what stabilizes also sows the seeds for fracture:

Cultural hegemony follows from a semi-deliberate fatalization, as the sovereign center is displaced by a substantially automated social process, which no social agent is able to master or entirely impede. Each major faction steps back into its position in the triangle, from which it can strategically engage the others, but never fully dominate or eradicate them. The triangle as a whole constitutes a social and historical motor, without adequate representation at any identifiable point.

By placing the three Trichotomies in alignment, we arrive at a picture of ecumenonic consolidation and subsequent fragmentation, both shot through with the concealed Horrorist diagram of fate:

[Providence] :: Newtonian point of the Golden Meme –> Theonomy

[Heredity] :: Darwinian point of the Golden Meme –> Ethnonationalism

[Catallaxy] :: Smithian point of the Golden Meme –> Techno-commercialism

This picture is clearly a messy one and needs further work into integrating it into a more cohesive model, but it reveals a certain insight into neoreaction itself (or at least the form that Land is sifting through, which seems to go far beyond the work of many of his interlocutors). If the Golden Meme is the production and governing protocols for the Anglospherical compensatory mechanism, then it is what produces the Cathedral itself, which would as the Atlantean summit of this development. It follows, then, that if the NRx Trike etches a cartography of fragmentation that proceeds from this, then NRx is not simply an opposition to the Cathedral (as an activist movement for politico-cultural restoration would be, for example); it is the dynamical fall-out of the Cathedral’s fracturing in itself.

This is the very position staked out by Land in a post titled “Crypto-Brahmins”:

The Brahmin priest caste, like the digital elite, specializes in signs, but they are signs of exhortation, rather than of intrinsic efficiency. Is not the Cathedral precisely a name for that apparatus of signs — (non-STEM) academia, media, bureaucracy, politics … — which cannot in principle ever compile? The Cathedral is a secular religion, which has to preach because it does not work.

When NRx insists upon a division within ‘progress’ between techno-economics (which works) and socio-politics (which decays), it opens a rift that splits the Brahmins, rather than further separating them from social inferiors. NRx, at its core, is a ‘Brahmin’ civil war.

There’s much more to be said here, especially in light of how US democracy promotion exercises export Cathedral-capitalist realist-style governing protocols around the world through a model of capture that relies on keeping elite power balanced between multiple competitive fractions – not to mention the analysis offered by Peter Turchin on the relationship between elite overproduction and political fragmentation. But best to leave these thoughts for another post!

Some excellent recent posts that are swimming in similar waters:

Xenobuddhism: Non-Oriented Accelerationism

Xenogoth: Nationalist Realism