CHOREO-POP-TECHNO-REGIMES: ON KISSING, ISLURWHENITALK, AND THE JERK RENAISSANCE
'i make vamp jerk' -- slurrr january 2022
pink tape—slurrr, TikTok caption January 2022
#earthhaters—slurrr, SoundCloud caption on ‘vampjerk (PINK TAPE LEAK) January 2022’
few.—wretched worm January 2022
Is it 2017 yet?
TW: this essay contains a reference to Christian Lorzentzen as a ‘balding LRB-funded political tourist King Retard of the old wasp Gothic establishment’.
Soph is right though. What year is it?
Insofar as the discourse of the end of the world is contemporary, it encounters arche-pop and elaborates on what we are calling techno-pop-regimes, or even choreo-pop-techno-soundcloud-regimes.1 Part of the point of the discourse of the end of the world now is to get compact, and to gift the subject-X compression. Another way of saying this is to say that the discourse of the end of the world now is a form of prepping, rehearsal, dance, vibe, woo, production, soundcloud rap vampjerk. Doing the woo is doing the retarded; or doing that in 2022 is the jerk renaissance.
Covid is genocide so what. We may have been the last of a universal probability = 1 humanity so what. I am waiting for the pink tape. The discourse of the end of the world has to take place now because of this, namely because the end of the world takes place now and is the only thing worth knowing.2 Any statements as conclusive and valedictory as these will have interrupted themselves; but somehow they do not. Waiting for slurrr’s ‘pink tape’ in January 2022 feels exactly like that too. What year is it? Surely it’s more this year than last. Surely the gradation counts. But you’re still saying there are centuries down the line?
If there is a mirror stage of the discourse of the end of the world now, or even a dance stage, a stade du danse, a jerk renaissance stage in pink, a pink stage replica stage, it is somewhere there. Rather, it’s somewhere here,,,—In Raw, the 2017 French-Belgian horror drama film by Julia Ducournau, we see the main character Justine semi-vampjerking and attempting to kiss herself in the mirror, and maybe all of this vamping looks like that gothic jerk vamp. Not to mention the balding LRB-funded political tourist King Retard of the old wasp Gothic establishment who has only a can of Coke to do with this called Christian Lorentzen3, but things are about to get yassified to wow levels of jerk-vamp. You’re gonna see shit that makes low IQ Mark Fisher look like Einstein on 3026 ModernaSpike.
The mirror vamp jerk Gothic stage of the discourse of the end of the world now has to be not to come because there is no to-come; there is a not-to-come. In other words, because the revolutionary imperative has been permanently inverted, there has to be the discourse of the end of the world now:
There is a positive power of any discourse for the end of the world now insofar as it invites scintillating totally exaggerated sudden speeds, like a third and then fourth tempo change in the middle of a 50-second slurrr track.,,, Like, what made death look like a holiday in the extinction that was not death is about to make that extinction’s difference look retarded. And this itself is an invite: feel free not to take forever! Feel free to say this now! Feel free to vampjerk in 2022 formalization, now, now, and now. Feel free to exclaim since there is nothing that cannot be lost! Go ahead, fuck the extinct! You are entitled to say this now. No one is right, says the discourse of the complete end of the world now, no one is right in the place of the discourse of the other that is already being said, the one you are now speaking, the one you have already made, the one that makes more than a jerk more than a retard of you, rn, pro tem rn in the vampjerk yassified wow wow wow. You made this discourse, you made it quick, you watched it go! It is a self-kiss.
The matheme of the end of the world that distinguishes death from extinction
e < > d
is the first oscular matheme. It invites a kissing mathematics, an oscular AI. The infinity kissing of the kiss of vampjerk. What is a self-kiss then? What is a selfkiss in light of the end of the world that has already made itself possible? What is a kiss without man? What is kissing compression?
(‘It’s a pity that I can’t kiss myself / Schade, daß ich mich nicht küssen kann’ (Freud 1953, 182; 1991, 84). See ‘The Taste to Come: The Lick of Faith and the Other-Mouths of Messianism’, Virgil W. Brower, Postscripts 3.2–3 (2007) 238–262: ‘The messianic is the call to taste the flesh — kosten das fleisch — and a messiah is that one who can say: Kiss me as I kiss myself . . .’ (259–60).) (Also see angelicism01’s MESSIAH OF THE KISS: TOWARDS A THEORY OF ‘COVID-19’ from last year.)
The discourse of the end of the world now is a kind of kissing gate and mirror stage for creating new revolutionary (internal) potentials, statement and concepts, but also for admitting their obsolescence. When Joshua Clover R.I.P. wrote in ‘Transistor’, ‘There will be a revolution or there will not’, the discourse of the end of the world now answers simply: there will not. (Rather, there was not.) The line of sight between domains, between one end and another, is what makes this discourse work and viable, now, for now, pro tem, before the end of the world! In the self-kissing scene in Raw it is as if Justine is trying to embody and incarnate this same level of yassified Gothextinct self-disclosure. She approaches the extinct mirror stage she mistakes for death in the omnilapse lol, which approach is accompanied by music (I want to bang the dead. Bang the dead.) — in a shimmy — as if the coalescence of the discourse of the end is forcibly aural-acoustic and endlessly virginal (were we talking about the start of the world all along? no, but… ) and choreo-techno-popo-graphic.
If the discourse is partitioned by domains and jerking signs, for example, ! and ?, or the end of the world and ‘the end of the world’, or death and extinction, or pop and dance, or dance and rehearsal, or kiss and self-kiss, or jerk one and jerk two, or the return of 2021, or a de-extincted lowiqmarkfisher again and again, or even the absolute end of the world and the absolute beginning of the world, then the scene suggests (violently, erotically, but also autonomously, through freedom, underlining the dispensability of man as such) a series of structural jerks… and that only a kiss while beginning to vampjerk may find the line of sight out in front of me that makes this discourse possible. Listen to slurrr one more time on Barrett Avner’s Contain and you hear Garfield inside extinction making mad attenuated austeric jerkvamp signs.
And yet where is the discourse possible, if it is? It might be viable to say that only thought thinks the end of the world, that an end of the world now is only possible for thought, and yet this also means that without thought, in sound for example, there is no end of the world. Unless of course we listen to the sound of sound, the sound inside the ear that the Tibetans listen to, and make of slurrr a horizontal finite strip. Hence lowiqWittgenstein lol:
Vampjerk as native angelicism is the horizontal and not the endless vertical strip, one can say. In Danielle Macbeth’s book on reason there is a kind of kissing-off of the history of reason — its realisation — as the mathematical automaton liberates knowledge from expression and its reliance on sense experience (aesthetics per se). To approach the stade du miroir as stade du vampjerk in terms of the absolutized mad iterable end of the world is like no other mirror stage in the world, and so must be looked at, doubly, from at least both sides. Both sides —of the mirror —of the end of the world. Kissing through the mirror calling yourself Satan in 53 seconds flat?
In the scene in Raw it appears to come as a surprise and yet at the same time no surprise at all that the seemingly planned kiss is planted, and for the camera too it seems to be a surprise and no surprise at all that the surprise kiss (it remains fixated or hung as kiss and as surprise) is found on the exact line of an upward axis, as if the kiss were the wrongful attribution of a full stop into the upper line of an exclamation bar, in the inward shattering of an exclamatory jolt, jerking into this and this and this endology and this and this and this meepology for the ‘few’-er and ‘few’-er! It is as if the discourse of the end of the world now wishes to liberate its discursivity straightaway from the need to think the end, by saying for example: don’t think but see the end the world, or don’t see but listen to the end, and if you can’t listen to it or see it, then kiss the end, or dance the end of the world.
This would be enough to explain the jerk renaissance qua repeat.
( ˘•૩•˘ ).。oஇ
And yet banging the dead or even the extinct or lowiq Vampire Weekend R.I.P.4 or whatever is, well, thanatocentric, and to some extent all discourses of the end of the world till now have suffered from this same bias. They turn to the dead, and want to bang! the dead with exclamation points, they want to dance with the dead as Jackson did, they mistake the zeit Thriller of the age for an extinctophilia that renders dance all the more difficult. This thanatocentrism can be tracked through heavy German thought from Hegel’s Tod und Macht des Negativen to Hölderlin’s Leben ist Tod, und Tod ist auch ein Leben and to early axx’s retarded gothic evacuation of black theory, which was hot then. In Cardi B’s ‘Bodak Yellow’ there was a clear distinction between dance and money (I don’t dance now, I make money moves). Or rather dance was distinguished from money precisely insofar as all that dance and jerk previously was money, which is to say there is an oscular matheme where techno-pop-regimes, or even choreo-techno-pop-crypto-regimes, dissolve, and go, jerk-vamp-vamp-jerk. The internet of money now just is just vamp goth jerking the end of the world now.
A tiny minority of God’s stars are freckling your face awake. Me and Metro Boomin still want some more.
—angelicism02 [archival]
I owe Marcel Blood for the addition of choreo- to techno-pop regime way back in 2016.
Whenever we say ‘only thing worth knowing’ we mean only what de Man writes, ‘we are restating the disjunction of the performative from the cognitive: any speech act produces an excess of cognition, but it can never hope to know the process of its own production (the only thing worth knowing)’ (Allegories of Reading 300).
If one of the clone interns have time, kill piece to follow on the essentially Lorentzenian denialism of Biden’s war crimes and racism etc and Covid genocide i.e. suppression of the discourse of the end of the world that will define this year.
skip
Have been fixated on the mimetics of kissing since my Christmas trip, which involved a lot of that, a lot of osculation. A kiss is always a mirroring. Funny about the vampires, too. Have been writing poetry about them.
Happy New Year, if happy is the word. I hope it is.