We are the poets of your nightmares, feeding on the fleshy documents-spreading and infusing death into the text.
Looking blankly at the inhuman fluorescent screen
The absent-minded fear turned into inhuman screams
The poet labors in silence, summoning the unknown onto the paper through monastic rituals. Transcribe text alone. Some may seek to summon inhuman spiritual forces, others to machine-like inhumanity-yet both spread noise, chaos, and the unknown that already exists.
The collapse of the occult and digital technology occurs through the interface - "high-speed digital technology sweeps the imagination of those who are fascinated by it, suggestively tampering with our senses, and attracting our interconnected minds."
Connections to the outside are always risky, open to something new but irrevocable. This potential and becoming space is also a risk and omen. The Bard of Fangs opens with a call, creating a passage into the unknown.
Only the soft glow of the screen caresses the fanged poet's face - he is surrounded by unknown darkness, waiting. Then write, lead, infect the page-the piercing wound that ends each sentence, dots each i, and leads into a new phrase.
.. i i!!
Fang Bards are not necessarily entirely human - they are mythical, animal, cyborg, prophetic, divine, etc. Fang Bards are "dangerous, cruel aliens" who are often positioned as "evil outsiders." They come from elsewhere, pouring in from the margins of the human cluster, permeating different material planes, emphasizing the immateriality inherent in matter. Materiality is not denied but revealed as a destroyed world of textual sludge.
Instead of working for humanity, they invite the possibility of destruction. Unconsciously accelerating darkness.
Fang Bards imitate humans using retractable tusks and cunning camouflage or refraction techniques. The fanged poet is not a vampire, but more like a poisonous snake - less temptation, more venom.
"I'm not
Serve humanity. "
The fangs work very subtly-they don't chop, they pierce, working under the cover of the mouth-without anyone noticing.
The Fang Bard creates traps and places himself in them. Their hands are always stained with blood-"and even worse, there's the illusion that it might be pure, which excuses it."
This is not an evil poetics, but an examination of the work. It tries to cast its gaze downwards, trying to exist in a space of complicity. This messy ambivalence, covered in blood, does not know where it comes from.
To reach out is to enter the horror, to channel the inhuman horror that already exists-we just don't want to open our eyes.
In "Shamanic Nietszche," Nick Land describes Nietzsche as "a fanged poet at war with the philosopher." Our research interest is in what it means to actually be a fang poet-to develop a fang poetics.
Through this text, a series of eight characteristics/rules/mysteries can be summoned
Brief description
[The Fang Bard rarely reveals himself-usually hiding in lightless rooms, dirty machines, feedback loops, dank caves... non-places. Fang Bards are never singular, they are always proliferating rapidly - this list covers any Fang Bard, but it is still incomplete - it reveals little about the Fang Bards' material, if such a thing exists. ]
Fang Bard //////In 8 Catastrophic Fragments //////
1| The fang poet makes life into problems
2| On the side of ideas, against knowledge
3| Operation through luck
4| Intrusion, not expression
5| Heading towards the unknown
6| Immoral // (Immortal)
7| The fang poet makes poetry look ferocious
8| Breeding, Penetration and Destruction
Fang poet makes life problematic
"Describing and praising life
Poetry takes pleasure in death. "
The poet disturbs thought, making distinctions more difficult, always looking for para-sites, disrupting clear breaks between locations - steeping himself in contradictions and ambiguities.
Poetry is often dismissed as beautiful prose. Inhabiting the flowery words, gliding across the page in clean, brief lines. It focuses the eye on flowers - parodying their symmetry, beautiful text, soft petals. The fang poem reminds us of thorns.
Fang poetry is far removed from known emotions, truths, images, etc. It complicates and brings the poem together. The job of the Fang Bard is to superimpose and reconfigure. Reconstructed and reconsidered - "poetry is depicted as a fragmented visual derangement and a disorder of the self".
On the side of ideas, against knowledge
"Poetry is not the knowledge of oneself, nor the experience of distant possibilities (things that did not exist before), but the simple reproduction of unreachable possibilities through words."
Conceptual fangs interest not the reader but the thinker
To read a conceptual text is to immerse yourself in the horrors of technocapitalism. All kinds of surrounding texts, stupid nonsense, stolen words and unconscious copying can be found in the reading process. Thinking is not a means of escape but a way of parsing the horror, a way of getting caught up in it, a way of expanding and recirculating the material. Reading is individual processing, while thinking is downloading and copying the dark conceptual plague.
The fang poet is not creating, but rearranging, copying and reorganizing. This is a process of mobility and connectivity. We think and inhabit dark mental spaces, evoking riots on the page.
The only knowledge the poet is interested in is its absence - "What if knowledge is a means of exacerbating the unknown?" It is a path to destruction - "The logic within a work or series of works is a strategy that sometimes works but will eventually be destroyed."
Operate by chance
The fang poet does not know the possibilities that each text holds. The words are often motionless-always at a standstill, always at rest. But these words have the potential to decompose-to become sites of death. This violent form of becoming is always a threat.
The Fang Poet's poetry does not create new knowledge, nor does it solidify-it is fluid: "It is not a concept that needs to be understood, but a direction forward." It is a practice of Oulipian chance operations.
Queneau's sonnet creates an impossible task for the reader - a compressed file that will crash the brain of the reader who tries and becomes obsessed with understanding.
"All ten sonnets have the same rhyme pattern and use the same rhymes. Therefore, any line in one sonnet can be combined with any line in the other nine sonnets, resulting in 10^14 (= 100,000,000,000,000) different poems. Reading them twenty-four hours a day would take you approximately 140,000,000 years to read them all."
Not only is this impossible, but the endless reorganization is constantly producing new content, resulting in texts that may have never been read before. Each sonnet is a command with unknown consequences-infinite consequences in every encounter.
Intrusion, not expression
Lyrical poetry and fang poets are not compatible. It's boring, self-indulgent, and inconsequential.
"This anthology is not about natural expression, personal style, or the rhetoric of voice, but rather about a set of cold procedures. It is not about psychological development or dramatic narrative, but detailed logical extrapolation or permutation."
The poet must always assert and declare that everything is poetry. Although this totalizing gesture has its shortcomings, it attempts to incorporate the outside and/or the unknown into every utterance.
In 1919, after Gabriele D'Annunzio "seized the disputed territory of the city of Fiume," the artists, after a Duchampian nomination, declared Fiume officially a nation-state. This unmitigated invasion interprets part of the fanged poet's work, materializing an impossible poetic space. As Bataille said, the fang poet creates "impossible possibilities."
"Violence is not going away, whether it's psychological or physical, it's very practical in many ways. Given that violence is one of our instincts, how do we dispatch it?"
Toward the unknown
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Immoral//(Immortal)
To write morally sound poetry is to work within the bounds of what is known and what is acceptable. This immorality is not a move toward evil, but a lack of concern for extreme boundaries and established language functions.
To claim these works as morally correct is to endorse a set of assumptions and constraints that presuppose the existing possibilities of the text.
The fang poet does not create according to recognized standards, so there is always the possibility or threat of evil
"Which is the path of revolution? Recognize the subject and suppress the process? Or recognize the process and destroy the subject?"
The fangs pierced, tore and penetrated. All of these have broken down the barrier in the form of violence - but they have always penetrated its surface, delved deep into the interior, and unearthed the darkness.
"The worst thing you can say about an artist is still the claim that his or her art is 'harmless'."
These works have been called a kind of "vague terrorism" - but this ignores the non-functional nature of the horror itself. Artists differ from terrorists in that the latter want to reshape the image, while the former want to destroy it.
The Fang Poets are devoted to destruction, and poetry "is an absolute violence whose value is measured by the harm it inflicts on oneself and others-preferably in terms of human relationships and capacity for labor."
The main understanding of these poems is that they violently cut off the poet from the rest of the world. This form of annihilation is between the poet and the world - annihilating one or the other - creating nothingness and the unknown. We have neither a world nor a poet-the fang poet shows no partiality.
The fang poet makes poetry look ferocious
We need images that catch the eye, briefly explode in the mind, and then remain only as an afterimage. It always disappears in an instant, leaving something hidden and terrifying.
To a certain extent, this kind of terror is oriented toward the absolute unknown, a deeply alienated experience. It breaks away from the realm of sensibility. "Poems that do not touch non-sensibility are just empty poems, just beautiful poems."
Beautiful poetry lacks the fangs needed to bite and capture. Beauty is caught in a cycle with nature itself - "Nature is beautiful because it looks like art; and art can only be called beautiful when we recognize that it is art and it looks like nature."
Beauty be damned - that was never part of the Fang Bard's plan, he just wanted to ooze blood and sprinkle it on everything.
To record decay and let poetry decay in public.
Corrosive elements seep into the surrounding area, violently destroying and dismantling. The scenes blend together in decay-a perfect and despicable piece of writing.
It's a poetics that oozes, oversaturates until the page starts to tear.
Breed, penetrate and destroy
Label all text with poetry - court documents, text messages, personal diaries, text dumps, spam emails, obituaries, FBI documents, counterfeit currency, museum brochures, databases, archives, voicemails, terms of service, Rx scripts, and more.
Language is not a virus, but it is a susceptible host - there is always a risk of infection, and this is the Fang Bard's best skill.
Once a text becomes poetry, it loses its value and sinks into nothingness. To examine the Tusk Poets is to rethink poetry as a dangerous undertaking-a ritual and fateful process, always striving in diseased, immoral, and unknown directions.
This is communion with the forgotten and the outcast.
"Vomit, excrement, and festering flesh do not offer reliable solidity or intelligible form but rather quasi-fluid divisibility, imprecise consistency, multiple, inadequate, ephemeral modes of cohesion. All of these are glued together with the sacred word. "Writing is the exploration of chance," but the explosive excess in the black bubble of poetry is not just a risk, because risk implies the possibility of a benign outcome, it is "Human Surrender to [blank]".
If we pay attention to the fangs of the vampire, we will find that the horror hidden in "immoral" lies in the misspelling of "immortal". This dislocation can be resurrected, allowing the dead to rise and re-enter the realm of bustle. The poetic horror text ALL OF THEM ARE SCREAMING, THE DEAD: volumes 1-100 rewires the vocal organs of the dead
"Over the past 2 million years, 107,000,000,000 people have lived and died. All of them screaming, all of them howling out one-syllable words. It could be compiled into 45,069 volumes. Each volume has 700 pages. Each page contains 3,360 characters. All of these people screamed for 3,393 years."
The Fang Bard summons them with poetic words. Every voice of every person screams, forming a ferocious poetry - either dead or alive. The fang poet looks forward to the near future: "Before the true end of the world comes, human animals will become the meat puppets of their own machines and become a cross-platform platform for practicing inhuman productivity."
They are inhuman desires that do not fall within humans, but extend outside, falling into the void. The Fang Bards will not seek exit, but they acknowledge that there is no escape from here.
"It's time to admit there's no escape here."
The Bard of Fangs accelerates decay-"creating dead areas that turn into abscesses, similar to gangrene on an otherwise healthy body."
They welcome death, opening up space through rupture, a machine plague of death drive and nothingness.
The core of nihilism cracks and terror spills out.