Kenji Siratori

A Finnegans Wake for the postdigital millennium, Kenji Siratori's Blood Electric is probably the foundational text of the language-horror sub-genre: an evasive, esoteric and ultraexperimental writing style produced by the convergence of poetics and methods borrowed from avantgarde literature, electronic/noise music, synthetic abstract image generation, and severe-yet delicate-syntactic deconstruction. Siratori's unique writing technique results in a hardcore-cyberpunk material account of a bio-techno singularity network in which flesh-code wetware and silicon-thriving software infold together into wave-multitudes of text-organisms. While most contemporary authors exploring the possibility of the blending of humans and machines focus on the extrapolation of logical and transcendental interactions (as in classical cyberpunk, from which Blood Electric initiates a radical breakup), Siratori's language emanates directly from the contingent, rhizomatic, non-teleological, reciprocal disruption of several unstable and immanent modes of embodied (in)existence. In Blood Electric the text becomes an incantation demanding full abandonment, generating its own unpredictable rhythms as it enraptures you beyond reading, beyond yourself, like when participating in a rave. -Germ n Sierra

TBDIt is a book that uses Zaum language written in patamathematical prose (the characters used are international phonetic alphabet and can technically be pronounced), each page is designed independently (by me), and includes about 18 images of biomorphic figures by Japanese artist Kenji Siratori (all writing and design, however, is mine).The guiding idea behind the book is that hidden away amidst the frequency signals of information technologies, a novel undecipherable universal language (a kind of techno-Zaum inspired by Cubo-Futurists Velimir Khlebnikov and Aleksei Kruchenykh) is autonomously and autopoietically taking shape outside the experience, knowledge, or access of humans. In this sense, the book isn't asemic; instead, it can be thought of as an extended analogue to the ways autonomous informational processes optimize themselves in ways that we no longer fully understand - it is like a window into the black box of info and communications tech. In a way, it could be considered a conceptual graphic novel or a work of visual poetry.

"Los lenguajes no son virus ni casas sino tecnolog as de producci n de realidades consensuadas concretas. Los idiomas no son m s que tipos de c digo fuente para la programaci n de culturas, subculturas y supraculturas coercitivas. Escribir es una m quina de seguridad, telepat a con monstruos. Solo el licuado de lenguaje, idioma y escritura nos har libres en este estado prisi n de las cosas en que ha cristalizado nuestro contempor neo. Eso es lo que aprendemos de *cronotop a desatada*. Esas son las no verdades hiperrelativas que nos deja este libro hoy. Ma ana ser n otras, como sucedi , sucede y suceder siempre, como debe." - Francisco Jota-P rez "Kenji Siratori (adem s de m sico, artista visual y te rico de la est tica glitch) es uno de los grandes maestros de lo que en otro lugar he denominado "literatura del ruido" escrituras que se expanden hacia formas inhumanas de expresionismo, hacia campos de fusi n meta-abstracta radicalmente postdigitales. Podr a decirse que "cronotop a desatada" es el primero de sus libros que se publica en espa ol si no fuera porque Kenji Siratori escribe en un lenguaje propio, original y extraordinario que -independientemente de que en esta ocasi n aparezca constitu do por t rminos y estructuras gramaticales extra dos de nuestro idioma- trasciende cualquier lengua: su lengua materna, el japon s; su lengua literaria de adopci n, el ingl s; y cualquier otro idioma o c digo en el que sus asombrosos textos puedan ser transcritos. Quiz s la nica forma de hacerle justicia a este libro sea decir que, en "cronotop a desatada", el espa ol ha sido pose do por Kenji Siratori." - Germ n Sierra

Michael Mc Aloran was born in Belfast, (1976). He grew up in Shannon, Co. Clare, where he is presently based. He is the author of over 35 collections of poetry, prose poetry, aphorisms and prose. His most recent publications were with Editions du Cygne (FR), VoidFront Press (U.S), Veer Books, (U.K) & also by Infinity Land Press (U.K), Oneiros Books (U.K), & Incunabula Media (2023). His work, both in writing & visually, deals with the darker themes & elements of human existence. He is a member of VAI, and recently began painting regularly, some of his previous work having been published in various online magazines.

This book was generated by glitch poetics. It's based on regurgitated schizophrenia and regains the body freed from the soul...

Mark Fisher offers another image for contemplation, this time updated for the early twentieth-first century: an image intensified by its sequential, mutating multiplicities without a future and without any sense of shared experience. After all, a shared experience of togetherness is rather discouraged by the increasingly privatized and personalized algorithmic cultures of the present: ceaseless motion without progression, recursively reiterating communications technologies without human connection, algorithmically optimized behavior standardization, and hourly upgrades without innovation. So, rather than the speed train, airliner, or automobile, "the twenty-first century," Fisher writes, "is perhaps best captured in the 'bad' infinity of the animated GIF, with its stuttering, frustrated temporality, its eerie sense of being caught in a timetrap."

"This is the "new" that you never knew was there, and, like all things so totally new, it forces us to rethink our idea of "novel", "life" and, in the end, even "Art"." - Jared Louche of CHEMLAB "Kenji is a madman, for sure, but if you scan his hallucinatory textual mashups in just the right frame of mind, they begin to make sense. And that's the scary part." - Douglas Rushkoff

"Kenji Siratori is a madman, for sure, but if you scan his hallucinatory textual mashups in just the right frame of mind, they begin to make sense. And that's the scary part." - Douglas Rushkoff "All the information in the universe, plus several bits from other dimensions that I'm still trying to sort out, have just been mainlined into my nervous system. The shards from a googleplex of infobits seem to be stuck in the part of my brain just above the pineal gland. Yes, I've just been reading Kenji Siratori again. This is my idea of a good time." - RU Sirius "This is the NEW that you never knew was there, and, like all things so totally new, it forces us to rethink our idea of NOVEL, LIFE and, in the end, even ART." - Jared Louche of CHEMLAB