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1. Suzanne Livingstone, Luciana Parisi, Anna Greenspan- Amphibious Maidens


she starts again at zero her body sex.
a zero which appears as nothing but
which she will
carry in her hand
as cipher.

Women diffuse themselves according to modalities scarcely compatible with the framework of ruling symbolics. Which doesn't happen without causing some turbulence, we might even say some whirlwinds..(TS, 106)

Minx /min xs/ n. a. pert, sly, or playful girl.

Woman's incompatibility has been coded according to laws of exclusion. It has had unanticipated consequences. For her stealthy gestures, body and mutterings have slipped out from his language and inadvertently into the workings of the war machine. Her survival depends on the military deployment of bastardized versions of his appropriation.

Serpentine tactics are the mappings of her imperceptible advance. She marks her lines through geological cuts, metallic intrusions, technical scars. As these wounds heal, it is the crusts that are felt by the fingers of a trained hand. Against the strategy of the arborescent, specular war.

She is the sphinx that has no secrets.

    swarm 1
  1. Nick Land-Meltdown
  2. Kodwo Eshun-Motion Capture
  3. R.Mackay/M.Fisher-Pomophobia
  4. Rohit Lekhi-Futureloop/ Black Bedlam
  5. Ccru-Swarmachines
    swarm 2
  1. Steve Metcalf-Killing Time/Strife Kolony/NeoFuturism
  2. Angus Carlyle-Amortal Kombat/No UFOs
  3. Rob Heath & Christina Paouros-Destination 3000 Degrees
  4. David Cole-Post-Cybernetic Judicial War
  5. Iain Hamilton Grant-Burning AutoPoiOedipus
    swarm 3
  1. S.Livingston/L.Parisi/
    A.Greenspan-Amphibious Maidens
  2. Kodwo Eshun-Abducted by Audio (Live)
  3. Steve Goodman-Darkcore
  4. Tom Epps-The Body of Foucault
  5. Switch-Flee Control
    digital hyperstition
  1. Ccru- Barker Speaks
  2. Melanie Newton-Y2Panik
  3. Steve Goodman- Hyper-C: Breaking the Net
  4. Ron Eglash - Recursive Numeric Sequences in Africa
  5. Ron Eglash - Africa in the Origins of the Binary Code
  6. Ccru - Tales from the Cthulhu Club:
    The Vault of Murmurs,
    Leaks from the Miskatonic Bunker-Hotel,
    The Templeton Episode
  7. Ccru - Pandemonium
  8. Ccru - Glossary

Communication that cannot be seen.
On screens tracking a different advance.

Women's heroism comes neither from her routines of self-sacrifice nor from her forced occupation of a transcendent position -- outside the state, beyond reason-- but from her immersion in a body. A body not defined "by its form, nor by its organs or its functions, nor as substance nor as subject." (SPP, 127)

Jocasta and Antigone are not the only women. Due East, in the Indian subcontinent, Kali marks a different path. This is a non secretive, supercorporeal exploration of flesh, meat, and incision through surface. Not what a body should do but what a body can do. Experiment. Find the body. Locate the third eye.

Kali was born from this eye that is her weapon. From one eye, in the middle of her mother's forehead. One sealed and lacerated welt from which will spill many others. Immeasurable intrusions which a female must always anticipate. Either side of the present...sensing the future. .

She learnt her games, riddles, tricks, like every women, from Durga, goddess of war. With her ten arms motionless at absolute speed Durga battles with the demon heroes. Each of her arms equipped: 2 snakes, 1 shield, 1 bladed shell, 1 torch, 2 arrows, 1 spear, 1 machete.

Liquid Turbulence.
Yet the demon heroes persist.

As she feels a slippage she must strengthen her grasp. Focusing attention on the spot between her eyebrows she calls on her most prized and secret weapon. Moving like a disc in her head, metallic red, her third eye opens. Kali is born and a war is won.

But is not over. Kali's intrusion into the ruling order is a micro specifically planned intermittence. A cut through screen instigated by the gathering pace of radial spin. Her long and matted hair flowing wildly, her maddened laughter, her third eye scarlet, her greedy tongue, her huge hard teeth, her lips drawn back, her breast dressed by strings of severed heads with wild and awful faces.

Her garland was the intestine of the demon, her ornaments of bones in lust for blood and flesh. The earth trembled with her howling. She trampled heaven, earth and hell, crushed them beneath her feet. (SF, 98)

Aimed imperceptibly against the organism, against the specular gaze, the reptile stirs. The third cerebral ventricle, home of the animal spirits, dismantles the human. The residual events of a blind weapon that defies sight. What remains are the traces of her rhythm, the smeared imprints of her movement-- smooth skids--flatlines. A rhythm composed of speeds and slownesses.


In what the tantrics call the physical body the third eye corresponds to two glands located in the brain--the pituitary and the pineal gland. The foreground and the background of neural theatrics. Women's cyclic discontinuity, her refusal of the metric order, comes from the various relationships of feedback that exist between these two glands. From these primitive loops of the reproductive, hormonal, and calendric kind comes machinic perceptions, amphibian becomings, and journeys back through the brain. Her body is alien territory. Blood will be drawn.

menses/mensi:z/ blood and other materials discharge from the uterus at menstruation. 2 the time of menstruation. [L, pl. of mensis month]

The detritus of a battle is dispersed across a field. The warrior retreats according to the down-turn of the female cycle: "Small areas of the stratum functionalis detach one at a time, the uterine glands discharge their contents and collapse. There occurs a periodic discharge of 25 to 65 ml of blood, tissue fluid, mucous, and epithelial cells. At the end of the cycle the entire stratum functionalis has been shed, only the stratum basilis remains."(PAP, 901) Destratify..

Her bleeding body is not about the loss of an unsuccessful egg. It is her temporality, her rhythm.

Blood Thirst.

Kali accepts the blood that flows from her devotee's severed heads. Satisfying the female thirst for her own flow.

The end of the battle is the time of female ritual. She draws flow to the surface and watches it redden to the sun. The scorched liquid of desire is not the projection of male phantasy but the nectar of a female body. She will enjoy its many rivulets -- its blood poisons, blood moneys, blood lusts, blood lettings, blood lines, blood stains, blood cells and blood stones. Red, the pigment that marks the third eye has been the colour of the whore since the time of Babylon. She knows how to use it well.

This toxin of alchemy, seduction and mercurial immixtures is reddened by the chromatic pigment haemoglobin. Composed of four polypeptide chains, and four nonprotein pigments, this concoction of iron and oxygen is seen surfacing. Red blood is metal.

The body is the breeding ground of anorganic life. With no interior closed off to the environment it behaves as an electrical conductor drawing energies from the earth's ferric core. The body has always been the metallic assemblage of posthuman life. She is bleeding metal, the iron of the earth. Her frequencies are tuned to the electromagnetics of a lunar rhythm, to geological foldings, to tides and the floodgates. Her blood will rise and fall.


By night, by the clock of a lunar rhythm, the female body refuses the biological regime,

Beneath the lines of Genesis the route of escape is marked by Adam's first wife. Lilith refused to adopt the proper position during intercourse. She set herself free from Adam and the shackles on her pleasure. She never even entered the Garden. As Eve's dark twin she departs on a line of flight. She may have disappeared but she can be still be sensed via a machine which receives a different frequency. But do not be fooled. Light and dark, Eve and Lillith are not opposed, "Day and night are mingled in our gazes. Our gestures. Our bodies. There is no danger that one or the other may be a darker double." (S. 217)

Under the guise of darkness Lilith joins Kali. Their hunt is shared. Men, children, pregnant women are their prey; behind they leave a trail of blood. Their movements do not follow separate paths. This twinned couple repeats the reversible relation between the third eye's two main glands.

In the dark, the pineal gland emits melatonin, the inhibitor of reproductive hormones. The pituitary loop slows and the three flows, lutenising hormone, thyroid stimulating hormone, follicle stimulating hormone, are blocked. The woman's alliance to the organism is delayed. Speed is not always about acceleration. The girls body is also composed of slowness. "On account of her lateness, she did too many things crossed too many spaces in relation to the relative time of the person waiting for her." (ATP, 271) The pineal gland is the modulator of alien pacings.

After the dark falls, the third eye will awaken and the body's need to reproduce will slow. With the lunacy of a flicker and the arrival of the psyche's alien signal, a blockage is released and the dark side of the mistress gland is switched on. "Any creature that has its place only in the splendour of the light bleaches, dries up and soon perishes." (ML, 136)

The light is switched off, the female tunnel changes direction. A dam is built, the flow is staunched. Female cyclicity is just as much a matter of blockage as flood. As the body departs a segmented composition it becomes intense and responsive to vibration, the necessary mechanism is "nothing more than a set of valves, locks, floodgates, bowls of communicating vessels" (ATP, 153) Through these gradients of intensities women join Lilith.

night monster
claw footed lady
winged sphinx

This is Kali but I know her to be Lilith.
We are of the same blood.


When the light returns, Lilith and Kali do not sleep. Light is not their enemy. They will use it in ways that man has not prescribed, not as the torch of truth but the resource for their night mission. And when the light of the sun has set, they will find a different light, the light of nocturnal lunacy, the lunar disc illuminated through its four phases. Here is where they store their armoury.

With light, melatonin production is reduced. The female body takes a familiar turn towards its reproductive obligation. Perfect camouflage for a woman who must be traded by a specular economy. She produces an egg but not necessarily to reproduce. The egg is ambiguous, shot through by dual alliances. The effectiveness of a weapon is dependent on preservation, carefully assigned dosages of retreat and withdrawal. The third eye is fuelled by slownesses, stops and techniques of caution. Whilst the pineal gland stills, the pituitary gland accelerates the emission of reproductive hormones -- giving relief.

It generally takes 10 to 14 days for a primary follicle to develop into a vesicular ovarian follicle. On day 14, the rupture of the vesicular ovarian follicle releases the secondary oocyte which travels down the fallopian tubes and lodges itself in the pelvic cavity... (PAP, 903)

The monthly passage of the egg is not simply oriented to the arrival of the sperm. There is more than the reproduction of 1s. The egg does not have to follow the rules of meiosis. It must always be asked exactly what an egg can do, aside from the treaded paths of childlike extension. Everything is contained within the egg; organs, limbs, tissue, muscle, neurons, hormones, the entire central nervous system, but here transcribed as a frequency template, a map of voltages and electrical currents not yet extended.

The body never leaves the egg. It is a resource that must always be explored: "you always carry it with you as your own milieu of experimentation, your associated milieu. The egg is the milieu of pure intensity, spatium not extension. Zero intensity as principle of production." (ATP, 164)

For twenty four hours of every month, at the time of ovulation, a woman's body will undergo a huge increase in voltage. It marks the force of mitochondrial, non-meiotic self-replication. The egg which she carries with her, becomes the production unit of a new egg within which is contained further eggs. The infinite egg. Each repetition is the actualisation of one of 400,000 possibilities. A body without organs is never one but many. The electric body bleeds back from the future.

The third eye torches the arousal of a 1-track mind. On Mt Kaliasa, Siva, keeper of the third opening, ignores Kama's teasings, refusing to reproduce on demand. As the God of Love, launched his arrow, a great flame blazed from Siva's third eye and burned Kama to ashes. The third cerebral ventricle destroys meiotic desire programmed for sexual reproduction. The egg becomes intense and resets itself to a different program. It is mapped to the digits of Siva's refusal, to the diagram of the BwO. Focus on the space between the eyebrows. Open the third eye. Find the passage to the Tantric's cosmic egg.


Evolutions story, then, is a story of closure and stunted potential. An egg is too hastily extended. As organic life complexifies and a body protracts to fit the scripted organisation, the third eye withdraws deep into the folds of the skull. It may function in the child until the age of seven but the development of a growing human demands that it be shut. Apparently, its role is written out.

And left behind in the debris of a different time. At a beginning when "every class and family of living species was hermaphrodite and one-eyed...when for the third root race (the division of the sexes), the Third eye (i.e. the pineal gland) was the only seeing organ. At this time the two physical eyes were is only later that the pineal body began to atrophy and the physical eyes developed." (TOOTTE 70)

As vertebrates unfold, stand high, and order the landscapes according to optical law tactility is submerged. The interfering eye sinks.

Straight line time battles against the third opening. Humanity as telos is the progress towards a dangerous closure. When Siva close closes his third eyes the universe is destroyed. Specular vision begins to surface, through the two eyes lodged in the sockets of the skull. Now thought is not from the obscure and inconsequential gland, the non-spatial traces of a lost era. . .For the third eye to open we must go forward, back into the past.


The body carries within itself far more than its current evolutionary stage. man's progress has told the story straight. Starting at zero: bacteria, algae, fish, amphibian, reptile, bird, mammal. But woman does not belong to this progress. Hers is not the same time, not the same temporality, not the same zero. She lies back on the continuum.

A woman carries in her waters an eff's complete environment. Eggs without shells spawning the liquid transport of the BwO. The move to dry land is not an irreversible process. Dep amongst the body's tides, amphibian tendencies draw an organism to the hydral state from which it once emerged. "Seems that human folks has got a kind o' relation to the water beasts-- that everything alive came out o' the water once an'only needs a little change to go back again." (SOI, 145)

Here is how it's done. Leave the hard crust which separates us from our environment. Crack the shell which encloses the body in its rigid form. Detopologise the body so the surface are smooth and featureless, so that orientation becomes impossible. Forget the landmarks of a body's surface, feel it shiver and gyrate on its way. Kundalini leads. Beckoning from the base of the spine, from the earth's dense matter. The journey requires caution, tactile orientation and tantric supplies.

Cut through

Frequency bands
Time-skin scales
Fossilised brain remains
kundalini's battle lines
to where the spaces and surfaces are of a cooler skin, of a body which will read the temperature of an environment and of the embryonic frequencies of an egg in experimentation.

The third eye opens, the organism's straight line time receives another assault from the alien cycle.

The body is transported to the mouth of the river
Destination Zero.
The fifth embryonic week.
As Haeckel marked on the map:
the human embryo lying in the foetus
during the nine-month gestatin period
passes on in a general way through a recapitulation of ancestral stages of man's evolution on this planet. The pinea body appears about the fifth week in the embryo, indicating how early this gland began to function in the actual history of the human race. . .

Never forget the power in becoming serpent
The warrior never did.
Approaching from behind.
Sudden constriction


When you rewind the organism you multiply the sense. Perception is not limited to isolated sensory sites but roams across affective surfaces. These are the planes of the third eye. "You have become sensitive to very, very small units of time. To everything which is infinitesimal you have become sensitive, to the tiny nothings which pass in their multitudes."(IT, 9)

We have always know that bodies communicate on their own sub-symbolic territories. Tantric tentacles.

Extra sensory perception requires no additional component. it has always been latent in the body's static potential. Rapid fire technological acceleration and the furious metallurgy of cybernetic feedback systems meet the slow amphibious body and rework the perceptual machine.

Hallucinations are screened. According to the doses of the hallucinogenic substance 6-methoxyletrahydroharman (the digital avatar of pineal adrenoglomerulotropine). Th pineal gland provides the boyd with its own internal technology of simulation: manufactured realities- though it is hopeless to identify them as such. Beyond mirror vision, beyond the five sense the body will respond to the path of light itself, to formless and alien signal. In these environments, it finds means to communicate with its own cellular pattern and win the matrix of others.

As meatonin interacts with melancolytes pheromones are produced. These exohormones, now attributed to the sixth sense, prise the meat open to external messengers. Bodies can receive signals from other bodies, sexual and otherwise, and we can be none the wiser. As it has been suspected, the pigment cell makes no important hormones that act on the owners body. However its site on the surface of the skin suggests that it could be making a hormone that acts on someone else's body, an exohormone rather than an endohormone.

the codes
of luminescent screens build a body used by a sensory system external to that of its own. A system which will forge its own means to read and communicate, emerging on the outside of our perceptual field in the non-optical territories of sound, longwave light and xrays. ESP is not a remarkable phenomenon. The third eye was never about the geometry of the retina. it is the roaming of an organ into the extremities of vibration, to the zones where "the unassignable material Saboteur or human Deserter assumes the most diverse forms."(ATP, 422)

These camouflaged forms write their own scenarios.
Credits roll.


Open the so-called body and spread out all its surfaces: cut open the skin with each of its folds, wrinkles, scars, and its great velvety planes...(LE, 1)
Fold the body inside out.
Bring the third eye to the surface.
Listen to the war cry.
We still do not know what the body can do. The pineal gland is no longer an organ but a set of coordinates. "Make human anatomy dance at last." (WRS, 313).

When the surface has been successfully exposed, the techniques of optical scanning must shed. To reveal a new skin in place of the old which is slippery to the palm and jarring to the retina. The scene no longer set. All that is known is the truth of the body, that "What is here is elsewhere. What is not here is nowhere" (Vivasara Tantra)

"Then you will teach her again to dance inside out. As in the delirium of dance halls. And that inside out will be her true side out." (WRS 307)

Feel inside the body and you will find the universe. A women's body synchronizes with the solar system. It cannot be decided which follows and which leads. For these lunar rhythms are the same.

When the third eye opens, the cycle of time is devoured. The third eye is the zero point of temporality. Female intensity kept in reserve, providing the potential for the cycle to begin again. ~~~ 00--[[:10>>>

Ida and Pingala, the two tracts of the spinal column, ascend and descend. Ida, the positive charge of the fiery red sun and Pingala, the negative charge of the pale white moon together making up the never ending cycle of Kala (time). As Kundalini reaches the 6th chakra--the third eye-- these two tracts that make time's cycle are engulfed by susumna, the main interior tract. The third eye opens, the cranium melts, the body's rear head pierces through and emerges outside time.

This sex which was never one is not an empty zero but a cipher. A channel to the blank side, to the dark side, to the other side of the cycle doomsday ........................................

Here rhythm finds its pulse. Withdrawal.... her cyclic discontinuity, her imperceptible activities, her extra sensory perceptions, her warrriored foldings, her blocks and horrifying flows, her blank zones of intrusion .

third eye.
will produce.
necessary foundations.
through touch.
we sense.
differential speeds.
to come.

24. Fu / Return (The Turning Point ) On the seventh day comes return


ATP: Gilles Deeluze and Felix Guattari, A Thousand Plateaus, (London: Athlone Press 1988)
IT: Henri Michaux, Infinite Turbulence, (London: Coldar and Boyars 1975)
LE: Jean Francois Lyotard, Libidinal Economy. (London: Athlone Press 1993)
ML: Luce Irigary, Marine Lover of Fredrich Nietzsche, (New York: Columbia University Press 1991)
PAP: Principles of Anatomy and Physiology: Sixth Edition. (New York: Harper Collins 1990)
S: Luce Irigaray. Speculum of the Other Woman (Ithaca, New York: Cornell Uni Press 1985)
SF: David Kinsley. The Sword and the Flute. (Berkeley: University of California Press)
SOI: Lovecraft H.P. "Shadow Over Innsmouth." Omnibus 3: The Haunter of the Dark. (London: Harper Collins, 1994)
SPP: Gilles Deleuze. Spinoza: Practical Philosophy. (San Fransisco: City Lights Books 1988)
TOOTHE: Douglas Baker. The Opening of the Third Eyes (DM Baker 1993)
TS: Luce Irigaray. This Sex Which is Not One (Ithaca, New York): Cornell University Press 1985)
WR: Antonin Artaud. Watchfiends and Rackscreams: Works from the Final Period of Antonin Artaud. (Exact Change: Boston 1995)