Portal and base matter


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Mental disorder – musical cursed matter – reigns supremely as I listen to Portal’s latest opher-ing Vexovoid. This is the non-place where the Archontes begotten by the Demiurg are howling. Labyrinthic noise infects my nervous system for this is cursed musick undermining any human consistency. This is horrifying musick leading the listener to the most unheimliche caverns of his mind where he is to be tortured and decapitated by the Demiurg – this wretched creator of this World. A Material overload – the Spirit is being sacrificed.

Portal’s creations are contaminated, plague wielding and infested with rotteness. From a most radical LHP point of view one could say that these ‘songs’ are base matter (Bataille): sacred objects which have a special status and infused with contagious power, with a deadly spark and a shock (Stoekl 2007: 19). As grotesque works of art they stupify, shock the listener because of their horrific form and appearance. After listening to Vexovoid I feel empty, sick, raped, stupified but I need to put on the record again and again. As if I have become a masochist delivering myself to Portal’s sacred violence. This work of art will never be accepted just like shit and most people will stay away from it as they find it repulsive, nauseating.

Just like Crowley’s ritual of self-corruption one becomes an infected, sick body as the fierce energy of the (de)compositions take over. Just like shit or vomit they are ex-creted, and in a Sadean way appropriated by the listener in order to be excreted again.  This is a demonic act of transmutation (Stoekl 2007: 20); a perverted and corrupted form the traditional alchemical process of the transmutation of lead (base matter: acephalic mysticism) into gold (elevated matter: monotheism). The acephalic alchemical transmutation is all about being controlled, grasped by the formlessness of that base matter. One becomes trapped in the Lovecraftian structures of Portal’s black art. Rottenness becomes “an end it itself” (Stoekl 2007: 21): “it wanders in the labyrinth, throwing off energy, disorder.” Enter the Labyrinth of your own free will and expose your-self to the Minotaur, “this monstrous half-man, half-bull that symbolizes conflicted impulses in mankind” (A Picasso Portfolio). The Minotaur represents our repressed, base impulses which actually make us the irrational puss infected human animal.

With grand minotauric violence Portal’s music chases through our intestines obliterating every sign of rationality. Portal’s music is everything but spiritual for it is dense, material and erupts like a volcano.



The Acephalic

The Acephalic

I created this drawing of the Acephalic years ago for the cover of one of TMO’s singles. Of course, I was inspired by the logo of Bataille’s Acéphale, and I wanted to create another, more organic and less human version. This headless being could be human or it could be an animal or a plant … it should not be that specific for these are all but versions of the incessant flow of Base Matter through a heterogenous continuity. According to Bataille, and I agree with him, there is a profound unity between all beings and things. Like Heraclite and Nietzsche the French mystic recognized an incessant flow of things. Nothing is stable, everything is becoming. The circle around the figure symbolizes this eternal becoming and the figure itself is quite abstract but because of the curved lines I wanted to imply a sense of movement, change. “Life itself is movement and nothing in this movement is protected against movement”, Bataille writes in his book Eroticism. Therefor no head because thinking, our ratio tries to stop this movement, this flow in order to grasp it, study it. But this is but an illusion. My drawing could be a print, a fossil which the human animal would yearn to comprehend in order to give it a name, a function… But this is such a futile quest and I can only laugh about it.

A supplication…


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The Monastic Choir sings:

Omnipotens sempitérne Deus, qui abundántia pietátis tuae, et mérita súpplicum excédis et vota: effúnde super nos misericórdiam tuam ; ut dimittas quae consciéntia métuit, et adjícias quod orátio non praesúmit. Per Dóminum …

… and this indeed are the words spoken to the ‘Lord’, the heavenly father of the Christian flock. He is almighty, omnipotent, eternal and benevolent and the devout Christian begs him to be bathed in his mercifulness, and to forgive him what our consciousness has buried underneath the pretense of a false morality … “ and may He grant us what we do not dare to ask in our prayers …

Are we supposed to be proud of such words, such supplications to be saved, to be bathed in his mercifulness? The Christian desperately longs for “pardon” and therefore he is prepared to grovel like a domesticated, willess animal; like a worm he crawls in the dirt… “what’s the point one may ask?” The disappointed man speaks for he sought great human beings, yet he never found anything but the apes of their ideal.[1] Is this what should become of the human animal? Should we really bring ourselves under this terrible yoke of false ideals? Teleologically speaking, was this meant to be our future? Surely, we are thrown onto this earth, our Gefallenheit has condemned us, nonentities, to populate this precarious sublunary world and before we were born / we were destined to lead a meaningful life.

Should we admire those who fight for their ideals? I sometimes wonder whether those who fight for certain ideals are to be admired? Surely, they have been able to direct their lives, to give meaning / interpretation to their earthly existence. But I wonder whether they are not deceiving themselves for there are no ideals which are ‘better’ than other. Through desperation the fight for these ideals becomes a struggle, a supplication, a plea for …


“Sens de la supplication. – J’exprime ainsi, en forme de prière : « O Dieu Père, Toi qui, dans une nuit de désespoir, crucifias Ton Fils, qui, dans cette nuit de boucherie, à mesure que l’agonie devint impossible – à crier –  devins l’Impossible Toi-même et ressentis l’impossiblité jusqu’à l’horreur, Dieu de désespoir, donne-moi ce cœur, Ton cœur, qui défaille, qui excède et ne tolère plus que Tu sois ! »

As the Head explodes: Man does not find any peace in contemplation; “he is supplication, war, madness, lunacy.” (Bataille SA I: 49)

Bataille radically opposes idealistic soothing through contemplation: no health, no prosperity, no peace, … With an imploring look the idealist tries to convince you of the Truth of his ideals; his ideology is for the benefit of the future of the human race. But Bataille, our prophet, does not pray for peace, spiritual welfare, health or prosperity, but for a violation of these values (ten Kate: 504). As Bataille prays he wishes for this feeling, this heterodoxical feeling of desolation, abondonnement. One cannot find solace in the Christian God; to become divine, this act of self-divination is a feeling of total ‘abandon’. There is no ‘sense’ in the alterity of God. The Christian God has become an abode of hopelessness where one dwells searching in vain for prosperity / well-being.

Should we not pay for our conceitedness / our misplaced sense of superiority / self-importance? Are we to believe in a God that created everything and created us after his image? As figure of Hope and forgiveness? Is He to forgive our sins? After the Death of God we can only find ecstacy in this Event. This Event symbolizes the apocalypse of the profane, the world of ease and security (Caillois). Desolation is what one finds who leaves behind the profane and calls for a (headless) heterodoxy.

Instead of seeking forgiveness we should explore (if necessary invent) the sacred region of tireless contestation and poetic self-creation (Irwin 225).

We need to travel to that place, that locus where God himself is out of himself, out of his wits, where he himself loses all controle and actually kills his only Son. The Place where the God of Hope becomes a God of black despair. Through this Ritual of Deprogrammation we need to immerse ourselves in our angst of existence. “Profonde descente dans la nuit de l’existence,. Supplication infinie de l’ignorance, se noyer d’angoisse. Se glisser au-dessus de l’abîme et dans l’obscurité achevée en éprouver (experienced) trembler, désespérer, dans le froid de la solitude, dans le silence éternel de l’homme. » (Bataille SA I: 49).

Désespoir – folie – amour – supplication – joie inhumaine

This God of black despair – A divine Madness – Madness becomes God

We are his apostles of free thought

[1] Nietzsche Twilight of the Idols: maxim 39


We are born between urine and shit


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Is there anything special about us? We are born between urine and shit, and we think so highly of our-selves. We believe that we are the very center of the universe because we are able to evoke ideological smoke screens. These screens hide our stupidity and the baseness of our species. It is only a coincidence that our species crawls the mouldy surface (Schopenhauer) of the terrestrial globe which is spinning around in a blackened perpetual space.

Havocracy 333 – the Principle of Disintegration: we are at/an everlasting war with our-selves.




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One of my earliest BM-designs more than 10 years ago. Perhaps a bit naive but I wanted to capture the unique BM spirit. I believe I succeeded: the rawness, its amoral and inhuman nature. BM remains one of the few artistic exponents of Bataille’s base materialism.

The aestheticising of the self refers to the work of Michel Foucault. In the last two parts of L’Histoire de la sexuality (The History of sexuality) Foucault develops the idea of an ethics of the self: “Through the formation of a ‘critical ontology of the self’ it is possible to formulate an alternative ethical standpoint from which individuals can begin to resist the normalizing force of the ‘government of individualization’.” (McNay 1994: 133) The ethics of the self is derived from a Greek – Roman understanding about morals as an excercise in modesty and self-control. Foucault goes against the normalizing process that has been going on since modernity. A process that forces each individual to ‘fit in’, to obey the hegemonic laws. Foucault calls this “new forms of subjectivity through the refusal of this kind of individuality which has been imposed on us for several decades.” (Foucault 1984b: 216). The “refusal of this kind of individuality” started from (and actually still does) the judeo-christean morality which enforces a universal law. This understanding, secularized in today’s disciplinary power and the bio-power, requires total obedience of the human subject. The Greek-Roman notion, on the other hand, regards morality as a practice, an exercise. Foucault argues that man must create himself as ‘individual’ instead of listening to external norms and rules. The example of the new modern individual is Baudelaire: Baudelaire, being a dandy, is modern because he craves for an ‘essential inner self’, but he produces or rather creates ‘a new self’ (McNay 1994: 149). This new self is able to control itself, its limits and desires, but plays freely with them and as such is truly able to transgress the limits imposed by society, the Symbolic Order. In this regard Foucault refers to the insights of Georges Bataille.

The Baudelairean individual truly stands out and creates his new self. As such Foucault does not introduce a new ethics (thou shallt) but a new ethos, a mode de vie. This is an ethos which I see reflected in BM being an ominous, powerful and sovereign artistic movement that has created and recreated itself during the years. From Darkthrone onwards to Svartidaudi today the revolutionary black flame is still burning brightly.

The UR-emergence of the Romantics


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In William Blake’s Book of Urizen we find the main character Urizen who is one of the four fundamental aspects (Zoas) of the four-fold individual, namely reason and who is modelled after Jehovah, the god with the Evil Eye. Together with Urthona (creative imagination), Luvah (emotions) and Tharmas (body), Urizen forms the four-fold individual (see the interesting site of Joseph Hogan – http//facstaff.uww.edu/hoganj/gloss.htm). Urizen has become seperated from the other three Zoas and therefore he created the fallen and material world that is the realm of torment, suffering and death. This fallen world has lost contact with Eternity and Urizen’s law govern it. In this world Urizen is the lawgiver, the omnipotent ruler, the political dictator and, as the creator of the net of religion, he is the primeval priest. He is the one that weaves the restricting net of religion.

6. Cold he wander’d on high, over their Cities,

In weeping and pain and woe;

And wherever he wander’d, in sorrows

Upon the aged Heavens,

A cold Shadow follow’d behind him

Like a spider’s web, moist, cold and dim,

Drawing out from his sorrowing soul,

The dungeon-like heaven, dividing,

Where the footsteps of Urizen

Walked over the cities in sorrow;

7. Till a Web, dark and cold, throughout all

The tormented elements stretch’d

From the sorrows of Urizen’s soul.

And the Web is a Female in embryo;

None could break the Web, no wings of fire,


9. And he call’d it the Net of Religion.

(The Book of Urizen: chapter VII, v. 6 – 9)

The figure of Urizen stands for the cold and vengeful god of monotheism, whose only aim is to repress the qualities of man and to enslave him. He is the bearded representative of a negative God of ‘thou shallt not’ and functions as the prime oppressor. He is close the Old Testament Jehovah (The works of William Blake: introduction). This is what Urizen is like:

6. His cold horrors, silent, dark Urizen

Prepar’d; hi sten thousands of thunders,

Rang’d in gloom’d array, stretch out across

The dread world; and the rolling of wheels,

As of the swelling seas, sound in his clouds,

In his hills of stor’d snows, in his mountains

Of hail and ice; voices of terror

Are heard, like thunders of autumn,

When the cloud blazes over the harvests.

(The Book of Urizen: ch. 11, v.6)

It is as if Urizen is some kind of a terrible, dark god or some demon lurking from below the threshold waiting to obliterate mankind. From a one-sided point of view one would say this is Satan, Blake’s Great Red Dragon, but Satan, the earth-bound manifestation of the Dark Gods, has something to offer to mankind, while Urizen is only interested in his relentless and pitiless reign. He is the god of Labour in whose service man has to sweat blood in order to be liberated, enlightened. In his fallen material universe Urizen shrinks his inhabitants into reptile forms and infects them with mortality and Sein zum Tode.

Then the Inhabitants of those Cities

Felt their Nerves change into Marrow,

And hardening Bones began

In swift diseases and torments

In throbbings and shootings and grindings,

Thro’ all the coasts; till weaken’d

The Senses inward rush’d, shrinking

Beneath the dark Net of infection;

Till the shrunken eyes, clouded over,

Discern’d not the woven Hypocrisy;

But the streaky slime in their heavens,

Brought together by narrowing perceptions,

Appear’d transparent air; for their eyes

Grew small like the eyes of a man,

And, in reptile forms shrinking together,

Of seven feet stature they remain’d.

Six days they shrunk up from existence,

And on the seventh day they rested,

And they bless’d the seventh day, in sick hope,

And forgot their Eternal life.

(The Book of Urizen: ch. IX, v. 1-3)

In Blake’s Prophetic Books the figure of Los is trapped in the fallen world as well, but he is the creative imagination of the world. He may be closed out of Eternity (Joseph Hogan), the Black Flame, which symbolizes the Fire of the Imagination, still burns within him and therefore he is able to pass on the creative Fire.

Blake’s mystic writings have been explained historically as if his writings were a response to the historical situation he faced. Instead of trying to explain it causally, one should regard his writings and the Romantics’ as an Event, a rupture in the 18th century time frame. A rupture that could be explained psychologically as since the Christianization the West has always been repressing and rationalizing its darker unconscious. Every irrational outburst has always been condemned and frowned upon. Yet these UR-energies, the energies of the Acephalic, can never be completely erased as they flow underneath the surface of the Symbolic Order.

The only people who are affected by these darker energies are those artists who are aware of pain’s and terror’s capacity to produce delight. Just like Edmund Burke they are convinced that pain and terror produce a sort of ‘delightful horror, a sort of tranquility tinged with terror’ (The Short Oxford history of English Literature: 341). In Gothic fiction, such as Maturin’s Melmoth the Wanderer, one finds various numinous elements creating a feeling of Das Unheimliche. Gothic Fiction is essentially concerned with the liberation of the human imagination from the moral constraints of monotheism and the hegemonic discourse. The Byronic hero and Shelley’s Prometheus are artistically based on Milton’s Satan, but the fact is that these artists were faithful to the Romantic Event and as such they rose above the order of being and become ‘Immortals’. They are not simply reactionaries, but they embody the UR-energies, the primal energies that allowed them to trangress the limitations of the Symbolic Order and to prove themselves, in a Nietzschean fashion, worthy to life.

The encounter with the Real


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I have already written about the Lacanian concept of the Real, which is an intruiging concept, albeit quite complicated for it can be approached in several ways. But the notion that matters to me, is what Freud called ‘das Unheimliche’. The Real is “(…) the Horrible Thing: the Medusa’s head, the alien from the film; the abyss; a monster.” (Zizek & Daly 2004: 68) The Real is what interests me from an acephalic point of view: that which deregulates, destabilizes our world, the Symbolic Order we live in and which supports our being through the various ‘ideological texts’ that are forced upon us. The function of ideology (leftist,  rightwing, ecologist, …) is to protect the human animal from underlying currents / flows, a non-order, a nameless and inhuman continuum. Not another “reality” (something that the film ‘the Matrix’ hints after by implying that there is a finite, technological reality from which the human animal can be freed), but something that would smash our way of existence and lead us into the mystical Night. According to the French philosopher Alain Badiou, we may ‘encounter” the Real when it breaks, like a solar flare, through the screens of our limited knowledge and burns our vision. The destruction of the eye.

According to Badiou an event (évènement) functions as an immanent break or rupture with the situation in which it occurs. Such events are quite diverse and he gives the following examples: the French Revolution of 1792, Galileo’s creation of physics, Haydn’s invention of the classical musical style, a personal amorous passion and so on (Badiou 2002: 41). In his book Ethics (2002) Badiou writes that an event “brings to pass ‘something other’ than the situation, opinions, instituted knowledges.” The Event goes beyond the situation within the Symbolic Order and disrupts the Status Quo, the equilibrium. It is a “hazardous” and “unpredictable supplement, which vanishes as soon as it appears.” (Badiou 2002: 67) This implies that Badiou’s theory radically differs from ’cause-and-effect historising’. Most historians look for signs, causes that can explain an event such as the French Revolution in order to create new knowledge that backs up other dull, uninspired theories. Our thirst for knowledge is  unquenchable. Badiou however emphasizes the extraordinary nature of this revolution ,by pointing out that it cannot be predicted and that it just emerges ‘out of thin air” so to speak – acausally.

Such an event exists beyond the regular laws of the situation (or: co-ex-sists), consequently it compels the subject, the one that is faithful to the event, to invent a new way of being and acting in the situation. The subject may choose to be faithful to the rupture which has just occurred and which has disrupted the regular course of being. ‘As a spectator of a play one may be caught up “by the burst of theatrical fire” and thus one “enters into the complex configuration of a moment of art.” (Badiou 2002: 45)  Or a lover “whose vision of reality is displaced” since the moment he met the other and declared their love to each other. This person, this ‘some-one’ is caught by this particular event and is lifted beyond the linear frame and is being inscribed “in an instant of eternity”. He becomes an “immortal”.

For Badiou becoming an immortal has quite a specific meaning. It is not about rising from the Nigredo, the state of putrefaction, or the blackening into the Albedo, the state of illumination, and finding the grail and thus gaining immortality. For Badiou immortality is linked with the event and being faithful to it. Apart from this event we are animals that are ‘lodged in an insignificant world loaded with excrement’ and for Badiou ‘the worldly way of the flesh is simply another name for death itself’.”

Peter Hallward (Hallward 2003) explains this: “The human in its ‘animal substructure’, conceived simply a a living creature, is very exactly a ‘being-for-death’, and nothing more. Its interests are ‘neither more nor less estimable than those of moles or tiger beetles (Badiou 2002: 13, 14, 52) Man, in short, is that peculiar being that generally ‘prefers to represent himself in finitude, whose sign is death, rather than know himself traversed, and surround, by the omnipresence of the infinite.’

By being faithful to an event that totally disrupts the status quo one can escape form this animal substructure. The Baudelairean subject reshapes himself according to the new circumstances, the new contemporary conditions that arise rhizomatically with the event. This particular human animal is able to cast off the chains that have tied him to a life of servitude.

I find the idea of such an event quite intruiging and I do support it, however I am critical towards Badiou’s political agenda which runs through his philosophy, namely his leftist engagement which defiles the mystic, cosmic, inhuman, acephalic value of an event. Badiou regards the communist revolution as an event as well, which I find a pity because any political regime, any ideology is the exact representation of an animal substructure. Badiou defends the truth philosophically, and he associates this old notion with universal values such as equality. An event announces these universal values in a sudden rupture. In my humble opinion advocating such universal values is a form of politics and indeed, Badiou has always been a firm defender of communism. Politics however have nothing to do with immortality or infinitude whatsoever, but are about control, power to a few select individuals, and are a result of limited insight and arborescent thinking. Whatever the cause may be. Badiou’s philosophy is lead by his head while I prefer to be decapitated. In my next post I will make this clear by referring to the UR-emergence of the Romantics

Lodged in this insignificant world loaded with excrement the human animal can find inspiration in the latter in order to destroy the former. An event and those exceptional beings that are faithful to it create a turmoil of nothingness and within the blind eye of this solar whirlwind one encounters…

Dies irae, dies illa

Solvet saeclum in favilla


The name of God



As I am staring into the blackness of the night I can hear ancient demons whisper the name of “God”. It echoes between the pillars that carry the weight of ancient secrets. Secrets which should be forgotten and remain unknown to the human animal. What does the word ‘God’ remind me of? Nothing but the prohibition of unconstrained crimes which De Sade values as the highest and most sacred value; alas God has proven to be be impotent through his grandeur and therefore he hates himself. This God is no longer a raging and vengeful Jahwe; a furious deity without remorse, without pity for the weak, the downtrodden living in the shadows of the earth. He is a warrior that has been forced to emasculate himself and after this self-destructive ritual he had to eat his own testicles as a testimony of his weakness, his foolish nature. Traditionally “God” has always represented universality, the Platonean perfection hidden from the material world, but now His Way now longer leads to Absolute Knowledge that does not accept shadow nor anything outside, outre. Imagine that your walking aimlessly through the dessert and the hot sand is burning your soles. Desperately you are seeking a place where you can hide against the destructive, relentlessly blazing power of the Sun and while you are crawling through the sand your body is craving for shadow. This would allow you to regain power but “God” cannot and will never allow this because he actually is the frontier, the limit of the knowable. Before His altar he robs the human animal from the blistering energy of desire that flows through his veins and makes his body glow and urges him to create beyond any moral category. Die Glut der Leidenschaft! Sucked out like the marrow from a bone the human creature becomes an impuissant slave, an empty vessel which has no choice but to embrace the Universal Law; a pod that produces a butterfly that languorously flies towards the Sun, burns its wings and ends up on a perishable dark planet hostile towards its own inhabitants.

I start to cry. What is this name? What unthinkable horrors does it bring?


What is the essence of philosophy, art and living altogether?

Schlegel: “Sehnsuch nach dem Unendlichen” (UA: 521). The Absolute can never be reached and thus man’s longing for a founding knowledge that will grant us all the answers is futile. There are simply no roots nor traditions. The tragic awareness is the only certainty! Schlegel tells us: “Die Skepsis ist ewig (UA: 520).

A terrifying vision: man’s non-identity


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ImageThis is a haunting self-portrait by the Belgian painter Léon Spilliaert. I found a most fitting analysis and description of this dark painting in one of our newspapers. The author, Eric Rinckhout, mentions 4 important elements: the Night, the Eye, the Clock and the Mirror. 

Being a gastric patient Léon Spilliaert often wasn’t able to sleep and therefore he wandered through his house in Oostende and silently observed himself. This work of art is not a painting, but it is water-colour drawing combined with coloured pencil and East Indian ink. The absence of colour, the black and white, greyish green and red tints emphasize the drabness of the Night. The Night is very important in the Bataillean occult for the Night defies all ‘vision’, all understanding, all understanding. Look at the artist staring into Nothing, aimlessly as if is he waiting for some demon to appear.

The eye. Being an insomniac the artist looks at things from an uncanny perspective. Beyond logic and durability. All the certainties of one’s daily life are now gone, evaporated so to speak as the greyness of the Night enters. The Eye staring at us is the Left Eye, the ‘evil eye’. Evil not being the absence of good, but the presence of vitality, power, ongoing energy without purpose. A Solar eye. This is the eye of corruption for its power destroys our identity. It makes us realize that we are ‘nothing’, that man in the end is utterly meaningless despite our self-centred ideologies. There is fear and anguish reflected by that eye. The head seems to be death’s head; almost headless. The Joy before Death.

The Clock: can you hear the ticking sound of an old clock? The clock standing on the mantle piece in front of an empty mirror as if it were a passage way into another time frame, a parallel universe where the Old Ones dwell.

The Mirror: Spilliaert observed himself in a mirror from the bottom up so the figure seems to stare into an abyss which fulfills him with horror. This has created a claustrophobic atmosphere which makes this work of art even more impressive.

We may not have an ‘identity’ but this drawing shows the anguish, the dread, the horror that lurks within us, deep down, hidden beneath shallow thoughts. It is not a ‘truth’ but far beyond because it is non-human and inhuman to experience.






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