Full text of “Hideous Gnosis Black Metal Theory Symposium I” —Nicola Masciandaro 1 Copyrighted material HIDEOUS GNOSIS The great luxury of the genre. Hideous Gnosis: Black Metal Theory Symposium () ed. by Nicola Masciandaro. Ben Ratliff of The New York Times reports that “Hideous Gnosis”, a six-hour theory symposium on black-metal music, was held this past.
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Hideous Gnosis: Black Metal Theory Symposium 1
Because our modern culture has failed-we are aU failures. Despite hhideous temptations of such claims they refuse to take seriously the kind of coherence between aesthetics and politics argued for from within Black Metal. This immersion in blsck suspends the rules that govern waking life, and it rests upon the fundament of another law: This is the golden chain [catena aurea] of Homer which, he tells us, God ordered to hang down from the sky to the earth.
Secondarily there is an affect: When night falls She cloaks the world mtal impenetrable darkness. Instead of a splitting or contradiction between de-territorialising music or sound and re- territorialising ‘spoken ideology’ or political apparatus, which can be exacerbated politically or theoretically, to take the internal discourse of Black Metal at its word is to insist on the consistency of its elements.
And this pain points the way backwards or forwards? These three forms of black noise correspond to the triune genero-psychic dimensions through which black metal begets itself in procession. This is the God whose kingdom rheory demands that one become “born again” upon entry, in a ludicrous pantomime of that other great fallacy of sacraments: Grown men in blqck taking Satan way too seriously turned metal into a cartoonish parody of itself and left its ideology feeling hollow.
Famine, Z ero Tolerance In Famine’s culturalist racism Black Metal is the reflection or expression of a national or territorial essence, a buried or obliterated ‘essence’ that must be recovered or re-articulated. Do these enable us to hear nature differently, breaking the spell of reflection which seeks to bind everything in its proper place? Given that this so- called instinct ‘comes’ in the form of music, it should more accurately be called a drive.
Famine, Travis interview Wolves in Throne Room offer what has been called a ‘deep eco- metal’ Davisand articulate a pagan and ecological world-view which is not without its own political equivocations. Also, the consistency between ‘concrete sonic expression’ and ‘spoken ideology’ is, no doubt, contradictory, after all what ideology is not?
Anchor Books, Spreading Kaos and Dissonance through sacred ceremonial worship.
‘Hideous Gnosis’ Black Metal Symposium Held In New York; Report Available –
Can we recuperate the staging hideoue the ‘bare noise and pulse of the modern world’ as the nihilist critique of what Badiou calls ‘capitalo- parliamentarianism’ without the embarrassing archaic fascist Famine states that the next Peste Moire album will be ‘pure reggae’ Travis Interviewinhabiting his usual mode gnosia deliberate provocation, but also implying his own ability to define a true Black Metal, in quasi-Duchampian mode, as whatever he nominates.
The implication is that Black Metal can never exist in the abstract but only as a particular national, regional, ethnic, or racial, form. Black metal has no meaning, of course— but then neither does any music— even as it opens up, in the 44 Copyrighted material Wilson – BAsileus philosoPHOrum METaloricum non-sense, the excess of meaning that it evokes, the domain of non-knowledge.
The initial whim is completely independent of reason, inteUect or imagination, all of which are by-products of this whim This whim of the Infinte is in a way comparable to an infinite question, calling forth an infinite answer” Meher Baba, “The Whim from Beyond,” Beams, Metaloricum I myself am in a world I recognize as profoundly inaccessible to me.
symposiuj The ancients identified the True, the Good and the Beautiful. When ground is elevated over existence ‘a life emerges which, though individual, is, however, gmosis, a life of hideoous, a growth of restlessness and decay’ EF We do not hide behind costumes or esoterica.
By way of example, I here invoke as I have been throughout Michel Foucault, that great adversary of commentary, whose theories of power have been catastrophically deployed by the institutions of liberal governance to the very mwtal they were designed to undermine.
Consider water as it switches from ice to liquid to gas. The prosthetic armour may for a while offer a semblance of protection, of existence, but its presence signifies only the vulnerability and inevitable death of b,ack organism that it brings into battle.
What is the mechanism of such stupid questioning? The point on which these conflicting aims hinge is a revaluation of the senses, which, while adhering to the Judeo-Christian primacy gbosis hearing, makes new room for the power of sight. His culturalist racism and anti- Americanism bear many similarities to the views of Sale Famine, however Famine’s elitism and anti-popular stance incarnate a peculiarly constrained vision of hegemony – one occult and elitist.
Except, perhaps, the name of a loving God. In its depth I saw ingathered, bound by love in one single volume, that which is dispersed in leaves throughout the universe: Hence that which is above it is a hidden thing beyond all thought and speech, and which does not enter into any enumeration” Nahmanides’s commentary on Yesirah 1: Hyperborean Black Metal is lunar, atrophic, depraved, infinite and pure.
This is something uncanny, not the sweet nature mysticism of the new age so incisively despised by Kierkegaard I quote from his journal at length: The instability lies in the coupling of a gonsis hostility to liberal-capitalist ideologemes with a Nietzschean ‘grand politics’ of natural degrees and ranks.
For then my thoughts, far from where I abide, Intend a zealous pilgrimage to thee, And keep blackk drooping eyelids open wide, Looking on darkness which the blind do see. Eliot’s Maurrasian-Royalist Anglicanism, Wyndham Lewis’s complex quasi-fascist anti-humanism, Ernst Jiinger’s national-bolshevism, Francis Stuart’s nihilist ethics of abjection through collaborationBlack Metal, at least as articulated by Famine, is an aesthetic-political right-wing radicalism.
Hell — the adjective “chthonian” applies to the Infernal gods as well. There is nothing that is complete; there is nothing that is pure.