commercial landscape propaganda, they_2

speculative fiction_0

SOFT WAR
The possibility of a future history
The division of the social body between genders is a soft war. These notes are a collection of some of the elements of this soft war, while many elements remain to be collected. One must keep in mind that the content of these notes is not a signification but a potentiality.



Cervix wars
The steadily decreasing birth rate in connection to the specific decrease in the birth rate of males has led to a crisis that was later increased by the longevity of the female populace. What was once a class war has now shifted into gender war. The fanaticism of the, ever decreasing, male population is fuelled by the propaganda that aims to present them as a species facing extinction.

Boredom clinics
In every neighborhood there seemed to be an increase in these clinics. The rational behind them being that intensifying perversion, letting it saturate the entire field of desire, would contain deviance. In other words; deviance itself was made the cure. This is accomplished by total visibility, complete access to complete excess. In these clinics customers are oversaturated with their own desires.

Mantis Religiosa
Is a term for western European abortion-bombers. The history of the Mantis Religiosa can be traced to the Black Widows as well as to other groups such as the Gardens of the Righteous and the Brides of Allah. The Mantis Religiosa adapted the pre-terror policies and mutated them into their own form of terrorism. This terrorism is based on male embryo abductions as well as embryo deaths. One cell of the group would abduct women (mostly media exposed persons, so as to have a greater impact in the media) and then perform abortions if the ransom was not paid. The second cell would deal with getting impregnated. When the impregnation occurred than the Mantis Religiosa would terminate the predator (their term for the male that would impregnate them) and then would perform a live image transmission of the abortion. In case the embryo was not male then the female embryo would be kept and indoctrinated into the group
Al-Tasreef or The Method Market
Virtual Surgery refers to a virtual reality simulation of surgical procedures. These simulations where initially used to practice often dangerous surgical procedures without the need for an actual patient.
Virtual surgery uses a computer screen displaying a 3-dimensional graphic of the organs being operated on. Various surgical tools or gloves are connected to motion sensors and tactile feedback mechanisms where the user can physically feel the difference in simulated tissue and organs. The user can "perform surgery" upon the virtual organs by manipulating the tools, which are also displayed on the screen as the user moves them, and the tools also provide force-feedback and collision detection to indicate to the user when they are pushing on or moving some organs or tissue.
Each market is equipped with a surgical technologist, a nurse, a radiologic technologist and an image documenter.
The market also provides a series of analog surgical instruments that can be purchased, such as:
Clamps and occluders , Retractors, distactors and positioners, sclapels, lancets, drill bits and many other surgical devices.
When the customer leaves The Method Market, he/she leaves with a digital portrait of their surgery that can be blown up to any size that the desire.

7th Continent
A cross gender colonization
Having ended with all forms of “isms” there appeared the rise of a “revelation” that brought the age of political revolutions to a close. With a humanity that had been left with nothing to do, omnipolitan moguls, masters of the multinationals_ being weightlessly cut off from the “real” world of political economics, discovered (and financed) a truly weightless colony: the 7th continent, a virtual colony.
Commercial for X-plorer, the first private firm capable of sending people into suborbital flight:
A rocket flight into the black sky above the earth”s atmosphere, so you can enjoy minutes of weightlessness excitement, then the thunderous decelerastion of the aerodynamic drag on entry…a few minutes unencumbered by weight with an unobstructed view of the blue-fringed terrestrial orb and blackest night in plain daylight.

State of Siege
The Paramnesiac Perception Production Company lost no time in evaluating the potential audience pool that developed in Iraq during “Operation Shock and Awe”. It was not a giant leap of imagination to recognize that the viewer was intrigued not by the “weapons of mass destruction” but rather by the “Weapons of Mass Communication”. And so building upon the Bunker society’s (located or more precisely dis-located in the Meta-City) self imposed exile in the non-place, the company developed a slice in the image market for what is now referred to as siege psychosis. The company, in its reality War Game, proposed a simple premise (to begin with): that presentation in real time is far more direct and affective than re-presentation in real space.
New York City after the fall of The World Trade Center, Baghdad after the fall of Saddam Hussein, and other such catastrophes became episodes in the State of Siege series. The Heads of States where the contestants of the reality game while the United Nations functioned as the on air judges of the episodes. Due to the extremely high ratings of this real time, hyper reality show, the company in collaboration with Tele-Tactics devised The Data Suit which allowed arm chair internauts full immersion and navigation into the theatres of war that where the content of each of the episodes.

Weapons of Mass Communication
Many of the male dominated, self-proclaimed, free channels (this term specifically used to emphasize the open source, non-structure of the domain/territory as opposed to the term “state”) accuse the female, northern European states as being based on pseudo-representative forms of governing,which they termed as “The Democracy of Emotion”. This form of governing has as it’s methodology: the creation of a non-political evangelist avatar (as was Shwarzenegger in California) whose task is to dissolve public opinion and promote a kind of instantaneous collectivist emotion aimed at creating an ecstatic trance producing a mass individualism.

Proper Conductor
Dr. Martha Marshall invented the source switch: a medical procedure in which electrodes are implanted directly into the patient’s brain. The result would be that the offender’s bursts of assaultive behavior would be biologically blocked as they are about to occur. Remote controlled cerebral stimulation would put an end to gender victimization.

XEER
Organic institutions

The Academy of Erotic Inquiry, The SomaFree Institute and The spectacular Optical.
These institutes where established so that the female states could advance three basic areas of communication as well as communication transformation. The three, above mentioned areas, are: mental (mental integration/disintegration and expansion), physical (body transformation/mutation/acceleration as well as biological chaos and body horror) and image (symbolic orders/image manipulation/female image production and advancement).
The Academy of Erotic Inquiry
The A.E.I worked within the framework of investigating the unknown powers of female sexuality. One example is the academies study and revision of the theory of Vagina Detatta. What is the source of this castration anxiety and more importantly how can the idea of the power of a woman to castrate be connected to self-empowerment but also to power exercised on the other. In co-operation with The Spectacular Optical, a revision of image documents is at hand (especially in vampire and horror films where, for instance, the bloodied mouth is a common symbol for the vagina and the draining of male vitality).
The SomaFree Institute
S.I’s studies are largely focused on the scientific possibilities of self-fertilization. This is advanced beyond test tube babies and is more focused on the mutation of the female biology so that it can be completely independent of all/any exterior aids. The goal is the creation of a hybrid/ a designed mutation that, without loosing it’s feminine physiology, is an autonomous initiator, constructor and producer of life.
The Spectacular Optical
The S.O institute deals with identity and image. It handles issues such as system and order identity, the rejection stereotypical images in order to search for and beyond image boundaries and to cultivate image perception. Its duties/studies also deal with the male dominated depiction of women. All forms of art and communication are revised and new forms of art and communication are created.

New Flesh Revised

The banality of perversion
Overexposure and polymorphous perversity in the work of David Cronenberg

Celluloid decomposition, the surgical table
In the celluloid world devised by Cronenberg one would not discuss his cinematography as art but rater as contagion. In his work we see communication as virus, image as addiction and ultimately the degradation of the visual immune system.
In the absence of a singularity in his mise en scene, distinct repetetive visual motif(s,) signature framing techniques and other cinematic devices which, when combined, create a distinct style-one could not take a frame out of one of his films and, by analogy, see it as a painting. If one where to make an analogy then the frame, spliced from any of his films, could be seen as a surgical table, the sum of the film seen as a laboratory.
In this laboratory the director is the experimenter whose primary concern is the operation on the optic nerves in exploring the possibilities of images affecting, first and foremost, the viscera prior to them being filtered by the mind. We therefore have images and characters that, as Croneberg himself proclaims, are emergent creatures. These creatures from the unconscious make the mental physical. In most cases these creatures are primal, nearly foetal, nearly formless. These creatures function as embodiments, which afford Cronenbergs films to function both as cross genre (in that the author tries to work in uncategorized ghost forms and in self-devised hybrid forms) and at the same time cross gender (in that they deal with polymorphous perversity, omnisexuality and mutant, emergent and gender fluid identities).
Although many of Cronenbergs films capture a claustrophobic, affecting and interiorized cinema, (in Dead Ringers, after it’s opening sequence, the entire movie features 2 or 3 exterior scenes) they all seem to suffer from the same symptom(s). They lack subtext, they suffer from the construction of hermetically sealed embodiments (bordering on symbols) leaving no space for the audience/viewer to come into dialogue, to imagine-that there is the possibility that something might be happening underneath that which is being shown, that there is something that wants to be said except for that which is being said (scripted). An example of the non-distinguishable character/the embodiment (in most cases of emotions: jealousy, rage, hate etc…) which functions on multiple levels and is also audience inclusive is that of the Mystery Man in David Lynchs’ “Lost Highway”.
Towards a collision of images rather that a collection of images
This lack of layered meaning seems to give Cronenbergs films more of an expository nature which dwells on his obsessions: the body’s capacity to respond through transformation, mutation and its own creative diseases, body chaos, body horror, physical revolutions, mental disintegration, polymorphous perversity ,omnisexuality and gender fluid identitities.
Poststructuralist critics such as Gilles Deleuze (see Anti-Oedipus) and Judith Butler (see Gender Trouble), as well as critical theorist Herbert Marcuse (see One-Dimensional Man) analyze the repression of polymorphous perversity through positing challenges to the Oedipal complex itself. In the case of Cronenberg we have no counter weight, no challenges, that is to say that we have no antithesis to the directors thesis so that we (the audience) might be more challenged, more engaged and at the same time more alienated in the act of watching/digesting the image obsessions placed on the surgical table ,the auteurs cinematic frame.

the expression of repression
The problem here is not that suppressed sexuality and gender issues are expressed and by being expressed are possibly absorbed/assimilated into the mainstream (which for some gender purists might be problematic in debasing issues while for others involved in the politics of gender , and with a more realpolitik approach, would at least give visibility to an invisible portion of the population) but an even more dangerous proposal : the expression of repression, paradoxically, leads to repression.
The rational behind this re-repression being that intensifying perversion, letting it saturate the entire field of desire, would contain deviance. In other words; deviance itself is made the cure. This is accomplished by total visibility, complete access to complete excess. In Cronenbergs cinema the viewres are oversaturated with their own desires.

commercial landscape propaganda, they

track 12/physical presence: the sound of an image betrayed/memory bank