Arguably, the possibilities bandied about concerning “future influence” on the Large Hadron collider could also be construed as an anomolous extreme of planned obsolescence. Planned, or structured obsolescence operates by building in a limited time frame of usefulness for a product, ensuring the need for consumers to continually dispose the old and buy again a familiar but newer model. The reverse engineering manifest in creeping featurism reaches its logical limits with the time-travel theories concerning the LHC.  Not unlike an adventure safari into the Jurassic that obsolesces various models of the future with every haphazard step away from the presented path.

We could read all instances of obsolescence as actions of future operatives, butterfly effects orchestrated to endanger in advance would be stationary species. From beta decks to tasmanian tigers– each extinction at once opening up an alternative universe focused on the future, and marooning the residuals in lost worlds, memory holes and the shadowy spaces of network culture (or shadow cultures of networked spaces)

Space-time collisions indeed.  Miniature black holes and other claims of certain scientists pale in comparison to the chronovampiric conquest of our cosmos by uncertain cine-molecular missives as evidenced in the self-reflexive fragment hovering above.

Quantum physicists, in all their pedestrian theories about the hypothetical Higgs Boson and its alleged time-traveling mischief, have nothing on neuroaesthetes currently cavorting within Weird Fiction’s ficto-quizzical milieu.

Cine-molecular sabotage is a rogue anomaly operating in our midst, seeking entrance to this and other realms—including prominently the panopticonscious lifeworld of the immediated real and, as always, the fleshy-minds of mammals.  Alternate universes open up in the inframince, like an obliterati’s escape mechanisms made momentarily visible or, at least, providing a perverse morsel of nourishment for those with a taste for  non-normative neural cuisine.

The selfish cine-molecule is so abhorrent to conventional wisdom that  rippling backward through time and there subjecting derivative audio-visual terrain  to most officious invasions from the future is a common occurrence!  The cine-molecule, a microscopic mental vampire, embeds itself in the fabric of reality, weaponizing space/time in a kinesthetic battle for hearts and minds.

20 S.E. 8th, Portland, Earth

Indeed, the modular mythos of Weird Fiction accelerated unceasingly in the midst of advanced audio deformations at hand in the Interplay!  Over the course of the evening, the frequency range of our cine-molecular manufracturing was largely out of range, while the kinesthetic tremors undulating from the ((WFT?)) hypocentre bemused and confused the fleshy minds of these mammals, as always.  As witnessed by the varied acts of cavorting, cartwheeling and cacophony in the Hipbone arena, cine-molecular invasions are synthesized and channeled physiologically by many.

Depending on the manner in which cine-molecules are deployed, a nebulous horde such as our own may simply gather a mammal’s attention, or inflict ficto-quizzical missives for the purpose of behavior modification or theory-objectification.

Again the infra-mince, the minutaie of kinetic fault lines within a cine-molecule can create seismic ruptures or cinemiasmic drones dependent on conflicts within the shot .  It is fundamental for the fledgling Space-Time Transient to set up camp in close quarters with any vidsonic dreck what-so-ever…To inhabit the timeline, an artist in residence.  A dwelling in place to study the behaviors and habits of these kinesthetic phenomena.  Towards a map of this nebulous structure and ultimately to pinpoint and weaponize splices and fault lines for real-time deployment (see fig.1).

Here there is much to learn from the Jawa, that compulsive scavenger species who spend most of their life synthesizing technocultural excess into fine-tuned audio-visual fission bombardments.

Indeed as much cred could be sequestered for our fine-feathered friends the vultures–scavengers combining an outward appearance of attitude with the penchant for regurgitation—hideous recombination in interest of nourishing the young.

There remains much to parse in relation to cine-molecular manufracturing, including but not limited to: modes of motility, viscous data bodies, the interactions of flagella, binocular vision, and onwards.  Enough for now though, as I am late for a rendez-vous with a parliament of owls.

Vampling, in certain quarters, is an affectionate term for infant vampires, too. These little ones, as Wikipedia notes are “born of the unions of mortals and vampires, which only happens when a spell is placed on the vampire.” Again, attention to the spell, or more precisely, the spelling out with keystrokes, the cyborg variant of the late, great Lettrist Isidore Isou shot through with vampiric yearnings.  This is our first hint.

Such synthesis is second nature for a nocturnal predator like myself, wikipedians, and truly the webmaster of vampler.net who does relate the undead to dead media in an admission that vampling is “a young art and it does have a tendency to feed from its own likenesses”

Our embedded journalist recently aligned Weird Fiction with the tropes of Cosmic Terror. Following this formulation one wonders if the vample, the “video sample” itself, is another node in a vast numinous system, a key component of some hideous cultural interface. The vampler, then,  as an operative in somewhat of a Eshunian alien abduction scenario.  The vampler (video sampler and/or vampire youth) possessing its onlooker with an amped up version of Dracula’s spellbinding trance.  Aided by unidentified craft, and resultant in much more explicit forms of captivity than mere hypnosis.

Close encounters with these children of the night are likely underwritten by unfathomable Cosmic hosts, these occurrences augment the efforts of the mental transmission schemes so dear to the Great Old Ones.  Cosmic Terror aside, vamplers operate essentially like any old vampires.  vidsonic nutrients ripped out of original context–what beautiful music they make!–and then it’s night of the living dead media all over again.

A curious and increasingly frequent “second wave” of vampling has been gaining ground, an adaptive strategy against read-only cultural forces.  The vampler is already a prosumer (producer-consumer) but reports of ruptured consciousness amongst everyday media users suggests an evolved species is, and has long been, hovering overhead.

An artist in the information environment, Tom Sherman, early on tuned into this, explaining it as a psychological condition in his theory of “blanking,”:

“There is a new psychological phenomenon emerging in this era of hyper- telemedia, information abundance and overload. People of all ages and walks of life are ‘blanking’_______that is, they are shutting down or experiencing momentary ruptures of consciousness…People…gather data from multiple sources simultaneously. Instead of simply listening to the radio or watching TV, [they] read a newspaper, magazine or book while listening and/or watching while [they]have something to eat and [they] have a conversation on the phone…they choose to compose [their] immediate information environment from multiple sources, mixing [their] multi-layered reality on the spot.”

Picnolepsy is a similar condition discussed by Paul Virilio and tellingly pieced apart in Ryan Dirks’ dispatch “Interrupting the Future.”  Weird Fiction opts for alternative readings as well, namely a vampire infused echo of previous revelations: time-travelers may already walk among us!

A second-wave vampler, with prosumer (proffesional consumer) gear is operating on the innards of future minds.  This sort of vampler arrives from the past to nourish itself on future likenesses.  Harvesting the cluttered consciousnesses, that are loaded down with so many incoming signals, euphemistically we could call this time-shifting.  Hypermediated minds ruptured, a psychological condition and, or,  a sign that second wave vampling is afoot!

With the public domain diminishing rapidly, new resources are sought to replenish the dwindling storehouses of likenesses, so vital to the vamplers existence. Equipped with time travel devices, the second wave vampler shifts from grave-robbing to mind-jacking, snatching images from the future, straight from the multitasking mind, pre-mediated.  Creative Commons liscenses are immediately attached to these intellectual properties as a reverse-engineered subterfuge redolent of other such activities that fly in face of the (copy)rites of passage required to re-animate present day dead media images.

Vampling is Dead, Long Live the Vampling!

In truth, the cine-molecule is closer in operation to quantum phenomena or other durations of uncertainty, it is a constellation floating undone– at once real and imagined. Not unlike Marcel Duchamp’s inframince, that interval between similar things that is just shy of imperceptibility.

The cine-molecule operates through extraction. Harnessing an inframince and prolonging its interval, teasing out novel possibility spaces. The result is a liminal, betwixt and between sort of legibility.  Oscillating.  A space-time jitter, wrinkle in time, or a micro-narrative of hesitation and post-human longing?

Lest I reveal too much, too soon, perhaps a revisionist history will suffice. Followers of Weird Fiction will rightly wonder at my ability to reflect on what has passed… so let me posit a disclaimer.  It is your choice, dear reader,  to swallow this like the serpent’s tail or with a grain of salt. The Cine-Molecule as ficto-quizzical phenomena contains trace memories of parallel movements in vidsonic space. It is a truly strange survival, a living fossil redolent of several antecedent forces. For now we will address the stalwart “QWERTY-core”

Combining the everyday schema of the computer keyboard layout (QWERTY) with the sentiment of extreme musical activities marked with zeal for danger, violence and stylish posturing in practice (i.e. hardcore, grindcore, vomitcore, etc) QWERTY-core involves a peculiar variant of data entry marked with shades of Lettrist hypergraphy, arguably.

In the hideous operating theaters housing QWERTY-Core antics, schematics would reveal a QWERTY keyboard that is mapped– with each letter corresponding more or less to an instance in one or several short video sequences, allowing an operative to jump to and fro through an episode of what we now know as a “cine-molecular structure.” Isolating and amplifying kinetic phrases, inciting temporal anomalies, arcane spells and very often awkward durations of uncertainty. Not so much awkward as awkwardness feebly masking chasms of cosmic terror, unfathomable Hertzian forces that permeate our every fabric of being, and, at times, have run-ins with the law(s of known physics).

QWERTY-core was the primary engine of the JiRCs, that tangled web of design scientists–each straining in their own directions– who hailed from a nameless outpost in the forestal abysms of Eugene, Oregon. It was this curious lot that coined the term QWERTY-core, claim regional aesthetes.

This “QWERTY-corps,” as it were, tasked themselves to code-cracking previously imperceptible phenomena encoded in 20th century visual dreck. They did so, primarily, by instigating [cine-molecular invasions] amongst popular moving image sequences. Emerging in an equally weird milieu of freakish, dionysian dance parties, the JiRCs weaponized the inframince as a means of survival, opening up micro-narratives in seemingly mundane visual media.

“Post-animation,” or “Re-animation” are terms often hastily applied by certain media scholars to describe this phenomena. A feeble attempt, friends, one that contributes ultimately in the ghettoization of this radical fringe, sidelining it to the footnotes in the annals of experimental animation. Far beyond the allusions to illusionism and indeed the amplifications of awkward gestures (that irresistable entry level stage of QWERTY-core so relished by the JiRCs) there is present an uncanny jitter that undulates like an Escherian loop. A depraved labyrinth at once enthralling and damned–wherein time quite ceases to recede into the naturally expected flow.

It is perhaps no mere cosmic coincidence that several members of the JiRCs crew were revealed as operatives of our own nebulous horde. Yes, temporary autonomous clones are regularly sent on reconnaissance, setting up skill-shares with like-minded mammals. I will put caution before audacity and zip my beak here, for I will likely get flack for meandering on so long as it is.