Ccru- cybernetic culture research unit

Cybernetic culture research unit
e-mail	abstract culture	syzygy	archive	id(entity)	links	occultures

	*Hyperfiction*
Iris Carver	The A-Death Phenomenon
	Cybergothic Hyperstition
Maria de Rosario	Apocalypse been in Effect
Kathy Hacker	Zerok un Holes

Cybergothic Hyperstition
[Fast-Forward to the Old Ones]
-Iris Carver-
-1998-

Think of Cyberspace as a black-mirror. It is where time flips over: collide with it and you travel backwards. As telecommerce accelerates us into the net, it seems that things of ever deeper antiquity awaken, and begin their return

So say the Cybergoths

Cybergothic exists as a web of sinister rumour, haunting a subterranean soft-labyrinth which it calls the 'Crypt.' Buried deep within the primal sediment of the infoplex, and shrouded in a crawling-fog of digital camouflage, it isn't easy to find, but there are clues

Initiates of the late 90's Darkside Catajungle scene will remember Crypt ('we're not a band, but a pack') as the lesbovampire mix-down sound-machine based around Gill Slitz and Jean Trafix. Their 1997 Unlife CD - a necrotic-rush of vortic al tick-drifts and abysmal bass - set the tone for a wave of 'post-musical' electro-thanatoid polyrhythm production, punk-nihilism updated into a technodesolated Nanofuture

'It's a Wintermutant thing' Slitz declared, 'basically, we're a nightmare ... '

Hyperstitions are not representations, neither disinformation nor mythology

Hype, hyping, hyperpropagation belongs to a strain of time-warp cybernetic fiction that cannot be judged true or false because it makes itself real. Trawl through the nether-reg ions of Cyberspace and the Crypt-influence is vivid

Nomo: the CD

	*Nomo:* *the CD*
surge 8:1-7:2	hold 7:2-5:4	sink 5:4-8:1
murmerge	overdoublings	accurtzsss
crabbe's last breath	odd dub	kataclysm
assault on the aquapolis	dry run	tik-n mu
hell of mirrors	panikatak	vault of murmurs

Unlife is spreading, and with it the ominous themes of time-rupture, social heat-death, synthetic culture-plague, artificial-drug addictions, immersion-coma and cryo-tomb scavenging, ameiotic or bacter iosexual retroversion, ghoul-oriented behavior, spinal-catastrophism, and aquapocalyptic neo-icthyoid body-shifting ... multiplicitous connections to 'all those horrible, slimy, tentacular abominations from the Outside'

Cybergothic Cargo-Culture patches itself together out of things that fall from the future, cannibalizing them for ancient intensities, which are propagated as hyperstitions. It believes nothing, 'but that's Uttunul, which underlies everything, and lies are fictional quantities ...'

Take Yettuk, for example. It's obviously made-up. Yet it proves effectively ineradicable, lurking in the most ancient substrata of programmable and embedded systems: soft-relics from the punch-card epoch, replicated mindlessly, and encrypted in forgotten polyglot-codes

Something is about to occur, and we know exactly when

Whether the looming 'entity' is called Y2K, Yet-Tick, You-Took, K-Yeti, Yettuk, or Yatka, the cybergoths interact with it as a chronsensitive electrophantom - a binomic cloud - coinc ident with the double-zero time-fault that quakes the millennium

Cybergothic is preparing itself for the coming time-war, intertrafficking amongst various xenochronic mystics, countergregorian agitators, and calendric-guerrillas that populate the datacombs

Out beyond the Yettuk-rift, fierce K-dating subcultures spread across drowned continents of web-space

Demonic multitudes are condensing in the Crypt.