TEMPLE HQ
THIS DREAM AGAIN, DEJA VU!
LIGHT MY FIRE
Sexual Virology
A doujinshi depicts Ann Takamaki in the dream realm, encountering the sexual predator Kamoshida. He first creates a fantasy of her, a dreamself, which participates in his desires and assists in fucking her physical self, engaging in a process that slowly corrupts her. At the end, with him having fully realized himself as a demon of lust, and with Ann’s physical body having fallen to match her dream body, an exchange takes place. He proclaims himself a demon of endless lust, and Ann replies with a promise to “do her best” to fulfill that endless well of sin.
Lust took the trajectory through Ann of first entering via dreams, arousing the body, and then fully overtaking the body. We see this again and again in pornography, the so-called corruption of a woman exposed to sexuality first forced upon her, then invading her internally (her resistance turning to arousal) and finally her body mutating, becoming erotic from the interior out.
This concept of Lust, as a thing unto itself, is often done through imagining the penis as an abstracted existence - the phallus morphed into an entity devoid of any human intellect behind it. The tentacle, animal, and various forms of unhuman male such as orcs or ugly bastards, all exist as pure phalluses. Rather than be dragged down by the male soul, a sentience annoyingly humanizing, the man can be abstracted to his sexual function - that of being lust itself - the abstracted phallus, to be engaged with as one engages with the very substance of desire.
Desire itself is often imagined coming from outside and then entering her. The ultimate form of penetration is to have desire living within oneself - hence the ultimate corruption. Desire implants itself, rising up from within. She is reformed, permanently penetrated, as a conduit for desire all stops removed, the dam burst to become a river.
Desire in this fashion is always imagined like the tentacles in the Taimanin series, as an alien force. Similarly, desire is never consensual. Desire emerges from without, in the same way that a dream - even as it has its true origin inside the self - feels as though it’s somewhere else. Desire, as it rises up at a late stage of development and often creates uncomfortable ruptures from beneath the skin, comes upon the self non-consensually. Hence the need for desire to take a dominant and non-consensual approach when it’s abstracted in this fashion. The image of the woman here, as a helpless center through which phallic abstractions of libido move, is the image of the self experiencing desire, experiencing its own sexuality.
In a 2008 study, researching the attitudes of HIV negative and positive gay men, noticed the contrast between their respective revulsion or attraction towards semen. In essence, they’re both viewing the same thing, with the difference being whether or not they make the link between semen and desire, whether or not the make the connection between desire abstracted and semen as the fluid representation of that abstraction. It’s here that we find additionally the roots of the “bukkake” fetish, and porn’s focus on moneyshots - cum is a static phallus, a phallus made portable and manipulable, fluid and sovereign from the body.
Cum has the additional property of impregnation - something fetishized in both hetero and homosexual dreams. The concept of semen as invading the body, the phallus turned fluid, a sort of satellite of the penis that produced it, now invading the body internally, covering it externally, is the perfect image of libido flowing through and upon the central self, desire upon and within from outside, transforming internally - whether by growing a child, spreading a deadly disease, or spawning a parasitic being.
Arguably, the first documented bugchaser was the commonly misidentified “Patient 0” (a misreading of “Patient O(ut of California)” - an important early spreader for sure, but not the biological origin), Gaeten Dugas. Others in the San Francisco bathhouse scene remember his trademark, rolling over to turn the lights up after sex, pointing his partner’s gaze towards his Karposi’s Sarcoma - “gay cancer. I’m going to die and now you’re going to die too.”
AIDS is similarly, an exterior invasion of the body. The blood and all interior cells are infected with an entity (a retrovirus) alien to the self, an alien intrusion that occurs via sexuality. Spreading via sex, the body has been sexually invaded by an abstraction of desire at the most foundational, cellular level.
The Man Who Sold The World
Mother Horse Eyes writes of a man living in Death Valley, where he came into contact with the Manson family and their nazi friend “Uncle Adolph”. The narrator is led to a fleshy anomaly in the ground - one of the interfaces that emerged spontaneously, produced through unknown means, by any group of people involved with extreme quantities of LSD. The narrator is torn apart by a writhing mass of flesh, merging with it into a single unity. Scientists discovered the originally created interfaces as hungry, desperate for data, and were able to create devices that fully synthesized the world within a global network of communication - communication via these interfaces. Another set of narrators find themselves waiting to die as this network, now a great Tower of Babel across all of humankind, eradicates life in fire at the end of achieving near-total symbiosis with humanity.
This was the dream of the Raketenstadt, the dream of perfect industrial harmony. All the world’s flows are unified in a perfect network centered around the black hole and unified on the lubricant of blood. Look down at the computer-perfect city into which flows the whole of the fire annihilating Europe and see the orgy. See total connection, see the flesh all alighted in the totality of its sin while plugging into networks through which flows that interior flame. Mother Horse Eyes writes of the “plague of flesh”, subjects connected to the industrial network inflamed with passions of their own bodies hypertrophying suddenly inside the network. The same occurs in reverse - the fires within the flesh turn from tiny candles to raging infernos when the Raketenstadt’s network connects all the burning passions of sin in an order system of flow, flows of sin exponentially connecting and multiplying each other to the end of the rocket - 00000, now everybody - to annihilation.
This is the water, this is the well. When the Woodsmen approach the helpless citizens in witness to the atomic bomb, we see the Raketenstadt’s products leering full-facedly out from the darkness. The programs in Germany around the construction of the revenge-weapons paled in comparison to their equivalents overseas that went into the rending of atoms. While the Mother was present in the industrial networks of scientists being fed inputs from the furthest tentacles of the war machine, it was always in the presence of the orgy, in the presence of Dionysian solvents, at first in the violent explosion of nazism across Europe and then in the equally violent contraction of defeat. In America however, the city was perfected. The double-image of the rocket at the end of the book, as both the sacrifice of Gottfried and the atomic missile is telling here - the Manhattan Project’s secrecy and later the sprawl of sun-belt defense industry proving the elaboration of these concepts of networked industrialism, these concepts of Mother. No wonder then, that what the author identified with the Mother, both the internet and LSD should emerge from this economy, from the depths of the Raketenstadt.
Indeed, that’s what the children sent through the early experimental interfaces saw. They spent a summer without family, in the company of Mother, a conglomerated creature made of the sewn together pieces of various animals, a Moloch that sacrifices children to an interface as she teaches the narrator “magic”. Through the interface, we only see a single piece of her, yet in completion we see her whole form - the mass of flesh, hypercommunication of all of humanity connected every level. We see a humanity connected, hybridized together into a great beast of interconnected parts acting in unity.
It’s no wonder then that the two characters who speak for the biblical perspective, a Korean christian and a Black Israelite remark on the interfaces - and by extension, Mother, or Babylon/Babel - of their evil. The Korean refers to it as the devil, while the Israelite speaks of a strange seduction towards the ruins of an urban interface he repelled with prayer and thoughts of divinity - a power known to repel the mother in the various children who spent a hot summer with her. We look up to Mother with the same attitude as the cats look up towards The Oily Ones (humans). A feline narrator passes through the home of a cat lady and remarks with horror at the oily one domesticating and constructing an apparatus of control for his kind, now corpulent and foreign. The feline narrator flees in terror at the seduction, in echo of the Israelite’s response at the bottom of the warehouse.
In Mother, we see Moloch, in Mother we see The Great Satan, a creature beyond our imagining that seeks the total domestication, the total unification under Babylonian interfacing of the human race. Mother is the dream-goddess of these processes, the dream-goddess of the hyperconnectivity of social LSD experimentation, the dream-goddess of every logistical and infrastructural project, the dream-goddess at the end of time when humanity has reached its apogee of arrogance and must be struck down as Babel again.
In one of the videos taken by an urban explorer who snuck onto Little Saint James, there’s a brief shot of a chair made of animal parts, accumulated together like Mother - horn armrests, hoofed legs, a seat and back made of hide. These aesthetic preferences aren’t a passing event. Peachflesh colored walls in the Florida home, taxidermied animals littering the office in the Manhattan home, a wal lthe tone of snakeskin framing a darkly symbolic mask. These motifs lay all over, Epstein seated in a dining room decorated in a leopard motif while speaking on a phone - the animal, at the heart of a network - a metaphor not lost in the subconscious of countless writers, Barry Levine summarizing it best when describing him as “The Spider”.
Through Epstein, locus-points of economic and political power are tied together by a network of their flesh. Regardless of which version of events you believe in, from the more fantastical sacrificial rituals, to the more mundane sexual assault, the nature of things remains the same. This is the power behind the throne of the world, connected via flesh interfaces, connected via the evil of their flesh - the lusts within themselves and that lust reaching out to cause harm and trauma unto others. Through Epstein and through Mother, we see a vision of the network as it is on the terms of the Adversary, as it is on the poison of flesh, a flesh of desire teleological towards pain - Garmonbozia.
Bottomless Pit
“We were the only people stupid enough to believe every word of it” remarks Gyspy of the Manson family, regarding Sgt. Pepper’s. The words ring somewhat true, both in echo of themselves, and of the destiny of the larger vibration they had latched onto.
The counterculture was inevitable, after what the previous era had been. The post-war period was built on an obsessive denial of the self, a society that refused to even acknowledge its own corporeality, while at the same time obsessively defending its integrity against an apocalyptic outside. The second world war and Korean war passed and were treated like a sex abuse scandal without the political will to take down the perpetraitor - the former laughed off as a romp through Europe, the latter cloaked under alcoholism and silence. While the Soviet Union had looked death in the eye and emerged from it with resolve to face the future openheartedly, the United States blinked and faltered, loping back into the dark, denying death had ever existed and sinking into drunken defensiveness.
Flesh had to return when the powers that be unleashed a drug that brings it all to the front. LSD forces the unveiling of denial, with its powers to make the entire mind open, both removing superegoic filters and allowing for hyperconnectivity of thoughts giving an unfiltered access to reality that’s then perceived through vastly increased frequencies of thought. The flesh, the flesh of bodies torn apart at Normandy, the flesh of sex covered up under neo-victorian refutations, the flesh hidden under airtight suits and dresses during a ridiculous kayfabe of self-denial within the peak of imperial decadence, returned. The counterculture was the explosion of flesh, drugs, music, and politics all acting as catalysts for the deeper trend of the return of the repressed, of the flesh violently exploding out from its pressurized confines.
In truth, nothing changed. The flesh is showing its devilish face, whether in lazy days of free love and marijuana on a field of summertime daisies or in the violent horrors of STP and BZ. The atmosphere, that magical note of free love in the air was the heat of the explosion, that treasured moment after the detonation was sparked and everything’s still there in brilliant heat and sound. As time passed, and all that’s left was dispersed heat and shockwave, fading away to a crater, the cherished atmosphere faded too. The strong rode the tiger of their flesh into cliques of like-minded mystics, letting the most orgiastic elements cool off, remaining a past tense training period that turned them onto dimethyltryptamine and meditation while the weak succumbed to forces beyond themselves and descended into addiction and illness.
Like Gypsy said, and like he spoke of the Beatles countlessly, it was Manson and his family, that were the few who truly believed all of it. The hippie movement finds its every last microgram in the family, and likewise, the family was searching for the essence of the counterculture - the hole in the desert, the flesh interface space pussy. Manson foretold love and he foretold violence, and more than anything, he saw a hole at the bottom of the world where everything of the explosive hippie vibration was present - Garmonbozia.
Intercourse Between Two Worlds
Satan first appears as ha-satan, the accuser, in Job (the text that many date as the oldest text in the common biblical canon), a minor advisor providing the impetus to test the faith of the titular character. Onwards to Christianity, we have the adversary - a similar role, but centralized, where the scourge, like that of the second Babylonian exile, is unified around one office, a loosely personified being at the center of sin. It wasn’t until the beginnings of the enlightenment that this loosely defined figure became solidified into a centralized being, crowned king of this world. Milton wrote Lucifer as the inverse of Jesus, holy fire descending from God’s throne to the Earthly bottoms in echo of God creating all things lower than his infinite highness. Milton, in identifying this figure, the Promethean Morningstar, with Satan merged the two offices into the pseudo-demiurge, the king of the world after Eden. The avatar of creation who brought the fire of Heaven upon the darkness was now made identical to the demiurgic king of all scourges, the accuser who brought the lash of Babylon as a purgatory to cleanse the sins of the jews.
This marriage is not a minor development. The Luciferian nature of Satan ensured that all creation, all existence was now predicated on Satan, while the Adversarial nature of Satan ensured that all creation is in a constant scourging. It’s tellingly at this time that elite Satanism emerges - the rulers of society discovering that there could be no denying the crown of this new pseudo-demiurge. The Hellfire Club, the writings of the marquis de Sade, the anticlerical Illuminati, all flailing to uncover the new rites of the newly crowned king.
“Going up and going down” he said above the convenience store, pointing at the buzzing transmission lines. Electricity is a constant fire, a directionally-neutral transmission medium. In the angelic narrative, we have two directions of transmission of the higher fire between Heaven and Earth - Lucifer and Jesus, the former as the Promethean, heavenly fire descending upon Earth, the latter as the ascendant, fire summoned from within to rise upwards.
This forms the basic theology of Michael Aquino and his Temple of Set. Re-imagining the fall as being an act of rebellion of motion against stagnation, he creates a sort of celestial theatre, where Lucifer rebels by giving to the world the gift of movement, a fire of mutation and creativity beyond the frozen order imposed by God. Lucifer is reimagined here as morningstar, without breaking away from the notion of Lucifer as adversary, Satan. Instead, the choice has been made to fully accept the unification of Lucifer and the Adversary, putting them in opposition against a stagnant center. Their sinful movement is the fire of Earthly existence, the fire of life.
It’s this figure that we come to know as “The Devil”, a being that’s rendered the common worldview almost gnostic in character. The descent of creation has been unified with the adversary, and when the sun now rises, it does so over a world created by the marriage of the morningstar and adversary, a world where the flesh - the physical bedrock of the world - is unified with evil, with a purely negative, oppositional force. We find now the twin pillars of sin, Desire and Pain, as their twisting together becomes the nature of things.
Now the avatar of the world, the world of Satan married with Lucifer - Garmonbozia. The substance of reality is pain married with flesh, the whip married with the grain - Corn, the great biomass produced from Moloch. Through Laura we see this process being experienced firsthand, where Satan (Bob) and Lucifer (her biological progenitor) are wedded into one being, that makes of her Garmonbozia, extracting this substance of lust and pain, the flesh and wounding.
In the face of it all, it’s easy - even easier than the response of damning the entire physical world as wicked - to take a position of structural superiority. My system is of course the redemption - look at the Garmonbozia flowing down the corpulent jowls of my opponents! Follow us and be redeemed from the evil of the world! The hypocrisy of this going without needing elaboration, the response can always emerge from the epistemology of Garmonbozia. In the physical world, there’s a rare few who act within and truly grasp the depths of depravity required to be a physical being. The characters of Delaney’s Hogg are perhaps one of the only depictions of human beings fully conscious of their own bodies and what it means to be possessed of a body. To call them animalistic isn’t a trite moral statement, but a literal one - they live as animals, filthy, impulsive, parasite ridden, starving, and violent. The rule of the physical world is entropy, and this plays out every second in the world around us. What separates our bodies from the bodies of animals, from the bodies of starving wolves chomping at parasite-ridden deer running through wretched brambles leeching the soil, is our material excess. We humans alone possess the capabilities to break more eggs and make industrial scale omelets in order to meet our needs far beyond the ragged starvation that makes the rule elsewhere in the flesh. Unique among all the creatures of the world, humanity possesses the capabilities to produce surplus, and beyond surplus, wealth - by increasing by magnitudes the scale of the violence that all creatures require the use of to sustain their bodies. The question of being a physical body isn’t how to live ethically - this is impossible. Every plant, every animal, only lives because it takes more than it produces, because it wrestled blood from the mute stone of the world through violence. Rather, the question of a physical body is how should we enact violence - upon who and for what reasons.
In a sense then, the hypocrisy of the first answer is more pure than the second. Hogg’s answer to this question is one of universal violence, violence without direction, an explosion in the desert. It dissipates into the air and means nothing but the crater of a worm-filled body left behind. Hogg’s answer is the hippie answer, and like the hippies, it’s an answer that will select. The weak take it genuinely and die without a word. The strong take the energy and sublimate it to then ask the question of the hypocrite - upon who does this inevitable violence act?
Manson was searching for the world and found it - found it like Hogg did. Manson flared out and died, like the rest of his contemporaries - the other ones stupid enough to genuinely believe it - did. Manson failed where the Beatles succeeded just like the Nazis failed where the Americans succeeded. Garmonbozia on its own is fire, the fire of time in the physical world. Like fire, unleashed simply it flares out uselessly and dies in emptiness.
The difference lies in the usage of fire. Remember when Jesus commanded Satan “get behind me” - the physical world, and all its pain, is ultimately subordinate to the spiritual. After the descent, the world was imbued with potential, the potential of souls, that could be reborn in fire to be made whole again. Through this reasoning we find the answer to the ancient question - why don’t the adept just kill themselves? Cutting through the immaturity of it, is the realization that while evil - not as a quality, but as the very substance of evil, the physical world is ultimately the subordinate and assistant to the divine. The human soul lives on Earth so that it may command nature to become whole again, so that it may use evil to acquire divine power. The correct response to the sin of existence is to, as Jesus did, command it - get behind me Satan, I lead you!
Bibliography
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/u/_9MOTHER9HORSE9EYES9
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