art philosophy horror INCOGNITUM HACTENUS · art philosophy horror Living On: Zombies vol.3...

art philosophy horror

Living On: Zombiesvol.3

INCOGNITUM HACTENUS

Contents

EditorialCaryn Coleman and Tom Trevatt..............................................3

For the Ethical Treatment of Zombies

by Sarah Juliet Lauro..................................................................6

The Haptics of Undeadliness; a Methodology for Melancholic PracticeSimon Clark..............................................................................16

Nekros; or, the Poetics of BiopoliticsEugene Thacker.........................................................................26

The PetroZombieTom Trevatt...............................................................................48

Otto: An IntroductionBruce LaBruce..........................................................................55

Otto; or, Up With Dead People (a screenplay)Bruce LaBruce..........................................................................60

No More Manifestos!Kate Thompson......................................................................123

RiseChad Robertson......................................................................130

The Hole, 2007 (JS07.51)Jim Shaw....................................................................throughout

Notes on Contributors..............................................................134

Incognitum Hactenus vol. 3

EditorialCaryn Coleman and Tom Trevatt

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But at such moments of waiting for the zombies awakening or approach, the link between apprehension and action is hollowed out or suspended, in what Deleuze (1986, 197- 215) calls a “crisis” in the act of seeing. The stimulating sensation fails to arrive, and the motor reaction is arrested. The slow meanders of zombie time emerge out of a paralysis of the conventional time of progressive narrative. This strangely empty temporality also corresponds to a new way of looking, a vertiginously passive fascination. The usual relation of audience to protagonist is inverted. Instead of the spectator projecting him- or herself into the actions unfold ing on the screen, an on-screen character lapses into a quasi-spectatorial position. This is the ! "#$%&!'&!()$*)!+,-'+!./$".!$%&#!#0.-..$#%1!&)-!2#2-%&!()-%!3%43/5//-+!&),-'&.!&3,%!$%&#!.-+3*&$6-!! promises.

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For the Ethical Treatment of Zombies

by Sarah Juliet Lauro

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A*,&',&'1*0)'70$%',)'&"'&)#0./%')"'7%')*0)'1*%.'?'*%0#$'"( ')*%'^c,07,'C"7;,%'0))092:_'?'*0$'-,#)60++@'."'#%09),".3'?'9"6+$.N)'10)9*')*%'-,$%"'E?'&),++'*0-%.N)G:';6)'?'#%0$')*%'#%<"#)&',.'0'&"#)'"( '0.%&)*%),C%$'("/3'B69*'0'("/:',.'(09):')*0)'?'&"7%*"1'7,&&%$')*%'2%@'(09)')*0)'*"7%+%&&'-,9),7'H".0+$'Y"<<"'#%70,.%$'0+,-%3''B"7%*"1:'?')*"6/*)'*%'$,%$',.')*%'0))092:'0.$')*0)'7"&)'"( ')*%'^90..,;0+,&7:_'0&',)'10&'+0;%+%$',.')*%'<#%&&:'"996##%$'<"&)=7"#)%7a'?'&6<<"&%',)'10&'769*'%0&,%#')"')*,.2'"( ',)'*0<<%.,./')*0)'10@3''B*"#)+@'0()%#'.%1&'"( ')*%';,C0##%'&)"#@';%/0.')"'&<#%0$:'?'10&';%&,%/%$';@'I6%&),".&'(#"7'7@'&)6$%.)&:'0.$')%F)&'(#"7'(#,%.$&a'?'9*0))%$';#,%>@'0;"6)',)'1,)*'0'#%<"#)%#'(#"7')*%'ZZL'1*"'10&'$",./'0.'6.#%+0)%$'&)"#@'".'C"7;,%'-,$%"=/07%&3''P&'?'/0-%'7@'^#%0$,./_'"( ')*%'%-%.):',)'10&'(0&)';%9"7,./'56&)'".%'7"#%'.0##0),-%',.'7@'0#9*,-%3''?'10&';+,)*%+@'6.010#%'"( ')*%'(09)')*0)')*,&'*0<<%.%$',.'#%0+'+,(%:')"'#%0+'<%"<+%3'4":')*0)N&'.")'I6,)%'#,/*)3'?'10&'010#%'"( ',)'0&'&"7%)*,./')*0)'"996##%$',.'#%0+,)@:';6)',)&'$%8.,),".'0&'0'^#%0+_'%-%.)'10&'&6;&67%$')"')*%'(09)')*0)')*,&',&'<#%9,&%+@'1*0)'70$%',)'0'C"7;,%'0))0923'?N++'%F<+0,.3''e,#&):'?N7'/",./')"'&2%)9*'"6)'&"7%'"( '7@'9"+$:'0.0+@),9',.)%#<#%)0),".:'0.$')*%.'?N++'0$$#%&&')*%'%)*,9&'"( '<%#("#7,./'&69*'0.'0.0+@&,&3''

1. Zombies are real

?)',&'9%.)#0+')"'7@'1"#2'".')*%'C"7;,%')*0)'6.+,2%'")*%#'9,.%70),9'9#%0)6#%&:'"#')*%';"/%@=7%.'"( '("+2+"#%:')*%'C"7;,%',&'0'7@)*"+"/,90+'9#%0)6#%'0&&"9,0)%$'1,)*'.0)6#0+'#0)*%#')*0.'&6<%#.0)6#0+'("#9%&3''A*%'!0,),0.'C"7;,%'".'1*,9*'"6#'7"$%#.'$0@'C"7;,%',&';0&%$',&')*%'<#"$69)'==0&'!0#-0#$=)#0,.%$'&9,%.),&)'M0$%'o0-,&'$%&9#,;%&',.'$%)0,+',.'*,&';""2&'Pas-sage of Darkness: The Ethnobiology of the Haitian Zombie'EUVXXG'0.$'The Serpent and the Rainbow EUVXfG=='"( '0'<*0#709"+"/,90+'<#"9%&&',.-"+-,./'<",&".'0.$'.0#9"),9&3''A*%'0<<%0#0.9%'"( ')*%'9#%0)6#%'0&'0'#%&6##%9)%$'$%0$';"$@',&';6)'0.',++6&,".Q')*%'h"6$"6'C"7;,%N&'&+0-%=+,2%'&"7.07;6+,&7',&')*%'#%&6+):'I6,)%'&,7<+@:'"( '$#6/&3''A0+%&'"( ')*,&')%9*."+"/@'90.';%')#09%$';092')"'Z#@0.'K$10#$&N&'History of the West Indies'EUbVdG'0.$'K$10#$'S"./N&'History of Jamaica'EUbbmG:',.'1*,9*'*%'1#,)%&'"( ')*%'&+0-%&Q'^A*%'7"&)'&%.&,;+%'07"./')*%7'(%0#')*%'&6<%#.0)6#0+'<"1%#&'"( ')*%'P(#,90.'";%0*=7%.:'"#'<#%)%.$%$'9".56#"#&a'"()%.'0&9#,;=,./')*"&%'7"#)0+'%((%9)&')"'70/,9:'1*,9*'0#%'".+@')*%'.0)6#0+'"<%#0),".'"( '&"7%'<",&"."6&'56,9%:'"#'<#%<0#0),".:'$%F)%#"6&+@'0$7,.,&)%#%$';@')*%&%'-,++0,.&3_'

?.'!0,),:'C"7;,%&'0#%'0;&"+6)%+@'6.$%#&)""$'0&'0'#%0+'"996##%.9%'0.$',.&)0.9%&'"( 'C"7=;,%=702,./'0#%'1%++=$"967%.)%$3''H%0+'+,(%'C"7;,%&'*0-%';%%.'9*#".,9+%$';@'O"#0'4%0+%'!6#&)".:',.'Tell My Horse'EUVdXG'0.$',.'o0-,&N&'1"#2:'1*%#%,.'*%'<#"8+%&'L+0,#-,6&'40#=9,&&%:'0'70.'1*"'9+0,7%$'*%'10&')*%'-,9),7'"( 'C"7;,890),".',.'UVX\a')*%'ZZLN&'0))%.=),".')"'40#9,&&%N&'&)"#@';#"6/*)'*,&'&)"#@')"')*%'1"#+$N&'0))%.),".3'A*%&%'!0,),0.'C"7;,%&'0#%'092."1+%$/%$'0&')*%'-,9),7&'"( '<",&".a')*%,#'(07,+,%&'<#%&67%')*%7'$%0$:';6)')*%,#';"$,%&'0#%'09)60++@',.'0'&)0)%'"( '<0#0+@&,&a')*%'96+<#,)'&6<<+,%&'0.'0.),$")%'1*,9*';0.,&*%&')*%' $%0)*=+,2%' &)0)%' 0.$'70,.)0,.&' )*%' C"7;,%' 0)' 0' +"1=+%-%+' "( ' (6.9),".,./' E<#";0;+@')*#"6/*')*%'#%<%0)%$'0$7,.,&)#0),".'"( '")*%#')"F,.&G3'A*%'C"7;,%'%&&%.),0++@';%9"7%&'0'&+0-%:'90<0;+%'".+@'"( '("++"1,./';0&,9'9"770.$&3''A*%'(09)')*0)')*%'c,07,'C"7;,%'0))092'*0<<%.%$'^,.'#%0+' +,(%:_'10&')*%#%("#%'."'$,7,.,&*7%.)'"( ' ,)&'06)*%.),9,)@'0&'0'C"7;,%'%-%.)3'M%N++'%-%.'+%0-%'0&,$%')*%'(09)')*0)'H6$@'K6/%.%:')*%'0++%/%$'C"7;,%:',&')*%'9*,+$'"( '!0,),0.&:'0.$')*0)'*,&'/,#+(#,%.$'*0&'<6)'("#)*')*%')*%"#@')*0)')*,&'0))092'10&'%,)*%#')*%'#%&6+)'"( '0'h"$"6'96#&%:'"#')*0)'*%'10&'$#6//%$'6.2."1,./+@'p'&*%'(0,+&')"'#%0+,C%')*%&%'70@'.")';%'76)60++@'%F9+6&,-%3

2. “He’s not a zombie. He’s my son.” o%&<,)%'*,&'7")*%#N&'*%0#)=1#%.9*,./',.&,&)%.9%')"')*%'9".)#0#@'E*%#%:',.'0'I6")%'/,-%.')"')*%'c,07,'!%#0+$G:'H6$@'K6/%.%'10&'0'C"7;,%3''P<)+@:')*,&'&)0)%7%.)';@')*%'0))092%#N&'7")*%#'<0#0++%+&'0'1%++=2."1.'+,.%')*0)'0<<%0#&',.'C"7;,%'7"-,%&:'0.$',.'")*%#',)%#0),".&:',.'9"6.)+%&&'C"7;,%'&)"#,%&Q'^B*%N&'.")'@"6#'7")*%#'0.@7"#%a'&*%N&'0'C"7;,%3_'A*,&'+,.%',&'&<"2%.',.'Y%)%#'R092&".N&'/#"&&="6)'C"7;,%'>,92'Dead Alive'E020'Braindead:'UVV[G:'0.$',.'B,7".'Y%//N&'C"7;,%'(0#9%'Shaun of the Dead'E[\\mG:'("#'%F07<+%3'c"&)'"( ')*%'),7%:')*%'&6#-,-,./'9*0#09)%#&',.'7"-,%&'(09%')*%'&07%'&"#)'"( '$%.,0+'0&'K6/%.%N&'7")*%#a')*%@'*0-%')"';%')"+$:';@'&"7%".%'%+&%:'&"7%".%'"6)&,$%')*%'(07,+@:')*0)')*%'<%#&".')*%@'2.%1',&'.")

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A*%'C"7;,%'*0&'9".),.60++@'%-"+-%$'&,.9%';%9"7,./'0'70,.&)0@'"( '*"##"#'9,.%70',.')*%'UVd\&:'0.$'1%N-%'6&%$')*%'1"#$'^C"7;,%_')"'#%(%#')"')*%',.."96"6&'10+2,./=$%0$'0.$')*%'-,#6&=,.(%9)%$'90..,;0+:'0.$'70.@'")*%#',.90#.0),".&',.';%)1%%.3'A*%';%&)'96##%.)'1"#2=,./'$%8.,),".'"( '1*0)'9"6.)&'0&'0'C"7;,%')6#.&'0#"6.$')*%',&&6%'"( '1*0)'Y%)%#'o%.$+%'90++&'^$%<%#&".0+,C0),".3_''P'C"7;,%',&:'0)'%-%#@')6#.:'<#%9,&%+@')*,&Q'0';"$@')*0)'*0&';%%.'&)#,<<%$'"( ')*%'<%#&".',)'".9%'10&:'09),./',.'0'70..%#')*0)',&'9"7<+%)%+@'"6)'"( '9*0#09)%#:'"#'&%%7,./+@'$%-",$'"( '1*0)'1%'6&%$')"'90++'0'&"6+3'A*%#%("#%:';@'9".)%7<"#0#@'$%8.,=),".&:' 0.$' ;@' *,&'7")*%#' 0.$' /,#+(#,%.$N&' "1.' 6.1,)),./' )%&),7".@:'1%'76&)' 9".9+6$%'1,)*'0';,)'"( '9"+$'#%0&".')*0)')*%'8/6#%')*0)'0))092%$'H".0+$'Y"<<":')*%'<%#&".'("#7%#+@'2."1.'0&'H6$@'K6/%.%:'10&:',.'(09):'0'C"7;,%3'

3. What’s real life, anyway?

A*%'C"7;,%N&' ,.-0&,".'"( ' )*%'I6"),$,0.:' )*%'%-%#@$0@:' )*%'^#%0+'1"#+$_';%907%'0.' ,.=9#%0&,./+@',7<"#)0.)'<0#)'"( ')*%'C"7;,%'.0##0),-%:'%&<%9,0++@'&,.9%')*%'8+7&'"( 'D%"#/%'H"7%#"'&*,()%$')*%'10+2,./'$%0$'(#"7'0.'%F"),9'<*%."7%.0'0&&"9,0)%$'1,)*'<"&)9"+".,0+'9+,7%&:')"'"6#'"1.';092@0#$&3'H"7%#"N&'&)0/,./'"( ')*%'C"7;,%'<*%."7%.".'0&'0'/+";0+'%-%.)'10)9*%$'".'Ah';@')*%'/#"6<'"( '&)#0./%#&'*"+%$'6<',.'0'#6#0+'Y%..&@+-0.,0'(0#7=*"6&%'E,.'Night of the Living Dead:'UVWXG',.)#"$69%$')*%'%+%7%.)'"( '7%$,0'&<%9)0)"#&*,<:')*#"6/*'1*,9*'#%0+'1"#+$'9#,&%&'0#%'0))%.$%$',.'"6#'+,(%),7%:'0&'0'2%@'9"7<".%.)'"( ')*%'7@)*"+"/@3'?';0#%+@';+,.2%$'1*%.'?'&01')*%'.%1&'90<),".&'<#"9+0,7,./'0'̂ O"7;,%'P))092_',.'c,07,';%906&%'?N-%'&%%.')*,&'&9%.%'".')%+%-,&,".';%("#%:'".')*%')%+%'0#"6.$'1*,9*')*%'&6#-,-"#&'*6$$+%',.'9"6.)+%&&'C"7;,%'8+7&Q'0'(#07%'1,)*,.')*%'(#07%:'&6//%&),./')*%'7,&=%.=0;q7%'"( '+,(%',7,)0),./'0#)',.')*%'<"&)7"$%#.'%#03'

?)'*0&';%9"7%',.9#%0&,./+@',7<"#)0.):')"":')*0)')*%'C"7;,%',.-"+-%&')*%',.)%##6<),".'"( '<6;+,9'&<09%&:'+,2%'H"7%#"N&'c".#"%-,++%'c0++'E,.'Dawn of the Dead:'UVbXG:'+,2%'("#7%#+@';6&)+,./'S".$".',.'o0..@'Z"@+%N&'28 Days Later' E[\\[G:'0.$'$"1.)"1.'P)+0.)0:'1*,9*')%%7&'1,)*'C"7;,%&',.')*%'Walking Dead'&%#,%&'E[\U\=[\U[G';0&%$'".')*%'9"7,9';""2'&%#,%&';@'H";%#'`,#270.'E8#&)'<6;+,&*%$'[\\dG3''A02,./'0'96%'(#"7'70.@'&69*'8+7&:'0.$'6&=,./')*%'C"7;,%'("#'0'#0./%'"( '<+0@(6+'0.$'<"+,),90+'<6#<"&%&:'C"7;,%&'*0-%';%9"7%'%-%#'7"#%'<#%-0+%.)',.'#%0+'+,(%3''P&'?'*0-%'1#,))%.'0;"6)'%+&%1*%#%:'C"7;,%&'90.';%'("6.$'".'c0,.'B)#%%):'TBP',.'.%0#+@'%-%#@'&)0)%',.')*%'6.,".'E0)'+%0&)'".%'$0@'0'@%0#G',.')*%'("#7'"( 'C"7;,%'10+2&'0.$'C"7;,%'<6;=9#01+&3'O"7;,%&'*0-%';%%.'(%0)6#%$',.'<%#("#70.9%'0#)'$,&<+0@&',.'A"#".)":'L0.0$0:',.'<#")%&)&',.'S".$".:'0.$'%-%.:'+0&)'P6)67.:'0)'J996<@'M0++'B)#%%)',.'4%1'k"#2'L,)@3''J()%.')*%'<",.)',&')"'0&&06+)'6.&6&<%9),./'1,).%&&%&'1,)*

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4. Social death

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?.'H3'L*%)1@.$=!0@%&N&'^A*%'D*"6+&_'E,.'The Mammoth Book of Zombies:'%$,)%$'B)%<*%.'R".%&:'L0##"++'r'D#0(:'UVVd:'0'.%1'-%#&,".'"( '0'&)"#@'<6;+,&*%$',.'UVbf'),)+%$'^A*%'4,/*)'D*"6+&_G:')*%'<#")0/".,&):'0'S".$".%#'.07%$'c#3'D"+$&7,)*:'$,&9"-%#&')*0)'*%'*0&';%%.'&6##"6.$%$';@')*%'+,-,./'$%0$'("#'&"7%'),7%3'A*%')#0.&,%.)&'1*"'+,-%',.')*%'9,)@'0#%'#%=-%0+%$')"';%'C"7;,%&:'2%<)'0+,-%'0.$'$"9,+%';@'7%0.&'"( ' )*%'0$7,.,&)%#,./'"( '0' +,I6,$'90++%$'^c%)*@_' Ec,.,&)#@'K-%#+0&),./'A"<&,$%'!0#$%.%$'k"6)*G';@'0' &*0$"1@'/"-%#.=7%.)'$%<0#)7%.)'2."1.'".+@'0&'!l3'?.',)&'";-,"6&'#%(%#%.9%')"')*%'&)#%%)'$#6/'^7%)*:_')*,&'&)"#@'90++&',.)"'I6%&),".')*%'/"-%#.7%.)N&')"+%#0.9%'"( ')*%'$#6/'*0;,)&'"( ')*%'<""#3'A*,&',&'56&)'".%'%F07<+%'"( '0'&)"#@')*0)'$#01&'0.'"-%#)'9"7<0#,&".';%)1%%.')*%'*"7%+%&&'0.$'C"7;,%&a')*%#%'0#%'70.@'")*%#&3'''

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P.$'1*0)';%0#&'#%7%7;%#,./')"":',&')*0)',.'!0,),0.'("+2+"#%:')*%'C"7;,%'?B')*%'-,9),7a'*%',&')*%'<#%@'"( ')*%'1,)9*$"9)"#'1*"'*0&'$#6//%$'*,7'0.$'<#%&&%$'*,7',.)"'&%#-,9%'("#'10/%+%&&'+0;"6#3'?)',&'".+@',.'+0)%#'P7%#,90.'9,.%70')*0)')*%'C"7;,%';%9"7%&'0')%##,(@,./'90..,;0+:'0.$'0')*#%0)')"')*%'6.,.(%9)%$s6.0((%9)%$'*670.&:';6)',)',&'0+&"'"()%.')*%'-,9),7'"( '6.9*%92%$'9"#<"#0)%'/#%%$:'"#')*%'#%&6+)'"( '0'7,&&)%<')02%.';@'&9,%.),&)&')*0)'+%0$&')"')*%'C"7;,%'"6);#%02'"#'%<,$%7,9'Ee"#'7"#%'".')*,&'&%%'7@'9*0<)%#'".'̂ A*%'K9"'O"7;,%_'in Generation Zombie:'%$,)"#&'Z"+62'0.$'S%.C:'[\UUG3''?.'.%0#+@'0++'90&%&:')*%'8./%#'<",.)&';092')"'L0<,)0+,&7'0&')*%'1,)9*$"9)"#'*"+$,./',)&'90<),-%&',.'0'&)0)%'"( '&%#-,)6$%'0.$'<%#=<%)60+'*6./%#3'

?.')*,&'90&%:'H6$@'K6/%.%'&%%7&')"'*0-%';%%.:'0)';%&):')*%'-,9),7'"( '0.'6.&9#6<6+"6&'$#6/'$%0+%#:'0)'1"#&):')*%'-,9),7'"( '0.'6.90#,./:'6.(%%+,./'&"9,%)@')*0)'$"%&'.")'*0-%')*%'0<<#"=<#,0)%'#%&"6#9%&',.'<+09%')"'*%+<')*"&%'&)#6//+,./'1,)*'7%.)0+',++.%&&:'$#6/'0$$,9),".:'$%=<#%&&,".'0.$'/%.%#0+'70+0$56&)7%.)3'J.%'"( ')*%'7"#%')*"6/*)(6+'<,%9%&'?N-%'#%0$'".')*%'&6;5%9)',&'),)+%$'^A#"6;+%$'+,-%&'9+0&*%$',.'tc,07,'O"7;,%N'(09%=%0),./'0))092'E;@'K+,."#'R3'Z#%9*%#'0.$'40$%/%'D#%%.:'c,07,'!%#0+$Ga',)'$%&9#,;%&'H6$@'K6/%.%N&'$%$,90),".')"'*,&'"1.'&<,#,)60+,)@:'*,&'$,(896+)@'1,)*'&6;&)0.9%'0;6&%:'0.$'*,&'(07,+@')#"6;+%&:'0+"./&,$%'Y"<<"N&'0+9"*"+,&7'0.$'0'+,(%'+%0$'".')*%'70#/,.&'"( '&"9,%)@3'

5. Empathy, Ethics, Apology

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The face speaks. It speaks, it is in this that it renders possible and begins all discourse.... The ! 5,.&!(#,+!#4 !&)-!4'*-!$.!&)-!78)#3!.)'/&!%#&!9$//:;!<&!$.!'%!#,+-,:!8)-,-!$.!'!*#22'%+2-%&!$%!&)-!! appearance of the face, as if a master spoke to me. ' ES%-,.0&:'8#&'/$&=!'%+!<%5%$&=:'Xb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behave.

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R,7'B*01:'The Hole, 2007 (JS07.51)h,$%"'1,)*'0#),&)'&"6.$)#092UU7,.'f'&%9".$&'E+""<%$GK$,),".'"( 'd:'['PY&L"6#)%&@'"( ')*%'0#),&)'0.$'D0+%#,%'Y#0C=o%+0-%++0$%:'Y0#,&

The Haptics of Undeadliness; a Methodol-ogy for Melancholic PracticeSimon Clark

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For symbolic death to occur, the dead must be banished and kept at bay. … The second killing represents a movement from empirical biological death to symbolic laying to rest' EUUW'n'UUb'o0#,%.'S%0$%#:'The New Black; Mourning, Melancholia and DepressionG'

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A little spit and polish, you could clean this up and sell it next year. I wonder how many times we’ve bought the same one?

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They’re coming to get you Barbara!

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They’re coming for you! Look! Here comes one of them now

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?( 'S%0$%#N&'<#"9%&&'"( '7"6#.,./',.-"+-%&')*%'+,-,./'&@7;"+,90++@'^2,++,./')*%'$%0$_:')*%.'H"7%#"N&'8+7&'$%&%9#0)%')*,&'<#"9%$6#%'".')1"'+%-%+&a'8#&)+@';@'#%-%#&,./',)'&"')*0)')*%'$%0$'0#%'."1'2,++,./')*%'+,-,./:'0.$'&%9".$+@';@')6#.,./')*%'09)'"( '&@7;"+,9'2,++,./',.)"'0'+,)%#0+'2,++,./:'1*%#%;@')*%'+,-,./'0#%'$%-"6#%$';@')*%'$%0$'6.),+')*%@'0#%'."'7"#%')*0.'0'&)%07,./'<,+%'"( ';".%&3'S%0$%#N&'^2,++,./')*%'$%0$_'702%&'&%.&%'n',)',&'0'&)#0)%/@')*0)'/%.%#0)%&'7%0.,./'0#"6.$'$%0)*a'H"7%#"N&'C"7;,%'".')*%'")*%#'*0.$'702%&'."'&%.&%'1*0)&"%-%#'n',)'-,"+0)%&'&@7;"+,9'$%0)*')*#"6/*',)&'"6)#0/%"6&'0.$'6.$%0$+@'07;,/6,)@')*0)'$"%&'.")'&,)'1,)*,.'0.'"#$%#%$'90)%/"#@'"( '%,)*%#'+,(%'"#'$%0)*3'A*%'C"7;,%'9"++0<&%&')*%'7%9*0.,&7&'"( '7%0.,./')*0)'."#70++@'2%%<'$%0)*'0)'0'$,&)0.9%3'

?)',&',7<"#)0.)')"'.")%')*0)'Z0#;0#0'0.$'R"*..@'(0,+')"'#%9"/.,&%')*%')*#%0)'<"&%$';@')*%'6.$%0$' ;"$@' +6#9*,./' )"10#$' )*%73' ?.&)%0$' R"*..@' ,.9"#<"#0)%&' )*%' C"7;,%' ,.)"' *,&'9*,+$,&*'/07%a'*%'<#"5%9)&'0'7%0.,./'".)"',)')*0)'*%'*0$'<#%-,"6&+@',.-%.)%$'*,7&%+( ',.'"#$%#')"')"#7%.)'*,&'&,&)%#3'!"1'7,/*)'1%'6.$%#&)0.$')*,&'7,&#%9"/.,),".u'?.'*,&';""2'The Sovereignty of Death:'H";'M%0)*%#,++'6.$%#&)0.$&')*%'S090.,0.'H%0+'0&'0'-%#),/,."6&'0;&%.9%'"( '7%0.,./' )*0)' +6#2&';%*,.$' )*%' ^<*0.)0&@' &9#%%._' EXV'H";'M%0)*%#,++:'The Sovereignty of DeathG'"( ')*%'?70/,.0#@3'R"*..@'<#"5%9)&'*,&'<*0.)0&@'"( ')*%'$%0$'#,&,./'(#"7'

)*%,#'/#0-%&'".)"')*%';"$@',.')*%'9%7%)%#@:'0.$'@%)'*,$$%.';%*,.$')*,&',70/,.0#@'&9#%%.',&'0'H%0+'10+2,./'9"#<&%')*0)'$%8%&'0++'&@7;"+,9'9".-%.),".&3'A*%'C"7;,%',.*0;,)&'0'-",$'1*%#%'7%0.,./'9%0&%&')"'"<%#0)%3'R"*..@',.,),0++@'7,&#%9"/.,&%&')*%'6.$%0$'9"#<&%'0&'0'7".&)%#'(#"7')*%'?70/,.0#@'n'0&'0'89),".'1,)*'1*,9*'*%'90.')06.)'*,&'&,&)%#3'Z6)'0&'&"".'0&' )*%' C"7;,%' ,.%F<+,90;+@' +6#9*%&' ("#'Z0#;0#0:' ,)' /"6/%&' )*#"6/*' R"*..@N&' ^<*0.)0&@'&9#%%._'0.$'%7%#/%&',.&)%0$'0&'0'7".&)%#'(#"7')*%'H%0+')*0)'&<#%0$&'0'-,+%'9".)0/,".'"( '0;5%9)'0.$'70+%-"+%.)'.".&%.&%3'

Misreading Melancholia

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c%+0.=9*"+,0',&'%((%9),-%+@'0'9"++0<&%',.'7%0.,./')*0)'<#"*,;,)&'$%0)*'(#"7';%,./'0$%I60)%+@'+0,$'to rest within language.

?( '7"6#.,./'%&)0;+,&*%&')*%'0;&%.9%'"( '0'<"&,),-%';@'&@7;"+,90++@'(#07,./')*%'$,&0<<%0#=0.9%'"( '0'+"-%$'".%:')*%.'7%+0.9*"+,0'0&&%#)&')*%'<#%&%.9%'"( '0'.%/0),-%a',)',.5%9)&'0'7"#=;,$',$%.),890),".'1,)*'$%0)*',.)"')*%'+,-,./'&6;5%9)N&'"1.'<&@9*%3'c%+0.9*"+,0'&)6;;"#.+@')#,%&')"'2%%<'$%0)*'0+,-%'n'*"1%-%#',7<"&&,;+%')*,&'7,/*)';%'n';@'#%(6&,./')"'+%)',)'&%))+%'1,)*,.')*%'B@7;"+,93'A*%'7%+0.9*"+,9'&6((%#&'<#%9,&%+@';%906&%'&*%'*0&'1,)*,.'*%#&%+( '0.'"-%#0#9*,./'6#/%')"'#%9"..%9)'1,)*'1*0)'&*%'*0&'+"&)3'A*%'".+@'&)0)%')*0)'1"6+$'(6.$0=7%.)0++@'&0),&(@')*%'7%+0.9*"+,9',&'0'#%6.,".'1,)*')*%'$%0)*')*0)'&*%'9#0-%&'&"'0#$%.)+@:'0.$'&"'&%+(=0..,*,+0),".'&)0#)&')"'0&&%#)',)&'0++6#%3'P&'S%0$%#'&0@&:'^?.'7"6#.,./:'1%'/#,%-%')*%'$%0$a',.'7%+0.9*"+,0'1%'$,%'1,)*')*%73_'EX'o0#,%.'S%0$%#:'The New Black; Mourning, Mel-ancholia and Depression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v,w%2'90.'9+0,7')*0)'^B*02%&<%0#%'*0$'#%0$'S090._'EV'B+0-"5'v,w%2:'Looking Awry, An Introduction to Lacan through Popular CultureG'$6%')"'*,&')#%0)7%.)'"( ')*%'%<".@7"6&'<#")0/".,&)',.'H,9*0#$'??'1*"',&'6.0;+%')"',.*0;,)'*,&'&@7;"+,9'&)0)6&'0&'t`,./N:')*%.'?'1,++'9+0,7')*0)'H"7%#"'*0&'1,+(6++@'7,&#%0$'S%0$%#N&'7%)0<*"#',.'"#$%#')"'

(0&*,".'*,&'<0#),96+0#'9%++6+",$'7".&)%#3'O"7;,%'89),".'<+0/,0#,&%&'<&@9*"0.0+@&,&:'#%&)0/=,./')*%'7%+0.9*"+,9N&'?70/,.0#@'%.9"6.)%#'1,)*'$%0)*'0&'0'H%0+'%.9"6.)%#3'A*%'C"7;,%:'0&'0.'0;5%9)'+,)%#0+,&0),".'"( ')*%'9"++0<&%'"( '7%0.,./'"6)&,$%'+0./60/%:';,)%&',.)"')*%'+,-,./'&6;5%9)'n'#,<<,./'&,.%1'(#"7'&2,.'0.$')%0#,./'/#,&)+%'(#"7';".%'n'6.),+'*%'"#'&*%'*0&';%%.'$%-"6#%$'"6)'"( '&@7;"+,9'%F,&)%.9%3'

The Undead Thing

R6+,0'`#,&)%-0'$%-%+"<&')*,&'#%+0),".&*,<';%)1%%.'7%+0.9*"+,0'0.$')*%'9"++0<&%'"( '7%0.=,./',.'%FI6,&,)%'$%)0,+',.'*%#';""2'Black Sun; Depression and Melancholia3'B*%'("#76+0)%&'0'<0#),96+0#';#0.$'"( '7%+0.9*"+,0' )*0):'6.+,2%' )*%'e#%6$,0.'7"$%+:'$"%&'.")' ,.-"+-%' )*%',.)#"5%9),".' "( ' )*%' +"&)' ";5%9)3' `#,&)%-0N&' 7%+0.9*"+,9' @%0#.&' )"' ;%' #%6.,)%$' 1,)*' *%#'^A*,./_'EUd'R6+,0'`#,&)%-0:'Black Sun; Depression and MelancholiaG'n'0.'0#9*0,9'&%.&%'"( '&%+( ')*0)'%+6$%&'#%<#%&%.)0),".'0.$'$1%++&',.')*%'H%0+';%@".$')*%'<0#07%)%#&'"( '&@7;"+,9'+,(%3'A*%'A*,./',&')*%'<0#)'"( ')*%'&6;5%9)')*0)'*"+$&'".')"'0'&%.&0),".'"( '&6<#%7%'1*"+%.%&&'0.$'9"..%9),-,)@')*0)'<#%9%$%&')*%'0##,-0+'"( '+0./60/%3'`#,&)%-0'9+0,7&')*0)')*,&'@%0#.,./')"'#%=%&)0;+,&*'+,.2&'1,)*'0.'0#9*0,9'0.$'+"&)'&%.&%'"( '&%+( '<+6./%&')*%'7%+0.9*"+,9',.)"'0'^;0))+%'1,)*'&@7;"+,9'9"++0<&%3_'E[m',;,$3G

Z6)'1*@'$"%&' )*%'A*,./'"990&,".'0';#%02$"1.' ,.'7%0.,./' ("#' )*%'7%+0.9*"+,9u'A*%'&<%02,./'&6;5%9)'6.9".&9,"6&+@'099%<)&')*0)'*%#'+"&&'"( '0#9*0,9'6.,)@'*0&';%%.'#%<+09%$';@'+0./60/%:'0.$',)',&'<#%9,&%+@')*%'(6.9),".'"( '1"#$&'n')*%'0;,+,)@'"( '&,/.&')"'+,.2')"')*%,#'#%(%#%.)&'n')*0)'+"90)%&')*%'&6;5%9)'1,)*,.'0'8%+$'"( '&@7;"+,9'9".&,&)%.9@3'B<%02,./'70#2&')*%' &6;5%9)N&' 0&9%.&,".' )"'0'."#70),-%'<"&,),".'07"./'")*%#' &6;5%9)&'1,)*,.' +0./60/%3'!"1%-%#' )*%'7%+0.9*"+,9' #%(6&%&' )*%'9"7<%.&0),".'"((%#%$';@' &@7;"+,9'7%0.,./3'B*%'9*""&%&',.&)%0$')"'8F0)%'.")'".')*%'&6;&),)6)%'("#'*%#'+"&&'n'+0./60/%'n';6)'".')*%',.,),0+'+"&&',)&%+(3'B*%',&'$#01.')"')*%'H%0+'$%0)*'"( '&6,9,$%'<#%9,&%+@')"'%&90<%')*%'&)6+),(@,./'"&=&,890),".'"( ')*%'B@7;"+,9')*0)'<#%-%.)&'*%#'(#"7'#%6.,),./'1,)*'*%#'A*,./3'

M%'90.'."1'6.$%#&)0.$'H"7%#"N&'&)0/,./'"( ')*%'&6;5%9)N&'-%#),/,."6&+@'H%0+'%.9"6.)%#'1,)*' )*%'C"7;,%'0&' )*%'7"7%.)'0)'1*,9*' )*%'7%+0.9*"+,9';%9"7%&'".%'1,)*'*%#'"1.'A*,./3'M%'7,/*)'&0@')*0)'1,)*,.')*%'9".9%,)'"( '6.$%0$+,.%&&:')*%'C"7;,%')*0)';,)%&'*%#',&'.")'*%#'A*,./:')*"6/*',)'&)0.$&',.')*%'<+09%'"( '0'7"#%'/%.%#0+'A*,./.%&&3'!"1%-%#')*%'C"7;,%')*0)'&*%')6#.&',.)":'<#%&67,./')*0)'&*%',&'.")'$%-"6#%$'9"7<+%)%+@:',&'*%#'<0#=),96+0#'A*,./'n'*%#&%+( '1,)*"6)'+0./60/%3'`#,&)%-0'.")%&')*0)')*%'0++=9".&67,./'#%6.,".'1,)*')*%'A*,./',&'6.#%<#%&%.)0;+%a'".+@')*%',70/%'"( '"#0+',.9"#<"#0),".'9"7%&'9+"&%')"',.-"2,./',)3'J.9%'0/0,.'1%'90.'9+0,7')*0)'H"7%#"N&'89),".'<6&*%&')*%'7%)0<*"#'"( '<&@=9*"0.0+@&,&',.)"'0;5%9)'+,)%#0+,&7a'1*,+&)'`#,&)%-0N&'7%+0.9*"+,9',&'<"%),90++@'$%-"6#%$';@'*%#'#%6.,".'1,)*'A*,./.%&&:'H"7%#"N&'7%+0.9*"+,9',&'09)60++@'$%-"6#%$';@'A*,./.%&&',.'0'-%#@'H%0+'0.$'9#6$%'(%%$,./'(#%.C@3

M,)*,.'`#,&)%-0N&'099"6.)'"( '7%+0.9*"+,0:')"'%.9"6.)%#'".%N&'A*,./',&')"'%&90<%')*%'"&=&,890),".'"( '+0./60/%:'".+@')"';%'<+6./%$';%@".$')*%'%-%.)'*"#,C".',.)"'0'(0)0+'%.9"6.)%#'1,)*'H%0+'.".&%.&%3'Z6)'H"7%#"N&'89),".'06)*"#&'0.'0+)%#.0),-%'7%+0.9*"+,9'<"&,),".')*0)'#6<)6#%&')*%'9".9%,)'"( '`#,&)%-0N&'("#76+0),".3'A*%'&)0)%'"( '6.$%0$+,.%&&'0++"1&')*%'7%+=0.9*"+,9')"';%'$%-"6#%$';@')*%'A*,./.%&&'"( '&@7;"+,9'9"++0<&%'1,)*"6)'&69967;,./')"')")0+'$,&&"+6),".3'M*,+&)'`#,&)%-0N&'7%+0.9*"+,9'<%#,&*%&',.'0'-",$'"( '7%0.,./:')*%'6.$%0$'7%+0.9*"+,9:'0&'0'.".&%.&,90+';"$@')*0)',&'.%,)*%#'0+,-%'."#'$%0$:'<#"+,(%#0)%&'1,)*,.')*%'vertiginous territories of the Real.

The Haptics of Undeadliness

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Nekros; or, the Poetics of BiopoliticsEugene Thacker

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n',)&';6,+$,./=6<'"#',)&'9".&)#69),".3'M%'2."1')*%'9".$,),".&'("#')*%'.%%$'"( '0';"$@'<"+,),9'n')*%'&)0)%'"( ';#6),&*'.0)6#%:')*%'10#'"( '0++'0/0,.&)'0++:'^70.',&'0'1"+( ')"'70.:_'0.$'&"'("#)*3'J.9%')*,&',##%-"90;+%'0.$'6.,-%#&0+'7,&)#6&)'"( ')*%'*670.',&'%&)0;+,&*%$:'*"1'%F09)+@'$"%&')*%';"$@'<"+,),9'9"7%')"';%u'l6,)%'&,7<+@:'<,%9%';@'<,%9%:'<0#)';@'<0#):'+,7;';@'+,7;3'A*%'Leviathan /,-%&'6&'1*0)',&'<%#*0<&')*%'9+%0#%&)'%F07<+%'"( ')*,&';6,+$,./=6<'<#"9%&&:'".%',.'1*,9*'^)*%'sovereignty',&'0.'0#),89,0+'soul:'0&'/,-,./'+,(%'0.$'7"),".')"')*%'1*"+%';"$@a')*%'magis-trates and other #45*-,.'"( '56$,90)6#%'0.$'%F%96),".:'0#),89,0+'jointsa'reward and punishmentjare the nerves:')*0)'$"')*%'&07%',.')*%';"$@'.0)6#0+jcounselors:';@'1*"7'0++')*,./&'.%%$(6+'("#',)')"'2."1'0#%'&6//%&)%$'6.)"',):'0#%')*%'memorya'equity and laws:'0.'0#),89,0+'reason and willa'concord:'healtha'sedition:'sicknessa'0.$'civil war, death3_{-,,|'

The Leviathan',&:'"( '9"6#&%:'<,92,./'6<'".'0'+"./')#0$,),".'"( '0.0+"/,C,./')*%';"$@'<"+,),9'0.$')*%';"$@'.0)6#0+3'Y+0)"'"((%#&'1*0)',&'<%#*0<&')*%'%0#+,%&)'9"*%#%.)'%F07<+%',.')*%'M%&)3'?.')*%'"<%.,./'$,&96&&,".'"( 'Republic:'B"9#0)%&'&6//%&)&')*0)')*%'I6%&),".'"( '56&),9%',.')*%',.$,-,$60+'&*"6+$';%'&"6/*)';@'0.0+"/,C,./')"')*%'I6%&),".'"( '56&),9%',.')*%'polis:')*%'+0))%#'&,7<+@'0.',.$,-,$60+'^1#,)'+0#/%3_'M*0)'#%&6+)&',&'0'-,%1'"( ')*%'polis'0&'0.',.)%/#0)%$:

)#,<0#),)%'"#$%#';0&%$'".'0')#,<0#),)%'0.0)"7@'"( ')*%'*670.';"$@Q')*%'<*,+"&"<*%#=2,./'E)*%'*%0$:'"#'#%0&".,./'<0#)G:')*%'06F,+,0#,%&'"#'&"+$,%#&'E)*%')"#&":'"#'<0&&,".0+'<0#)G:'0.$')*%'<%0&0.)'9+0&&'E)*%'/#",.'"#'<#"$69),-%s#%<#"$69),-%'<0#)G3'A"$0@:')*,&';6,+$,./=6<'"( ')*%';"$@'<"+,),9'*0&')"$0@';%9"7%'0'70,.&)0@'"( '$@&)"<,0.'&9,%.9%'89),".3'?.')*%'/#0<*,9'."-%+'h'("#'h%.$%))0:')*%'/"-%#.7%.)'%&)0;+,&*%&',)&'"<<#%&&,-%'6.,)@')*#"6/*'0'<%#-0&,-%:'*,/*=)%9*."+"/@'&6#-%,++0.9%'&@&)%7'1*,9*',&')*%'^%@%&:_')*%'^%0#&:_'0.$')*%'^*0.$&_'"( ')*%';"$@'<"+,),93

Zombi 2'E$,#3'S69,"'e6+9,:'UVbVG

The Gothic Body Politic.A*%';"$@'<"+,),9',&';6,+)'6<:';6)',)'90.'0+&"';#%02'$"1.3'A*%';6,+$,./=6<'0+&"'+%0$&')"'0'<#";+%7:'*"1%-%#:'("#',( ')*%';"$@'<"+,),9'90.';%'9".&)#69)%$:')*%.',&',)'.")'0+&"'-6+.%#0;+%')"')*%',.-%#&%'<#"9%&&%&'"( '$%&)#69),".:'$,&&"+6),".:'0.$'$%=90@u'A*,&',&'0'705"#'<#%"996<0),".',.')*%'+,)%#0)6#%'"( ')*%'/")*,9:'1*,9*'$1%++&'".')*%'<#"9%&&%&'"( '$%90@'0.$'$%/%.%#0),".:'<0#0$"F,90+'<#"9%&&%&')*0)'0#%'0)'".9%'/%.%#0),-%'0.$'@%)'$%&)#69),-%3'L".&,$%#')*%'("++"1,./'<0&&0/%Q

! <!'2!5/&)=:!?$*-!@%'(!2-:!A($%-1!()-%!&)-=!/##9!'&!2-1!6#2$&:!8)-!.*'0.!'%+!.#,-.!#4 !/-",#.=!! have scaled my skin, which is coated with yellowish pus. I know not river water nor the clouds’ dew. From my nape, as from a dungheap, sprouts an enormous toadstool with unbelliferous pe duncles. Seated on a shapeless chunk of furniture, I have not moved a limb for four centuries. My feet have taken root in the soil forming a sort of perennial vegetation – not yet quite plant- ! /$4-!&)#3@)!%#!/#%@-,!>-.)!B!'.!4',!'.!2=!0-//=1!'%+!5//-+!($&)!6$/-!"','.$&-.:!C=!)-',&1!)#(-6-,1!!! $.!.&$//!0-'&$%@:!D3&!)#(!*#3/+!$&!0-'&!$4 !&)-!+-*'=!'%+!-4>36$'!#4 !2=!*',*'..!E<!+',-!%#&!.'=!! body) did not abundantly feed it? In my left armpit a family of toads has taken up residence, and

whenever one of them moves it tickles me. Take care les one escape and come scratching with its mouth at the interior of your ear: it could next penetrate into your brain. In my right armpit there is a chameleon which endlessly chases the toads so as not to die of hunger: everyone has to live. But when one side completely foils the tricks of the other, they like nothing better than to make themselves at home and suck the dainty grease that covers my sides: I am used to it. A spiteful viper has devoured my prick and taken its place.

H%+%.)+%&&+@'<%#-%#),./')*%'9+0&&,90+';"$@'<"+,),9',.*%#,)%$'(#"7'!";;%&:')*%')%F)'9".),.6%&',)&'0.0)"7,90+'+,)0.@:'7"-,./'$"1.',.)"')*%'.%)*%#'#%/,".&'"( ')*%';"$@Q

! 8(#!.2'//!)-+@-)#@.1!&)'&!@,#(!%#!2#,-1!)'6-!>3%@!&#!'!+#@!B!()$*)!+$+!%#&!+-*/$%-!&)-2!B!&)-!! contents of my testicles; inside the scrupulously scrubbed scrotal sac they lodged. My anus has been blocked by a crab. Encouraged by my inertia, it guards the entrance with its pincers and ! *'3.-!2-!*#%.$+-,'0/-!"'$%F!8(#!G-//=5.)!*,#..-+!&)-!.-'.1!'&!#%*-!-%&$*-+!0=!'!)#"-!()$*)!+$+!! not prove mistaken. They closely inspected the two plump portions which comprise the human rump and, fastening on to these convex contours, so squashed them by constant pressure that the ! &(#!/32".!#4 !>-.)!+$.'""-',-+!()$/-!&)-!&(#!2#%.&-,.!()$*)!$..3-+!4,#2!&)-!9$%@+#2!#4 !!! viscosity remained, alike in colour, form, and ferocity. Speak not of my spinal column, since it is a sword.'{-,,,|

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And then we started moving toward the city (terra) in the safety of the holy words pronounced. We entered there, and with no opposition. And I, so anxious to investigate the state of souls locked up in such a fortress (fortezza), once in the place, allowed my eyes to wander, and saw, in all directions spreading out, a countryside (campagna) of pain and ugly anguish3{FF-|

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the sepulchers make all the land uneven, so they did here, strewn in all directions, except the graves here served a crueler purpose: for scattered everywhere among the tombs! !!(-,-!>'2-.!&)'&!9-"&!&)-2!@/#($%@!4',!2#,-!)#& than any iron an artisan might use. Each tomb had its lid loose, pushed to one side,! !!'%+!4,#2!($&)$%!*'2-!4#,&)!.3*)!5-,*-!/'2-%&. that I was sure inside were tortured souls3{FF-,|

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The PetroZombieTom Trevatt

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What is an end? One shudders perhaps. An end? Are there more than one? Is not the very question a violation of sorts? A ruthless denuding? Should death be pushed so harshly into my awareness? Can she not wait? Is it not permissible to sleep?' ' EThirst for Annihilation:'4,92'S0.$G

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Does everything that has ever existed continue to exist now, in the molecular transformation of geoprogrammatic recycling, and also, does everything that will ever exist already do so in another larval, disorganized distribution?' ' EY%02'J,+'P<"<*%.,0:'Z%.507,.'Z#0))".G

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According to the biogenic theory of fossil fuels, petroleum was formed under pressure and heat in the absence of oxygen while sadistically counting organic death tolls for millennia. Under such extreme conditions, petroleum grew a satanic verve for reanimating the dead and puppetizing the living on a planetary scale. A precursor to blobjective narratives, (this) imagery grasps the “Thingness” of oil as a singular inorganic body fuelling the Conradian journey “up-river,” ! 4,#2!&)-!@'.!.&'&$#%!&#!&)-!J)&)#%$*!#$/!,-.-,6#$,!6$'!&)-!&-%&'*/-+!-+$5*-!#4 !#$/!"$"-/$%-.:! …..From a nethermost point of view, Bush and Bin Laden are merely petropolitical puppets convulsing along the Chthonic strings of the blob just in the same way that a Chinese plastic toy and equally an American predator drone are brought to life by the strings woven from the hydrocarbon corpse juice.' EtJ6)+,.%&'("#'0'B9,%.9%'e,9),".'"( ')*%'K0#)*'0&'40##0)%$'(#"7'0'4%)*%#7"&)'Y",.)'' "( 'h,%1N:'H%C0'4%/0#%&)0.,G

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Petroleum possesses tendencies for mass intoxication on pandemic scales (different from, but corresponding to capitalism’s voodoo economy and other types of global possession systems). Petroleum is able to gather the necessary geo-political undercurrents (subterranean or blobjective narrations of politics, economy, religion, etc.) required for the process of Erathication or the moving of the Earth’s body toward the Tellurian Omega – the utter degradation of the Earth as a Whole. ' EL@9+"."<%$,0Q'L"7<+,9,)@'M,)*'P.".@7"6&'c0)%#,0+&:'H%C0'4%/0#%&)0.,G

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Otto: An IntroductionBruce LaBruce

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The Next Evolution

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Post-Contemporary Zombies

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The Antidote in Art

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Caveat

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RiseChad Robertson

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Notes on Contributers

Simon Clark

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P&'0.'6.$%#/#0$60)%'0)'S%%$&'T.,-%#&,)@'B,7".'10&'0'7%7;%#'"( ')*%'S%%$&'Ud'n'0'/#"6<'"( '0#)'&)6$%.)&'1*"'6&%$'0'<6;+,9'0#)'/#0.)')"'(6.$'0'*"+,$0@'".')*%'L"&)0'$%+'B"+3'A*%'.0),".0+'<#%&&'#%09)%$'1,)*';,+,"6&'"6)#0/%';%("#%')*%'&)6$%.)&'#%-%0+%$')*0)')*%'*"+,$0@'10&',.'(09)'0.'%+0;"#0)%'&,76+0),".'0.$')*%'7".%@'*0$'.%-%#';%%.'&<%.)3'o6#,./'*,&'cP',.'P#)'Y#09),9%'0)'D"+$&7,)*&:'B,7".'1#")%'0'9"++%9),".'"( '7"#;,$'&"./&'0.$'&*"#)'&)"#,%&'90++%$'Sad, Sad Songs of Wretchedness and Death3'P()%#'/#0$60),./'*%'<%#("#7%$')*,&'#%<%#=)",#%'+,-%'0)'70.@',.)%#.0),".0+'0#)'%-%.)&',.9+6$,./')*%'4%1'M,/*)'Z,%..,0+'0)'TLSP:'S0)%'0)'A0)%'Z#,)0,.',.'S".$".'0.$')*%'B".0#'e%&),-0+',.'Z0#9%+".03'P&'<0#)'"( ')*%'L6#0#%'l6,)"'<#"5%9)',.'[\\b'*%'10&',.-,)%$')"'9"7<"&%'0.$'9".$69)'0.'"#,/,.0+'<,%9%'"( '76&,9'%&<%9,0++@'("#'0'$%9".&%9#0)%$'9*6#9*',.'l6,)":'K960$"#3'!,&'%&&0@'A*%'T.$%0$'c0#)@#',&',.9+6$%$',.')*%';""2'The Undead and Philosophy'<6;+,&*%$';@'J<%.'L"6#)'Y#%&&3

Caryn Coleman

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'M*"'`.%1'A""'c69*:')*%'5"6#.0+'Incognitum Hactenus:'0.$'%F*,;,),".'<#"/#077,./',.=9+6$,./')*%'On the Desperate Edge of Now 0)')*%'o67;"'P#)&'L%.)%#',.'e%;#60#@'[\Ud3'B*%',&'L""#$,.0)"#',.')*%'L,.%70'o%<0#)7%.)'0)'4,)%*012'L,.%70'0.$',&'96##%.)+@'Y#"/#07'L6#0)"#'("#')*%'h"+6.)%%#'S01@%#&'("#')*%'P#)&'tP#)'r'S01N'H%&,$%.9@'<#"/#073'L"+%70.'#%9%,-%$'*%#'ceP',.'L6#0),./'1,)*'$,&),.9),".'(#"7'D"+$&7,)*&'L"++%/%',.'S".$".

Bruce LaBruce

Z#69%'S0Z#69%',&'0'8+7702%#:'<*")"/#0<*%#:'1#,)%#:'0.$'0#),&)'1*"',&';0&%$',.'A"#".)"';6)'1*"'1"#2&',.)%#.0),".0++@3'P+"./'1,)*'0'.67;%#'"( '&*"#)'8+7&:'*%'*0&'1#,))%.'0.$'$,#%9)%$' &%-%.' (%0)6#%'8+7&' 0.$' ,&' *0#$'0)'1"#2'".'*,&' %,/*)*3'P&' 0' -,&60+' 0#),&)' *%' ,&'#%<#%&%.)%$';@'Y%#%&'Y#"5%9)&',.'Z%#+,.:'0.$'*%'*0&'*0$'.67%#"6&'/0++%#@'&*"1&'0#"6.$')*%'1"#+$:')*%'+0)%&)'"( '1*,9*:'90++%$'Obscenity:'0'<*")"/#0<*@'%F*,;,):'906&%$'0'.0),".0+'#6926&',.'B<0,.3'!,&'+0&)'(%0)6#%'8+7:'L.A. Zombie:'10&';0..%$',.'P6&)#0+,03'S0Z#69%'*0&'1#,))%.'0'<#%70)6#%'7%7",#'90++%$'The Reluctant Pornographer:'0.$'*0&'*0$')1"';""2&'<6;=lished about his work: Ride, Queer, Ride:' (#"7'Y+6/=?.'D0++%#@',.'M,..,<%/:'0.$'Bruce(x)ploitation:'0'7"."/#0<*'(#"7'*,&'?)0+,0.'$,&)#,;6)"#:'P)+0.),$%'K.)%#)0,.7%.)3'S0Z#69%'*0&'9".)#,;6)%$')"'0'-0#,%)@'"( ',.)%#.0),".0+'70/0C,.%&'0&';")*'0'1#,)%#'0.$'<*")"/#0<*%#:',.9+6$,./',.$%F:'("#'1*,9*'*%'0+&"'09)%$'0&'0'9".)#,;6),./'%$,)"#3

Sarah Juliet Lauro

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Chad Robertson

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Jim Shaw

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Eugene Thacker

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Kate Thompson

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Tom Trevatt

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art philosophy horror INCOGNITUM HACTENUS · art philosophy horror Living On: Zombies vol.3...

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