Will I be beaten for mistranslating my mission? Jake Gyllenhaal’s performance in Okja clutches and fills my heart with fear. I have difficulty translating. Signs go unread. Associative logic is too advanced and moves too rapidly for full trance-scription. The Spectacle has become immersive and sonic and fractal. Characters even play their own twins. Methods of cultural study have been outpaced by media. The film performs a devastating act of cognitive mapping. Psychedelic consciousness teaches us to hold all creatures close to our heart. Revolutionaries should build into their program the abolition of carnivorism. (Live as I say on this score, not as I do.) When tracing the origins of Acid Communism, one has to tell the story of the University of Warwick’s Cybernetic Culture Research Unit, delving especially into the Unit’s fondness for mind-altering substances during its heyday in the 1990s. One could note the progression of Sadie Plant from a 1992 book on the Situationists to 1999’s Writing on Drugs. Before this, of course, one’s narrative would have to discuss the interwar self-experimentation documented in Walter Benjamin’s On Hashish. Meanwhile, a search for “Acid Communism” on YouTube reveals the following: Acid Womble’s “When the class consciousness kicks in… [wombles 4 communism],” and a collection of videos by someone named Aaron.
And man, what a treasure trove of mindbenders it is. Fisher had moved in the year or so before his death to a definition of capitalist realism as a form of “consciousness deflation,” or “the receding of the concept of consciousness from culture.” Forms of consciousness were developing in the 1960s that were dangerous to capital: class consciousness, psychedelic consciousness (key notion being “plasticity of reality”), and (thinking here of early women’s-lib consciousness-raising groups) what we might call personal consciousness (self as it relates to structures). Of course, the important and perhaps most controversial point, is that “Consciousness is immediately transformative, and shifts in consciousness become the basis for other kinds of transformation.” Recognizing the threat this could pose, capitalism adopted a project of Prohibition, or what Fisher called “libidinal engineering and reality engineering.” The goal of consciousness deflation is to cause us to doubt what we feel. Anxiety is enough — that’s all it takes to control us. But consciousness remains malleable, and the tools for raising it are finding their way back into the hands of the people. “What is ideology,” Fisher asked, “but the form of dreaming in which we live?” Patches of green through a haze of condensation in the windows where the walls meet the drop ceiling in my basement. Are stories and games not the ways we navigate space and time? Seize control of them! Invent new games, even if only games one performs in solitude. Send minds careening away from the narrative of identity in space and time imposed by capitalism. Take yourself, even if only momentarily, to a new reality. And then draw audiences with you into labyrinths of pleasureful indeterminacy, drawn out spectacles of release from the hegemonic consensus. Trope-scrambling helps, as does appropriation and montage. General ontological indeterminacy is our goal. And we should recruit out there as many people as will join us, subtracting prefiguratively into our psychedelically enhanced Acid Communist MMORPG, our free 3D virtual world. Go play yourself FACT mix 613 by Wolf Eyes / Hanson Records noise maven Aaron Dilloway while brushing up on Marcos Camacho, better known by his nickname Marcola, the leader of Brazil’s Primer Comando de la Capital. Altered states, baby! Beware the nightmarish spread of the void.