#nicola masciandaro

[sun-death]

Swallow me because I am yours.

Alina Popa & Nicola Masciandaro, Spheresy 1693

#alina popa #nicola masciandaro #spheresy 1693

[spaceintruderdetector]

https://archive.org/details/bub_gb_GCM2MFeJwfMC

Essays and documents related to Hideous Gnosis, a symposium on black metal theory, which took place on December 12, 2009 in Brooklyn, NY. Expanded and Revised. Life is a hideous thing, and from the background behind what we know of it peer daemoniacal hints of truth which make it sometimes a thousandfold more hideous. H.P. Lovecraft Poison yourself . . . with thought Arizmenda CONTENTS Steven Shakespeare, The Light that Illuminates Itself, the Dark that Soils Itself Blackened Notes from Schelling's Underground. Erik Butler, The CounterReformation in Stone and Metal Spiritual Substances. Scott Wilson, BAsileus philosoPHOrum METaloricum. Hunter HuntHendrix, Transcendental Black Metal. Nicola Masciandaro, AntiCosmosis Black Mahapralaya. Joseph Russo, Perpetue Putesco Perpetually I Putrefy. Benjamin Noys, 'Remain True to the Earth' Remarks on the Politics of Black Metal. Evan Calder Williams, The Headless Horsemen of the Apocalypse. Brandon Stosuy, Meaningful Leaning Mess. Aspasia Stephanou, Playing Wolves and Red Riding Hoods in Black Metal. Anthony Sciscione, 'Goatsteps Behind My Steps . . .' Black Metal and Ritual Renewal. Eugene Thacker, Three Questions on Demonology. Niall Scott, Black Confessions and Absulution. DOCUMENTS Lionel Maunz, Pineal Eye; Oyku Tekten, Symposium Photographs; Scott Wilson, Pop Journalism and the Passion for Ignorance; Karlynn Holland, Sin Eater IV; Nicola Masciandaro and Reza Negarestani, Black Metal Commentary; Black Metal Theory Blog Comments; Letter from Andrew White; E.S.S.E, Murder Devour I. HTTP //BLACKMETALTHEORY.BLOGSPOT.COM

#heavy metal #dark metal #metal #rock #theory

[deoffal-mp-adm7000-n-s1-2022]

Justifications for Black and white (The importance of the “Achromatic” in my work)

Pieces featured:

-Fig.1-And so on to infinity-(Robert Fludd 1617) Source: Eugene Thacker, Public Domain Review(2015)

-Fig.16-Nameless Entity (Clark Ashton Smith 1961)-Source: Eldritch Dark(2009)

(Both from my latest essay featured in the beginning of this blog, The Cat in the Box,  Meditations on horror as paradoxical allegory.)

All quotes are taken from ‘Starry Speculative Corpse: Horror of Philosophy Vol. 2′ by Eugene Thacker, 2015

--------------------------------------------------------------------------

I always feel as if I have to defend my intentions for my art in ever single project, it’s part of the reason why I work so hard, because I don’t want anything to be left up to misunderstanding or blazing ignorance by my critics, the issue of colour is one of my fundamental frustrations as mentioned already before in this project, and of which I won’t write about more past this post. I’m presenting quotes of interest here because I of course get the most influence from literature and philosophy I thought it would be best to defend my choice of aesthetic through the words that inspire this intention most. The second book of Thacker’s ‘Horror of philosophy’ series deals in the formulas of the very title, that of the paradox of consciousness, such as discussing the existentialist conundrums of Heidegger on being and nonbeing, this having some relation to the above quotes, in that I’m often fascinated by how Thacker brings theorists together to discuss the openness of alternativity within contemporary discourse. In particular on the very being of nothingness, darkness and voids within our own comprehensions of the universe in the face of total blackness, this in turn becomes about how we can perceive a spectrum of colour, and yet that isn’t all the colours that exist, we only know what we can experience and study, but beyond our being of comprehension there is nothing but blackness. A blackness that Robert Fludd believed to be pre-universal and yet paradoxically still exists now, making blackness a contentious enough issue to excite someone as contemporary as me hundreds of years after Fludd imagined the universe as a black square, that was all and nothing, not even needing to show the range of visible colour in his idea as it was all colour and no colour at the same time, making darkness and the abyss of the space around all the more abhuman at its most natural understanding. For those most fascinated by this darkness like Francois Laruelle, Arthur Schopenhauer and Nicola Masciandaro, as quoted above, blackness is not merely a paradox of colour, but an extreme beyond it, the very alternative to light itself, and so by the metrics of the eye and brain function when caught between either of the two, we see the very gap between what is known to us and to what is hidden, when merging them you don’t get colour, you get contrast and starlight, yet blackness can’t exist without a lack of light, and light can’t exist without lacking blackness, this reveal and unrevealing of existence is such an incredibly fascinating problematic to me as my work shows. It’s of course quite common in horror fiction to exploit this as the very subject of duality when representing the mundane and it’s transformation into the uncanny and alternative, this almost consuming darkness is a tool which exists in horror fiction as an agent of transmutation to what is known and what becomes reimagined through the unknown, this is the very back bone of weird fiction and is Lovecraft’s crutch. As evidenced here in the works of Clark Ashton Smith, a known peer and celebrated peer of Lovecraft, darkness is always the backdrop to the alternative and marries well with the uncanny, no villain, monster or gothic fantasy and folklore has ever attempted to bring itself to the complete serenity of the light as it would totally lose it’s mystery and curiosity, it would be without atmosphere or impact, that is why we tell ghost stories in the dark and why he we are afraid of the dark as a natural instinct, it simply does not reveal all and that both excites and can distress us in equal measure.

This immediately invalidates the need for colour play, it’s way such icons as Junji Ito are all the more memorable for their black and white style, the level of detail one can achieve when they aren’t bogged down by the normative and mundane quality of realism, and in turn colouring an image to have it resemble usual viewing of subjects in our own lives, the more unnerving and disquieting this can be on the audience, after all, it’s still being used to this day in critically acclaimed horror films such as the Light House (2019) to further sensationalise the darker imagery and scenes of said medium through the achromatic. Colour often simplifies the image and makes for better pulp science fiction material than it does for representing gut wrenching metamorphosis or existentialist horror stories, after all, if your going to make horror works that unnerve you to the point of reconsidering your own perception of mankind and what has the potential to crawl out of the supposedly endless nothingness of space then colour is going to make the entity all the more cartoony and without imaginative qualities, it has to exist outside our assumptions to be terrifying, and operating on a spectrum of colour that we see everywhere and recognise as normative constantly does nothing to challenge you. We don’t see in black and white and so using this medium to make works about exploded anatomy and abhuman portraiture is a always going to be so much graphical and unconventional in it’s form, it’s not realistic because it isn’t intending on being so. If I negate colour in my works then I’m actually allowing the audience to think outside of the whiteness and the blackness of my Rorschach-esque work, after all Dr Rorschach didn’t need to colour in his ink blots to see the eyes of his patients light up such a frantic way at would could be the face of their latest nightmare on paper, it’s all up to interpretation when you entirely remove the suggestive symbolism of colour. We humans have a symbolism for everything that is visible to us and colour is the worst offender academically speaking, it’s easy to see red as blood, it’s easy blue as water and yellow as urine, I don’t need to go over the entire spectrum of colour just to convey how mad it is that people think colour would improve my work, might as well start putting rainbows in books to see if that stops libraries going out of business, it’s more absurd that my portraits and yet I get chastised for allowing the audience to create their own understanding of how realism would represent my pieces if any of my portraits could reveal their whole picture, it’s part of the storytelling and the mystique of my work, something I feel most contemporary art students wouldn’t know even if it paraded itself in front of them with its tackle suggestively pointing at them. 

I hope this properly illuminates why I find colour annoying as a suggestion in the work, there is clear weight and value to the what I’m doing here, and I will be writing more about the importance of the Achromatic as the project goes on, this most certainly will be an important subject when doing the show and considering how the work fits alongside works of colour and under the bright lights of the studios, surrounded by colourful characters. 

[ahalal-uralma]

“Now the two great signs of spiritual barrenness especially evident in our culture are worry and lust, that is, anxious concern about the past or future and appetitive craving for fleshly excitements. The first is typified by capitalism, the pursuit of happiness through profitable business (from OE bisig, ‘anxious, worried’):

There are very few things in the mind which eat up as much energy as worry [...] Worry is the product of feverish imagination working under the stimulus of desires. It is a living through of sufferings which are mostly our own creation. - Meher Baba, Discourses

The second is typified by consumerism, the pursuit of happiness through deceptive delights of distraction, possession and ingestion (delight, from de-lacere, ‘to lure away’):

A man likes curry because it tickles his palate. There are no higher considerations, so it is a form of lust [...] Lust of every type is an entanglement with gross forms, independent of the spirit behind them. It is an expression of mere attachment to the objects of sense. - Meher Baba, Discourses

As worry is the lowest form of imagination and thinking, so lust is the lowest form of love. Where we see the former culturally elevated to the point of identification with intellectual virtue, we see the latter culturally elevated to the point of identification with affective virtue. Where the former circulates under the masks of responsibility, concern, and care, the latter circulates under the masks of fun, glamour, and affection. Moreover, worry and lust rather obviously circumambulate the perimeter of the seeming impossibility of renouncing one’s ‘own self’, namely, the identitarian so-and-so that one possesses. When you hear that you must renounce nothing but yourself, immediately their voices are heard, possessing one’s own: ‘If I give up myself, who will I be? Don’t get me wrong, I like the idea of not having to renounce anything else, but if I am no longer me, how will I enjoy it all?’”

- On The Darkness Of The Will, Nicola Masciandaro 

“The Whim Of Reality: On The Question Of Will: 29-30″

#nicola masciandaro #on the darkness of the will #dark philosophy #philosophy #writing #quote #text

[somnolentdesolation]

"Cosmic pessimism is not properly an -ism, but an act of showing, outside the parameters of formal proof, the non-philosophizability of the universe. It is a demonstration of the fact that the human, by virtue of its own event, is constitutively incapable of intellectually navigating the negativity binding thought and being, of definitely illuminating the darkness of one's relation to the real."

- Nicola Masciandaro, On the Darkness of the Will (2018)

#nicola masciandaro

[noumenalroom-deactivated20221021]

“Hideous Gnosis” Reviewed in Wire Magazine by Mark Fisher

http://blackmetaltheory.blogspot.com/2010/05/hideous-gnosis-reviewed-in-wire.html

1. Nicola Masciandaro, “Mors mystica: black metal theory symposium”, 2015 2. Nicola Masciandaro, “Hideous Gnosis, a symposium on black metal theory”, 2009

#nicola masciandaro #mark fisher #philosophy #essay #metal book #bm #black metal #symposium #hideous gnosis

[xennnnnnnn]

Actually I'm curious about your books!!

 oh ok!! so i‘m going to do a list of books i would suggest// i enjoyed but most of them are not fresh reads because i’ve been reading mostly books for my thesis (and i don’t think anyone would be interested) + for my exams (and i did read some very interesting things!) — also, i haven’t realy shared about books on this blog like i did on my old one

that being said, i won’t list some authors i love very much just because it’s kinda obvious that i read and like them (e.g. Deleuze, Guattari, Haraway, Benjamin, Agamben, etc.) — i will also do a separate post for fiction/ novels

Thomas Ligotti — The Conspiracy Against the Human Race

Mark Fisher — Ghosts of my Life

Mark Fisher — The Weird and the Eerie

Mark Fisher — Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction

Rosi Braidotti — The Posthuman

Rosi Braidotti — Nomadic Subjects. Embodiment and Sexual Difference in Contemporary Feminist Theory

Jackie Wang — Carceral Capitalism

The Invisible Committee — The Coming Insurrection, To Our Friends, Now

Franco “Bifo” Berardi — And: Phenomenology of the End

Franco “Bifo” Berardi — The Uprising: On Poetry and Finance

Scott Wilson (curated by) — Melancology: Black Metal Theory and Ecology

Nicola Masciandaro, Edia Connole (curated by) — Floating Tomb: Black Metal Theory

Silvia Federici — Caliban and the Witch

Luciana Parisi — Abstract Sex: Philosophy, Biotechnology and the Mutation of Desire

Tiqqun — Theses on the Terrible Community

Tiqqun — Introduction to Civil War

Jacques Derrida — The Animal that Therefore I Am

Hito Steyerl — The Wretched of the Screen

Sergio Gonzalez Rodriguez — The Femicide Machine

Laurent de Sutter — Narcocapitalism: Life in the Age of Anesthesia

+ everything by Eugene Thacker

honorable mention: the work of Jakob von Uexkull

on a side note, i think every book by this authors is worth a read, especially Ligotti; i also find myself more excited about book i want to read!! i have a lot of them

[forbidden-sorcery]

Since Lovecraft, horror has increasingly been concerned with the cosmic paralysis of humanity. This paralysis is caused by the realization that the underlying problem with communication is the dilemma of understanding our place, as humans, in the universe—that incalculably large void which envelopes us all. How can we begin to understand what this means in terms of instilling horror? In his landmark text, Matter And Memory, Henri Bergson frequently references the human mind, able to comprehend its place in the universe, as being privileged with consciousness. Alternately, the more recent philosophical tendency of speculative realism attempts to overcome philosophies of access, or philosophies such as Bergson's, that privilege human consciousness over other entities. The result of this contradiction, this overlap in two very different beliefs, is what we will refer to as strangeness. How can we possibly think past our own privilege as human beings, a privilege I am exercising with the very act of this writing? That you, in turn, are exercising by reading what I've written? The argument here is for a post-communication plane of thought—for thinking without language. This would be the existence of total horror: existence "understood" through the seemingly contradictory filters of an inarticulate lucidity and an articulate confusion. As Nicola Masciandaro writes, "That is what the world is (the result of a confusion between the world and a statement about the world). There is the world and there are our statements about the world—our rhetoric—all of which are different. Correlation of consciousness and language is inherently flawed and results only in failed communication and a reinforced sense of isolation. Our attempts at letting others know the strangeness of how we feel is not so much different from the message of the drowning man in a vast ocean, his attempts at communicating his mortal peril perhaps witnessed only by the shadowy shapes beneath the waves circling their prey, interpreting the man's flailing arms and thrashing legs as something wholly different from their intended meaning. What if those great predators of the deep believe the man is waving them over, offering his body as sustenance?

David Peak - The Spectacle of the Void

#David Peak #horror

[shreddedmaps]

If You Bring Me Sorrow (Nicola Masciandaro)

If You Bring Me Sorrow (Nicola Masciandaro)

So it begins…

View On WordPress

#commentary #nicola masciandaro #the devil #Video #zulawski

[sun-death]

Carry your head to the place of its burial.

Alina Popa & Nicola Masciandaro, Spheresy 1693

#alina popa #nicola masciandaro #spheresy 1693

[spaceintruderdetector]

Essays and documents related to Hideous Gnosis, a symposium on black metal theory, which took place on December 12, 2009 in Brooklyn, NY. Expanded and Revised. Life is a hideous thing, and from the background behind what we know of it peer daemoniacal hints of truth which make it sometimes a thousandfold more hideous. H.P. Lovecraft Poison yourself . . . with thought Arizmenda CONTENTS Steven Shakespeare, The Light that Illuminates Itself, the Dark that Soils Itself Blackened Notes from Schelling's Underground. Erik Butler, The CounterReformation in Stone and Metal Spiritual Substances. Scott Wilson, BAsileus philosoPHOrum METaloricum. Hunter HuntHendrix, Transcendental Black Metal. Nicola Masciandaro, AntiCosmosis Black Mahapralaya. Joseph Russo, Perpetue Putesco Perpetually I Putrefy. Benjamin Noys, 'Remain True to the Earth' Remarks on the Politics of Black Metal. Evan Calder Williams, The Headless Horsemen of the Apocalypse. Brandon Stosuy, Meaningful Leaning Mess. Aspasia Stephanou, Playing Wolves and Red Riding Hoods in Black Metal. Anthony Sciscione, 'Goatsteps Behind My Steps . . .' Black Metal and Ritual Renewal. Eugene Thacker, Three Questions on Demonology. Niall Scott, Black Confessions and Absulution. DOCUMENTS Lionel Maunz, Pineal Eye; Oyku Tekten, Symposium Photographs; Scott Wilson, Pop Journalism and the Passion for Ignorance; Karlynn Holland, Sin Eater IV; Nicola Masciandaro and Reza Negarestani, Black Metal Commentary; Black Metal Theory Blog Comments; Letter from Andrew White; E.S.S.E, Murder Devour I. 

https://archive.org/details/bub_gb_GCM2MFeJwfMC/mode/2up

#heavy metal #black metal #metal

[theseveredhead]

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#secondary

[ahalal-uralma]

“Do you want knowledge, or do you want to be the knower? Do you want justice, or do you want to be the judge? Do you want the wine of bliss, or do you want to be the drinker? How beautiful the face that does not refract this dilemma, which is clear of the dark interference of some leaden desire, hiding under gold paint, the counter-will of wanting to be the one who wills—even to the point of killing will itself. Ask someone whether he wants to be or to appear good? You know what he will answer: that he wants to be good—because he wants to appear so.”

- On The Darkness Of The Will, Nicola Masciandaro

#nicola masciandaro #on darkness of the will #dark philosophy #philosophy #text

[onetwofeb]

The tyranny of fear comes to an end by uncovering the lamp of your own mind.

Nicola Masciandaro

[grimesapologist]

"Stop fearing and worrying and fussing. Feast on the flesh that only you can eat, that you will eat. They want us to fear death so much, but we can inhabit it like vermin [says Land], it can be our space ... we can knot ourselves into the underworld, communicate through it, cook their heavenly city in our plague."

— Nicola Masciandaro, Wormsign

#theory