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Cinematic Dinosaurs & the Apocalyptic Extinction Genre

Posted by Regrette Etcetera on October 8, 2010

Pop-Culture Imaginaries of Radical Neo-Lib Conservation.

A supporting document in the Fauxist Postmodern Bestiaries Project.

Contents:

– Global Capital & the Family in Jurassic Park 1 & 2

Q: What would you do with a time portal? A: Save animals from the past! “Prehistoric Park” and “Walking with dinosaurs”


Global Capital & the Family in Jurassic Park 1 & 2

‘God creates dinosaurs. God destroys dinosaurs. God creates Man. Man destroys God. Man creates dinosaurs’.

A (female) paleontologist replies: ‘[d]inosaurs eat man. Woman inherits earth’.  Jurassic Park

Michael Crichton’s Jurassic Park (1993) (one of the highest grossing films of all time) and its sequel The Lost World (1997) portray a possible outcome of advanced cloning and nature, the creation of an island themepark-zoo animated by prehistoric animals created by a corporate-scientific collaboration. The key narrative device is the use of preserved ancient genetic material, its combination with contemporary animals, and the effects thereupon when played out in the vicissitudes of the lab, funding, capital etc.  The existence of advanced cloning technologies, associated intellectual property rights (their DNA sequences are altered just enough to make them patentable and thus private property), a market for radical/aesthetic cloning, more radical forms of ecotourism, global capital.

Jurassic Park has widely popularised the idea of surreal cloning (surreal in its temporal extremity), and we can read in it many cautionary ideas regarding extinct/conservation cloning. In a modernist judeo-christian way, it incorporates cautionary tales on a grand scale. However, perhaps the warning is less about the more common GE warning: sentiments, from ‘dinosaurs gone wild’ or ‘humans playing god’ (oh no not another Island of Doctor Moreau, another Godzilla, etc)- than it is about the endless capitalist drive to novelty, the global biopolitics of the spectacle, and global ‘themeparking’ (in nations where the global dinosaurs of the US run wild?).

Beside the catastrophic failure of the park, JP functions as a warning, though perhaps not for obvious reasons. As Turner writes: “Part of the appeal of Jurassic Park is, after all, the domestication via bioengineering of the cloned dinosaurs; what new things can they be genetically made to do, or kept from doing, to keep park visitors entertained?” Jurassic Park is ultimately likely to lose its novelty for the narrow target market that can afford to consume it, or be beaten out by a competitor who has an idea that is, for the moment, better…and  the cycle of planned obsolescence in capitalist production begins anew in The Lost World”. (Turner, 895).

Whatever the results of rampaging reptiles, there still remain rituals of self-congratulation in JP, those concerning geopolitical supremacy and capitalist innovation. In this, cinema creates what Michael Shapiro describes as a ‘moral geography’ of global politics, a cartography that provides orientalist mappings of global politics (Lacy). Susan Sontag argues that science fiction movies are ‘strongly moralistic’, developing a perspective about the ‘proper, or humane, use of science, versus the mad, obsessional use of science’. In this way Jurassic Park and The Lost World articulate what appears to be a ‘counter-cultural’ critique of anthropocentric, technologically advanced society, developing a critique that resonates with the arguments developed in the more radical sectors of critical social and political thought. But these are still funded cultural products, commodities distributed by multinational corporations and are often designed to market consumer goods.

Watching the scenes of hitherto sceptical zoologists, placed as if in a distant past and in awe of the animals, moments redolent with a kind of utopian freedom recur throughout… Modern scientists (here: white parents) touching & commentating upon the dinosaurs, sharing them with their families, thereby circle heteronormative ‘whiteness’ back into deep history. We also see moments of what we call “The Chaotic Sublime”- In other words, the role of Malcolm’s chaos theory in the novel is to serve as a mediating term between capitalism and nature: it reinterprets social forces as natural forces, the embodiment of chaos in predatory animals.

Certain elements kept JP (less so the Lost World) from becoming an apocalyptic-utopic narrative: mostly notable that the dinosaurs are genetically programmed to require certain supplements, without which they die (linking them indelibly to the zoo, the corporation, human control etc). JP is abstractly located on a jungle “island off Costa Rica”- that experimental wonderland of US imperialism, and the horror of Kurtz, dark jungles- and is financed by “Japanese” interests (simultaneously a nod to rising Japanese economic power, cultural difference, and Godzilla?), and the film finds closure and salving of tension by the reunion and resolution of the heterosexuality-nuclear family motif, leaving the stricken, reproductively doomed island behind.

From the 1970s onwards, images depicting the future have been increasingly dystopic: by the 1990s, ecopolitics had become so ingrained in popular consciousness that one movie, Twelve Monkeys, entertained representations of ‘radical’ ecologists attempting to wipe out the human race in a surreal time travel story. (lacy) Indeed, if anything, the films that document acts of resistance exhibit what William Connolly has described as a ‘nostalgia for a politics of place’ (to which We would add ‘time’), an attempt to re-affirm the idea that our territorial forms of liberal democracy are still viable political structures in a period of deterritorialised risk and multinational capitalism; accidents will happen but an ‘open’ society can still restore justice and order.

Q: What would you do with a time portal? A: Save animals from the past! “Prehistoric Park” and “Walking with dinosaurs”

‘The biggest thing on television in 200 million years’   BBC press pack  1999

Other major pop-culture events that combine prehistoric/dinosaur narratives with the zoo are those of Prehistoric Park (6-episode mini-series premiering 29 Oct. 2006) and Walking with dinosaurs (6 part BBC production, 1999). Walking with dinosaurs had an audience of 15 million for the first episode, with another 3.91 million tuning in for the repeat on the following Sunday, making it by far the most watched science programme in British television history (The Guardian, 1999c).

Both use CGI/video technologies to portray dinosaurs and ancient environments in small ‘s’ surreal ways, notably by enabling the inclusion of humans within these spaces/times. Thus there is a further rupture/portal than in JP then, in that humans travel back in time, (as well as dinosaurs ‘forward’), to appear in a pre-cultural/human landscape which is made present only through scientific-media technology, and thus inherently, values.

In making Walking with Dinosaurs, the director realized that, in order to create the sense of immediacy he wanted – what he called his ‘window into a lost world’ – he needed to ensure that his dinosaur protagonists “did not depart too radically from their digital predecessors as envisioned by Spielberg (Jurassic Park), since this image was still fresh in the minds of viewers”. (Scott, 12). As such, prior forms, genres and works constituted a restrictive referential basis or ground for copying, acts of manipulation and recombination, and efforts aimed at further ‘perfecting’ and simulating the already mediated. (2000: 75) Thus, analysing the way in which we choose to represent dinosaurs, an extinct prehistoric life form, has much to tell us about the role which the new media might play, not only in shaping our understanding of the past but also in determining our future relationship to reality itself in the postmodern world. (Scott) .

In Prehistoric Park (PP) and Walking With dinosaurs (WWD), scientists (naturally white, male, anglo, seemingly heterosexual etc etc) travel back in time (via a time portal) to witness and explain an apparently independent reality for us. In PP the teams- acting as ‘vets’ for a zoo-park located in the present- visit times and places (like an oxymoronic “Prehistoric China”) to watch and interpret significant events in evolutionary time (eg. sabre-tooth tigers overpowering flightless birds), and capture/rescue sick or ‘doomed’ dinosaurs as to bring back to safety and control of the contemporary park/zoo etc (also notably utilizing the ‘volcano threat’ narrative). All is controlled and mediated by these scientists who enter ‘the’ past- notably one distant enough to not involve human narratives. (see the series “Walking with cavemen” for this…).

What are the lessons and presumptions of these narratives?

Less the impossibility than so much the expansion of awareness, intervention, and ultimately, control backwards and forwards in (deep) time-space, information technologies that can represent any reality, and reopen a speculative and spectacular past that capitalism and contemporary culture and nature can be written onto. Also that zoos or conservation parks are/would remain the most effective form of care, control and appropriate knowing. Thus scientific knowledge, intervention and control becomes timeless, becomes less sci-fi, less about alternate social realities, the nature-film genre eternal, television eternal.

Wwd and PP show possible versions of an interpretive/educational use of the time/nature/culture flux, unquestioned and devoid of almost any social comment. Such works seem to differentiate themselves from something like Jurassic Park by their educational/ethical/conservation zoo framework, avoiding the clumsy capitalist critique.

SEE FOR EXAMPLE:

– Paul Semonin EMPIRE AND EXTINCTION: THE DINOSAUR AS A METAPHOR FOR DOMINANCE IN PREHISTORIC NATURE

– Alan Cholodenko  “OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR”: The Virtual Reality of Jurassic Park and Jean Baudrillard     International Journal of Baudrillard Studies   Volume 2, Number 1 (January 2005),

– Michael Matthews   Walking with Cavemen—fact or fiction?, AiG–US  17 June 2003


 

Posted in Fauxist Cryptozoology, Post-Apocalypse Consultancy Agency | 1 Comment »

Exo-conservation narratives & The Environmental Apocalypse

Posted by Regrette Etcetera on October 8, 2010

Some Notes On Eco-Apocalypse in preparation for the Fauxist  Postmodern Bestiaries Project

CONTENTS:

–    ‘Terraforming’ & the Universal Nature Reserve in Kim Stanley Robinson’s Mars trilogy.

–    ‘The Imagination of Disaster’: “Do androids dream of electric sheep?” as a post-apocalyptic consumer zoo

Genetic conservation and repopulation, panspermia, off-world conservation and procedures similar to the cryonics of the Frozen Zoos have been featured in innumerable science fiction stories, usually to aid space travel and colonisation, to survive long stretches of time or social upheaval, or as means to transport a character, an environment from the past into the future.

Many of the narratives focus on, and thereby try to fathom/portray the incongruity/strangeness of such a transition, the challenges to received categories or dualities when nature/humanity is taken off-earth, or the world in which it has become commonplace. Many of these narratives are part of politicized eco-dramas about dystopian imaginings of a biologically impoverished future, most often due to human corporate-scientific greed. Here, We will look at a few instances, ranging from more traditional, to those that portray social and political ambiguities of such practices.

Of particular interest to the Fauxist Postmodern Bestiaries Project is the ways in which these often dystopic scenarios of eco-apocalypse have become ‘mainstreamed’, and now constitute fear/fetish and mourning subjects (see for example  SOLASTALGIA, the next liberal buzzword) planning/design problems, and new categories of lifeform, taxonomies, lifeworlds and so on.


‘Terraforming’ & the Universal Nature Reserve in Kim Stanley Robinson’s Mars trilogy.

Robinson’s heterotopian Mars trilogy follows the colonisation of Mars in the not-so-distant future, fuelled by conflicting desires of scientific research and the preservation of a ‘virgin mars’ to the preparation for mass emigration/colonisation of an overpopulated and environmentally unstable earth controlled by corporations. As the trilogy develops, genetic technologies are used to change earth species to suit/adapt to the martian environment- tweaked, exaggerated and mixed to populate and to an extent, familiarise the new planet. The trilogy proceeds thus: Red mars colonisation, green terraforming, blue long term results.

Of interest to us are:

– The ways that the colonists use technology/Engineering to populate other worlds and escape the chaos and destruction of an unstable, overpopulated, corporate-controlled Earth.

– The figure of the animal, and conservation (the use of pristine nature and the ‘wilderness’ concept are used explicitly throughout as a major source of political/moral tension), and The engineering of earth species to allow them to inhabit Mars, which to some characters becomes a sort of planetary zoo

– The broader process of “terraforming” (making earthlike) mars

– How Robinson mashes ‘traditional’ ideas of boundedness, naturalness, wilderness and genesis in the radical displacement of technologically mediated repopulation attempts etc.

– As one of the central questions of the trilogy: what does nature, naturalness, and habitat (whether natural or cultural) mean off-world, when humans are completely responsible for the existence of other species? The re-population, release, control, experiment, quarantining of species, and associated conflict over ‘original’ nature vs. created nature.

– The trilogy captures an important element in surreal conservation- the corporate-political dimension of scientific use and control of organisms. Patenting, competing releases, extractions, mutations etc.

– Robinson’s Mars becomes a space of almost total plasticity, where the recombination of familiar forms, genetic tuning, and enhancements to populate and question it. In an era of increasing space exploration and consumerism (space tourism etc), this narrative, the field of astrobiology and the speculations- for the effects of aliens, space colonies and ‘exo-languages of life’ on taxonomical systems, evolution, the human/earth centred universe and the environment, (see for example the work of Mark Brake: Mark Brake “On the plurality of inhabited worlds: a brief history of extraterrestrialism” International Journal of Astrobiology 5 (2) : 99–107 (2006), Mark Brake & Neil Hook “Aliens and time in the machine age”, and finally Mark Brake and Neil Hook “Darwin to the double helix: astrobiology in fiction”). the Mars trilogy extends that of Silent Running by portraying the multilayered forces of terraforming and populating worlds with existing species, their subsequent status is argued over etc.

‘The Imagination of Disaster’: “Do androids dream of electric sheep?” as a post-apocalyptic consumer zoo

Dick’s novel (1968) portrays a post-apocalyptic future on a ruined Earth, where nature (valued as it now is) is destroyed, reclusive, completely commodified, and otherwise poisonous.  The privileged have left the dying/toxic world, and all animals are endangered. The remaining animals, have become rare class/status items, which show social capital (the rarer the animal the better), and simulation/mechanical animals are all the less-than-rich can afford to maintain appearances.

Electric Sheep is particularly relevant to this project in the following ways:

– It explores the links between class and nature in terms of animals- access to nature and human proprietary, the exposure to pollutants/toxicity and the privilege of leaving a destroyed/polluted earth.

– It presents a future that melds the boundary-crossings, fluidity, cyborgs, appearances and simulations that investigate the moral/ethical/categorical changes,

– In portraying a nature has become completely consumerist: the figure of the ‘real animal’ (or real nature) has become supremely exaggerated, animal vendors and repairpersons sell and replace ‘models’ according to “Sidney’s Catalog”- which includes extinct species, marked “E”, and currently unavailable animals, marked in italic text (and at the last price paid)- the class relations of nature are interrogated.

– The novel reinforces the lack of ‘accidental’ or ‘free’ nature and animals (particularly in the desert toad scene…) which would form such a situation of value and fetish, and explain the reversal of the value system in which animals are considered more valuable than humans due to their rarity and accumulated symbolism.

– The narrative of genetic mutation and corruption that accompanies a global toxicity dovetails with the rhetoric of the Frozen zoo and contemporary eco-apocalypse.

– The novels end-vision of what a world of capitalised animals could be like. The exaggerated forms of social capital and commodity fetishism that could spring from older notions of natural value and uniqueness etc. a pet culture of all species, individualised conservation and care, and the shifting of terms of realness and surface, which could accompany the animation of extinct, rare or symbolic animals in our times.

See wikipedia for list of cryogenic narratives in pop-culture:  HYPERLINK “http://en.wikipedia.org/wiki/Cryonics#Culture” http://en.wikipedia.org/wiki/Cryonics#Culture

Posted in Fauxist Cryptozoology, Post-Apocalypse Consultancy Agency | 3 Comments »

Secularisation and the Neo-apocalypse: More Apocalii than ever before!

Posted by Regrette Etcetera on October 8, 2010

Selected Preliminary publications of the Fauxist Post-Apocalypse Consultancy Agency (2007 onward)


Fauxist publications associated with the Post-Apocalypse Consultancy Agency & Museum of the Apocalypse:

– “A preliminary narrative to the launch of Fauxist’s ‘Museum Of the Apocalypse’.”

– “Con-fabulating the Cabinet: Biography of a Museum Creator“.

By James Glick. Previously published in The Journal of Comparative Practices pp.363-8, vol.14, iss.4, 2008.

 

Contents:

– Technology & Transmission

– Key Changes in the Secular Neo-Apocalii:

– Key terms of discourse around the Neo-Apocalii:

– Au seuil de l’apocalypse

– Rationalization of the Rapture


Many people ask us, and You may wonder, how we can speak of ‘apocalii’, (a rendering of apocalypse plural, to trouble the Biblical/monotheistic origin of ‘The’ apocalypse) when the revelation of St. John is the apocalypse, and so, We’ve produced a short tract on what we call the Neo-apocalypse, and on the growth of the genre We call Secular Apocalii. Secular apocalli have proliferated in type, scope and representation. So much so that we felt it important to understand more about them.

The Fauxists started out by asking:

What function does apocalyptic thinking fulfil in contemporary societies?

What does the apocalyptic narrative account for?


Technology & Transmission (Excerpt)

The rapid proliferation of the Secular Neo-Apocalii is facilitated by contemporary cultural technologies, namely those of the Information Revolution. ‘Historically’ representations of the Apocalypse spread and morphed slowly (generally represented as similar for hundreds of years) via books, painting and prints. ‘Now’ we see endlessly repeated and embellished versions of the end in movies- the mythology makers of our times. Websites, personal apocalii, PR image machines, consultancy culture. This area of cultural production has become so profligate and dissolute that one sometimes detects a frisson of smug or hysterical pleasure in both producers and the public born of ‘overexpossure’ or over-familiarity with such a plethora of competing and transient apocalyptic scenarios.

Key Changes in the Secular Neo-Apocalii:

– Faith and optimism have disappeared, replaced by imaginative but definitive end scenarios of Undifferentiated Punishment, inescapable and insidious permutations of a ‘Mankind’ beyond renovation, a degeneracy so complete that the ending can only be so too.

– The sense of permanent crisis coexists with the notion that the conclusive catastrophe has already occurred.

-Some Fauxists call these contemporary forms “neo-apocalyptic”. The psychic need for the idea of a New Jerusalem, a utopia remains and points out a path out.

-The idea of a secular utopia is essential to Modernism, and what we think of modern or modernist always relatively apocalyptic, vis the Futurists, the Bomb, the Holocaust, Corporate capitalism, Colonialisms.

-The Judgement component of the apocalypse becomes further complicated under Postmodernism, with the relativity and pluralism of all belief, and questioning of ‘dominant narratives’ further undermining the post-apocalypses of modern political visionaries etc thereby enhancing the ‘nihilistic’ bent of secular neo-apocalii…

– Given centuries of Christian conditioning, the western world was always going to meld apocalypse and palingenesis in the imagery of decadence.

– The apocalyptic straddles the border of theology and psychopathology- feeding the glutted indifference of a jaded public.

Key terms of discourse around the Neo-Apocalii:

The fundamental suicidal absurdity that lies at the centre of patriarchal culture

– The New Ephemeralism

– The pervading sense of radical futurelessness due to an expectation of annihilation in our lifetimes,

– The sense of radical absurdity, psychic numbing, and identification with and even worshipping of the bomb, the bug, the flood…

Au seuil de l’apocalypse

Apocalypticism is one of those realms where the ideological spectrum bends into a circle and the extremes meet. The nuttiest religious weirdos of every stripe agree that the present “hell in the ‘Middle East'” is a hopeful sign of the end-times, that an Antichrist will temporarily take control of the world. Some Muslims expect him to be a Western Jew; in many Christian versions, he comes to power through the European Union. For both sects as well as the New Age psychedeloids, apocalypse still has its original meaning—revelation, the appearance of God following destruction, revelation, unveiling.

Apocalypse has long furnished the key to human history, fascinating ‘the Jews’ and their ‘Christian offspring’ for the last 2200 years. The Apocalyptic is the mother of Christian theology.

Simply put, Religion is about dealing with death, a banal truth. The apocalypse then, by defining human suffering in cosmic terms, as part of a cosmic order, allows catastrophe to be dignified, endowed with meaning, and hence made bearable. As such, Apocalyptic thought acts like a mirror held up to each age, portraits of the attempts by each era to understand itself in relation to an all-embracing scheme of history or apparent set of ‘plans’.

Joining pessimism and optimism together, the millenarian message is infinitely adaptable to the circumstances of any age.

Rationalization of the Rapture (Excerpt)

Early forces of rationalization, enlightenment and textual criticism cleared most of the supernatural out of Christian beliefs, and with the continuing disintegration of consensual religion and the waning prestige of magic- particularly in the 19th c heyday of secularism- the Christian revolution would be surpassed by the human revolution. It’s goals: Saving humankind without spiritual intervention- rational, political schemes and turmoils etc. A fitting example of such disenchantment may be that of the heavens.

Apocalyptic beliefs are one of great bridges between medieval and modern times. Modernity is necessarily about the passing of the present, of ourselves, of current fantasies we assume as norms, of trends and fashions that have decay built in. The idea of the world slowly ripening to perfection is Our favourite modern mythology. Thus the doctrine of the ‘second coming’, the Parousia, is deeply uncongenial to the whole evolutionary and developmental character of modern thought. The apocalypse is often too radically excessive, too emotional- and has been swept out of modern Christianity by embarrassed scholars.

In looking at the apocalyptic narrative throughout history, cross-culturally, We find that Apocalyptic thought and literature traditionally fulfilled a function of comforting people whose lives were/are overwhelmed by historical or social disruption- a judgement to maintain faith for eventual reward. Here, the operative word is Order, for the imposition of the apocalyptic model onto one’s experience is a feasible, if extreme, way of making sense of dislocating historical events, a sense-making impulse of ancient lineage. The dialectic between now (suffering, travail, oppression) and not yet (redemption, emancipation, triumph), between revolutionary desires of destabilizing authority and the status quo, has led to the optimistic content of the apocalypse (particularly for Oppressed people).

‘Currently’, in the second half of the ‘20th century’, the new narratives and types of apocalypse have lost the optimistic slant of those more traditional. The apocalyptic genre seems to have emancipated itself from its historical and biblical roots, so that there is no common agreement on the form, content, or function of apocalyptic thinking and writing. This altered form of the apocalyptic paradigm retains some of the elements of the traditional story, but often leaves out the element of New Jerusalem, the divine kingdom that was the reward for the faithful. The result is that a story which was once grounded in hope about the future has become instead a reflection of fears and disillusionment about the present, a bleak shift in emphasis from the belief in an ordered universe with a cogent history to one in which the overriding sense is of a chaotic, indifferent, and possibly meaningless universe, a shift to a focus on cataclysm. An example is ‘Biocentric millenarianism’. Read as: “The Goddess-Mother is calling for us to monkey-wrench the millennium”, this form of apocalypticism recommends a radical White Luddism, a war on machines and tools in a continuing campaign against ‘civilization’ until collapse or cataclysm ends contemporary horrors and brings “imminent, ultimate, collectice, this-worldly salvation” (Ecodefense: A field guide to monkey-wrenching 1973). Groups like Earth First! Believe they’ll be one of the remaining remnants that would allow it to recreate the post-apoc world, and begin anew, another Pleistocene era.

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The Fauxist International’s 2012 Global After-Party: December 22nd, 2012.

Posted by Regrette Etcetera on September 27, 2009

.        The Fauxist International’s      .

.           2012 Global After-Party          .

.             December 22nd, 2012.            .

A globally unique event in multiple satellite-linked locations in/near:

Sydney, Melbourne, San Francisco, London, New York, Berlin,

Istanbul, Tokyo, Moscow. Plus more TBA.

What’s the significance of December 21st 2012?

In case you haven’t heard of the Mayan Calender, in case you’ve missed public awareness being whipped up to a frenzy, missed a proliferation of books, movies, and websites covering the 2012 Mayan End Of Days phenomenon, crawl out from under your pebble and see our publication “Just what is all the hype about 2012?” at the web-address below! Or just Google it! In short, on December 21st, 2012 (one of the three) Mayan calendars will reach the ‘end’ of its huge calendric cycle- 1872000 days in length- reaching the figure of 13.0.0.0.0- and something- though no one knows what, though they’re willing to bet it’s a burst of energy from the ‘galactic centre’, the ushering in of mass enlightenment, various forms of Apocalypse, the dawning of a new age etcetera will happen!…Anyway, proponents of a wondrous morass of new age, esoteric ‘fusions’, syncretic appropriations, miasmic space filling, are all building a case for The Next Millenarian Apocalypse! No one knows what significance ‘the Mayans’ attributed to cyclic change. So there’s a little room for debate as to why the Mayan calendar equals apocalypse. The Fauxist’s Global After-Party aims to bring together all sides of the debate: Doomsayers, Calendar Reform Movements, Neo-Shamanic (psychedelic) Millennialists, Conspiracy-based 2012 speculators, (Pseudo)Scientific 2012 theorists, casual and spirituality-based 2012 believers, skeptics, ravers, performers, spiritualists, hyper-ironic intellectual slummers, and You! What hopes and dreams do you attach to Apocalypse?

Apocalypse_2012_serial_daily_mail_large

December 22nd 2012: 24 hours Post-Apocalypse: Where will you be?

24 hours after the End, is when the Fauxist Global After-Party begins! Whatever you believe it’ll be in Sublimation, rapture, dissolution of patriarchy, revolution, or just a great party, you have nothing to lose. In what’ll be the biggest party since the Millennium Bug scare, celebrate and learn about the forceful failure of the emergence of a radically new era, of Armageddon, revel in the bathos at the after-party of all tomorrow’s parties; party for the same old shit, the Ultra-capitalist neo-colonial patriarchy intact and thriving… In each of Our satellite-linked locations around the world, follow the dawn as it sweeps the planet, revealing an unknown future and the performers and partygoers of a new millennium…

What We have Planned for each location:

– HUGE sound systems, cutting-edge lighting and effects,                      – Chill-out spaces, sex spaces, art show, life-size dioramas etc.

– Miss-Post Apocalypse Pageant past winners.                                            – Exhibits and performances from the Museum of the Apocalypse.

– Live linkups with survivalists in other parts of world/timezones                     – Live feed from the International Space Station.

– Summoning of lost continents for situation of base etc.                                       – Educational presentations by members of the Fauxist Post-Apocalypse – – Mass reenactments of famous failed apocalii.                                                                Consultancy Agency.

– Displays, counselling, products- from apocalyptically minded groups.                     – Monuments to Ultra Capitalism.

– A recitation of failed calendric apoclii list of dates.                                        – Ritual ecstatics and performances.

– Whatever you want to see, we want to see.

beyond_2012 Recent 2012 Publications  2012-doomsday-election-presidentielle

Why start Now?: Leadup Events

The creation of such an ambitious project will take all of Our efforts in the coming short years. We have scheduled a number of leadup events to celebrate, publicise, theorise, and organise 2012 & the party itself.

– Yearly pre-emptive anniversary parties- December 22nd 2009, 2010, 2011- Mini-celebrations, monument/craft building, practice, education etc.

– The ceremonial interring of The Fauxist 2012 Mayan ‘End of Days’ Post-Apocalyptic Time Capsule. Scheduled for mid 2010. The time-capsule for the next Mayan calendric period. Part of the ongoing Post-Apocalyptic Time Capsule Project.

– The creation of Fauxist International’s 2012 Global After-Party Time Capsule– Both a surrendering of useless survivalist supplies, ideas etc. And the creation of a huge party supply cache.

– The creation of enduring monuments.

– Lead-up Conference events: Exploring apocalyptic thought throughout history, the 2012 phenomenon and the contemporary proliferation of secular Neo-Apocalii, contestational science/belief, radical archaeology, post-apoc sexuality/feminism/gender/queer theory, time capsules, space & astrobiology, dystopias.

– Numerous meetings to Secure the best cultural workers and theorists to.

NEXT LEADUP EVENT: The first yearly pre-emptive anniversary party, Dec. 22nd 2009.  Sydney, Australia. Theme: Failed Millenarian Movements of History. (Free). Stay tuned to NFTFI blog for details.

How you can participate:

Besides attending the party of the millennia, You can creatively contribute to the Fauxist International’s 2012 Global After-Party! We are currently accepting applications for performers, presenters, DJ’s, designers- makers in any medium/media, especially those with apocalyptic content. Be it Spaceships, vehicles, protective spells, portals, anything that’ll bridge the gap, smooth the ride, decorate the decay, prove a monument to future archaeologies…Be it Speculative technologies, fringe sciences, Orgone Accumulators, Crop circles, sighting works, conspiracy conflagrations, Accumulative ritual & divination, dioramas, a willing Pompeii…Be it Your Noise group, Your Mad-Max fashion line, the wondrous list of yr survival cache– merely send us a CV/resume with yr proposal! You have just over 3 years, so you better Work! We are also seeking submissions for our Leadup conferences.

Stay tuned to NFTFI for Fauxist International 2012 Global After-Party updates and information.

See also: the Fauxist International ‘Moon Bomb’ Amateur Telescopy Party, Oct. 9, linked locations globally.

Posted in Competitions and Callouts, Post-Apocalypse Consultancy Agency | Leave a Comment »

A preliminary narrative to the launch of Fauxist’s ‘Museum Of the Apocalypse’.

Posted by Regrette Etcetera on August 7, 2009

The fear that the human race might not survive has been replaced by the fear that it will endure.

You cannot end an English sentence with a preposition.

Regrette had more than once read that. Or the world with “with”–leaving the whimper unwhimpered. Or with “on account of”–overpopulation, for example–unspecified. Or with “in”–omitting fire or flood or wind, a storm of hail the size of eyeballs. Can you imagine what it will die of? If it actually can die. There will be many endings vying for the honor. And any agent of our end will have a radiant sense of ruin. Any agent of our end will dance where the score says rest. Oh–Regrette oh’d, in pony’s sermons to ponyself–Oh, the decomposition of ‘man’ will stench the sky at first but how immeasurably it will manure the soil, how thoroughly it will improve the land with all those fine bones added, while plants cover and trees stand. For the worm the climate will be tropical; they will grow longer than tunnels and their five hearts beat for blocks. Lakes will deepen and be blue again. Clean sky will harbor happy winds. Mountainsides of aspens will be able to color and flutter without having their picture taken. Waterfalls will fall free of enterprising eyes. It will be grand. Unless there is a universal flood and fish school in corner offices; unless there is an atomic wind and an image of our race is burned into the side of a glass cliff; unless glaciers creep down from the North almost as blue as green as winedark as the solidifying sea.

Our concern that the human race might not endure has been succeeded by the fear it will survive.

Those who suffered the Plague and survived: They suggested to Regrette Etcetera the unpleasant likelihood that ‘Man’ might squeak through even Armageddon–one death per second not fast enough–and outlive the zapping of the planet, duck a fleet of meteors, hunkerbunker through a real world war with cannons going grump to salute our last breath as if horror were a ceremony, emerge to sing of bombs bursting, endure the triggers of a trillion guns amorously squeezed until every nation’s ammo was quite spent, and all the private stock was fired off at the life and livestock of a neighbour, so that in battle’s final silence one could hear only the crash after crash of financial houses, countless vacuum cleaners, under their own orders, sucking up official lies, contracts screaming like lettuce shredded for a salad, outcries from the crucifixion of caring borne on the wind as if in an ode, the screech of every wheel as it became uninvented, brief protests from dimming tubes, destimulated wires; shit herded up in the street to be refried by aberrant microwaves, diseases coursing about and competing for victims, slowdowns coming to standstills without a sigh, until the heavy quiet of war’s cease is broken by… by what? Might we imagine boils bursting out of each surviving eye … the accumulated pus of perception? a burst like what? like trumpets blowing twenty centuries of pointless noise at an already deaf-eared world with a roar that rattles nails already driven in their boards; yet out of every heap of rubble, smoking ruin, ditch of consanguineous corpses, could creep a survivor–pony was such a survivor, Regrette, faux doctor and scientific hysteric–someone born of ruin as flies are from offal; that from a cave or collection of shattered trees there might emerge a creature who could thrive on a prolonged diet of phlegm soup and his own entrails even, and in spite of every imaginable catastrophe salvage at least a remnant of his race with the strength, the interest, the spunk, to fuck on, fuck on like Christian soldiers, stiff-pricked still, with some sperm left with the ability to engender, to fuck on, so what if with a limp, fuck on, or a severed tongue, fuck on, or a blind eye, fuck on, in order to multiply, first to spread and then to gather, to confer, to invent, to philosophize, accumulate, connive, to wonder why this punishment? why this pain? why did we–among the we’s that were–survive? who of our race betrayed our trust? what was the cause of our bad luck? what divine plan did this disaster further? but weren’t we special? we few, we leftovers, without a tree to climb, we must have been set aside, saved for a moment of magnificence? to be handed the trophy, awarded the prize; because the Good Book, we would–dumb and blind–still believe in, said a remnant would be saved; because the good, the great, the well-born and internetted, the rich, the incandescent stars, will win through: that … that we believed, we knew, God will see to that, he will see, see to it, if he hasn’t had a belly full, if the liar’s beard is not on fire like Santa Claus stuck in a chimney.

The thought that mankind might not endure has been replaced by the fear it may make it through another age of ice.

The Gothic house pony and pony’s mother shared had several attic rooms, and Regrette had decided to devote one of them to the books and clippings that made up pony’s other hobby: The Apocalypse Museum. Pony had painstakingly lettered a large white card with that name and fastened it to the door. It did not embarrass pony to do this since only pony was ever audience to the announcement. The stairs to the third floor were too many and too steep for pony’s mother now. Daily, pony would escape pony’s sentence in order to enter yesterday’s clippings into the scrapbooks that constituted the continuing record. Next door, though the room was doorless and open to anyone who found their way there, was the library, three of its walls lined by crude plank-and-brick cases crammed with books bearing witness to the inhumanity of man, especially a complete set of the lives of the saints, the Newgate Calendars, several on the history of the Church, the many-volumed International Military Trials in an ugly library binding, or several on the practice of slavery through the centuries, lives of the Caesars, careers of the Medicis, biographies of feminists, the fate of the ‘Gypsies’ or the First Nations Peoples, and, of course, tome after tome on holocausts and pogroms, exterminations and racial cleansings from then to now; however, the library did not hold works merely on barbaric rites and cruel customs or on spying, strikebreaking, lynching, pillaging, raping, but on counterfeiting, colluding, cheating, exploiting, blackmailing and extorting, absconding, suborning, skimming, embezzling, and other white-collar crimes as well: proof through news reports, through ideas, images, and action, of the wholly fallen and utterly depraved condition of our race–testimony that Regrette augmented, on the few ritual occasions pony allowed pony to observe and celebrate, by pony’s reciting aloud, while standing at what pony deemed was the center of pony’s collection, alternatively from a random page of some volume chosen similarly, or from a news bulletin pulled down blindly from whatever stalactite came to hand, although pony did occasionally cheat in favour of the Newgate Calendar, from which pony would read with relish accounts of crimes like that of Catherine Hayes, who contrived, by egging on several of her many paramours, to have her husband’s head cut off, in the punishment of which the righteous were seen to be even more inventively wicked than the criminal.

Pony had acquired an impressive collection of volumes on perverse religious rituals and social practices, a few containing directions concerning the cutting out of human hearts, the placement of beautifying scars and punctures, the timing of soprano-sustaining castrations, the grooming of sacrificial animals, the strategic placement of impurity huts, the designing of corsets and binding of feet, of types of dungeons, and places for the sequestration of monks, nuns, and the general run of women who “weren’t thought to be unclean for other reasons”.

Posted in Fauxist Speculative Literature, Post-Apocalypse Consultancy Agency | 2 Comments »

WIFE SWAP for 2012: A Call for Fauxist families, their friends and functionaries

Posted by Regrette Etcetera on July 14, 2009

story

Are you a family that is actively preparing for the Mayan “End of Days” in 2012? Do you fret beneath the true dissolving net of stars or the thinning and winnowing of the hours?

The hit reality show, Wife Swap, which airs on ABC Television’s primetime line-up, is looking for outgoing and unique families to feature on our show. Specifically, we’re looking for families who believe in the Mayan calendar and are currently preparing in some way for December 21, 2012. The producers have contacted the Fauxists via News From the Fauxist International, the Known Node of the Apocalyptic-Domestic, in order to broaden their contact base, and We are more than happy to bring You this opportunity of publicising 2012, the Fauxists, and GETTING PAID FOR IT!

In case you are unfamiliar with the show, the premise of Wife Swap is to take two different families and have the ‘mums’ switch places to experience how another family lives. Half of the week, ‘mum’ lives the life of the family ‘she’ is staying with. After making ‘her’ observations, ‘she’ introduces several “rule changes,” where ‘she’ implements rules and activities that are important to ‘her’ family. It’s a positive experience for people to not only learn, but also to teach about other families and other ways of life. Wife Swap airs on Disney owned ABC television on Wednesdays at 8 pm- the family hour!

You are deeply encouraged to forward this email on to any families you think would be interested in taking part in this experience, even if they’re not necessarily preparing for the year 2012, we still love hearing from families with Fauxist perspectives on life!

Requirements:
Each family must consist of two parents and at least one child between 7 and 17. (There may be other children living in the home who are older or younger than the required age, as long as one child is in the required age range.)

Payment:
Participating in the show is a very unique experience that can be life changing for everyone. In addition, each family that tapes an episode of Wife Swap receives $20,000 as compensation for their time. Anyone who refers a family that appears on our program receives $1000 as a ‘thank you’ from the producers, and the Fauxists also receive $20 for each successful referral.

If you have any questions, please feel free to contact Us by email: fauxist_monthly_handful@feelings.com

If you’re interested in learning more, please include your contact information.

*Please note*: If you were emailed or referred for this opportunity, please indicate that when you email.

Thank you for your time,

DEADLINE: OCTOBER 1ST, 2009

For a recent interview of Fauxist member Regrette on the 2012 Phenomenon featured on Holly Fluxx’s 2010 Fashion & Everything blog, see:

http://hollyfluxx.blogspot.com/2009/07/2012-interview-with-regrette.html

Posted in Competitions and Callouts, Post-Apocalypse Consultancy Agency | 4 Comments »

 
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