Procuring a ‘pataphysique is a more labyrinthine process than dosing one’s self with power shakes and steroids, more demanding than a regular regime of squat-thrusts.

‘Pataphysical therapy entails conjuring of anomalous information apparitions, over-extending metaphors until they adapt to their own provisional life-worlds.  Indeed it is always already a re-wiring of monsters, mythos and paranormalities towards practical impracticalities.

And so, achieving this bodily structure requires exercise and reverse-engineered excorcise, or shall we say, then: reciprocal excorcism— of sorts.  I will say none of those things in particular

Leave it at this, the body electric will be conjured up out of phantom limbs, extended into darkly fibrous cosmos. Engines of obliteration will be grafted onto the writhing corpus of an altermodern prometheus, promising a multistable experience akin to a thousand shimmering and shattering Boris Karloffs dolled up as Frankenstein monsters.

Monstrosity went nova a long time ago, vamplers heading up the Dracula contigent of an atemporal accumulation of transient trajectories. The American Werewolf (remains) in Limbo. A creature passive-aggressively condemned by long-distance diminishments of the moon by way of government issue glitchcraft, is superceded, or paramediated by another set of hybrid moments as of late.

Etymological immolation points to the 19th c. “wonder maker,” the thaumotrope.  A wooden disc, on a string, spinning rapidly, images on either side, a third image created by way of super-imposition.

Imagine this atemporal lupine variant— the victim of clinical traumothropy, or in common parlance: the cool and emotionless where-wolf. An increasingly commonplace paramediated realisation that involves the simultaneous whirl of an affected person —transforming endlessly—atemporal and non-linear.   An anomalous apparitional presence, psychically wounded, and wound up.

As well as the epic conditions of the two-frame looping GIF, its name, of course, associated with therianthropy and, or, is Lawrence Talbot revisited.