2008 and is
(2 Ik (Wind) / 5 Pohp (Mat) - 2/260 - 188.8.131.52.2)
vampire (vàm´pìr´) noun
1.A reanimated corpse that is believed to rise from the grave at night to suck the blood of sleeping people.
2.A person, such as an extortionist, who preys upon others.
3.A vampire bat.
[French, from German Vampir,
of Slavic origin.]
- vampir´ic (vàm-pîr´îk) or vampir´ical (-î-kel) or vam´pir´ish (-îsh) adjective
Word History: Dracula might terrify some younger members in the audience of a horror film, but we know he is an imaginary creature. The word vampire, however, comes to us from other words and other times, when these bloodsucking reanimated corpses were considered real. The word entered English by way of French (vampire) and German (Vampir), but it came into German from an Old West Slavic source of the form vùmpir. The word vampire is first recorded in English in a work written before 1734.
vampirism (vàm´pìr-îz´em) noun
1. Belief in vampires.
2. The behavior of a vampire.
Vampire, in folklore, a corpse that rises from the grave during the night, often in the form of a bat, and, for nourishment, sucks the blood of sleeping humans. According to tradition, vampires can be destroyed only by cremation or by stakes driven through their hearts. Belief in vampires originated in ancient times. The novel _Dracula_ (1897)by British writer Bram Stoker tells the story of the Transylvanian vampire Count Dracula.
taker: bloodsucker, leech,
parasite, vampire, harpy, vulture, wolf, shark
hellhound: ogre, ogress, witch, vampire, werewolf, monster
glutton: vampire, blood-sucker
demon: ghoul, vampire, lycanthrope, loup-garou, werewolf, werefolk
"The Wurdalak" - face: Boris Karloff - a Russian count in the early 1800s who stumbles upon a family in the countryside trying to destroy a particularly vicious line of vampires - 1 of 3 short stories in the 1963 film _Black Sabbath_ (vhs/ntsc)
The final anti-zombiefication technique that I will look at is called the funk theme (also referred to as 'the funk'). When I refer to the funk I'm actually indicating the way certain cultural activities can harness this technique to nullify the effects of Zombie Culture. However, it is in the very nature of a funk theme to resist elucidation by language; in other words, as soon as you try to explain how to do it, it just stops working. So we will have to concentrate on what exactly it is that can make the funk a threat to Zombie Culture, and how this manifests itself.
Funk themes can occur in any form of creative expression, but it is in the realm of music that they find their most potent use, and where all the elements for an effective funk theme find their best expression. Let's look at these elements in turn, and also reflect on how the funk continues to successfully mutate itself in order to resist Zombie Culture.
The first element to consider is the way the funk destroys the split between producer and consumer. For example, when dancers (or listeners) are completely immersed in a funk energy burn-out there is no distinction to be made between product and consumer. Each side is entangled in the other in a series of endless relays and recombinations. The funk is never part of a finished product, it is being constantly recreated and reinterpreted (this fact is also in evidence in much present-day dance music that is almost entirely sample-based; a dynamic cross-fertilisation and hybridisation is happening that creates a music that is endlessly re-mixed in the minds of both the producers and the listeners).
Secondly, the funk can dissolve individual identity. The funk opens up the psyche to possession by others, even more so in terms of the collective nature of musical production, the way that music is able to trace its influences in several directions at once, not just historically but also in terms of the social networks that have given inspiration to it. Multiple identities feed into the production and consumption of music. Belief in the sanctity of individual identity actually bolsters Zombie Culture by making us adopt fixed patterns of behaviour and thought. The funk can destroy this zombiefication process by eroding personal identity through attacks on the zombie mind/body split. Music can overcome the repression of body intelligences by Zombie Culture, intelligences that when activated by the funk on enough occasions will eventually lead to a relaxed and understanding attitude towards the millions of diverse and contradictory personalities that live inside each and every one of us.
Finally, the funk expresses a desire for psychic spaces that have not been colonised by Zombie Culture. This creates a confidence and power that has an effect in other areas; a desire for transversality, for movement and change in other domains. The funk can take everyday experience and invest it with marvelous possibilities, creating intense moments where the deadening force of Zombie Culture is breached.
The funk is essentially a way of reclaiming power against the Vampire Management, and this power should not be interpreted simply as an escape from everyday routines. To regard the funk in this way is to refuse that realities can exist beyond words. The funk operates at a level beyond verbal comprehension. The funk just makes you feel good - you know, something like that top-of-the-head-across-the-shoulders-right-down-tthe-back-of-the-spine noise/feeling that cannot be put into words. And does not need to be put into words.
By way of a conclusion I want to return to something that I said at the beginning. I stated that Zombie Culture reproduces itself in the actual processes of our minds. This can only happen when the space between perception and conception, what we perceive and the interpretation of our perceptions, is not continually re-examined. All these anti-zombiefication techniques aim at questioning pre-conceived ideas.
Collective Phantoms discard individual identities and use multiple imaginations to fabricate and disseminate cultural projects.
Media Invasions use the power we have to reverse the zombiefiecation function of the various media machines.
Speculative Playgrounds create spaces for important epistemological games.
Psychogeographical Tours reclaim the 'free' time that is stolen from us by the work and consume routines of Zombie Culture.
And finally, the experience of Funk Themes, like listening and dancing to music, operates beyond verbal comprehension, and therefore eluding capture by the manipulations of Zombie Culture.
- _Resisting Zombie Culture_