tohe oeoxtroarodinaroy advenotoroeos in neourodiveorsitoy f dugieo jneos

extraordinary adventues in neurodiversity with dougie jones

we don’t know what a body can do, yet perhaps a neurodiverse body such as Dougie’s       “All I can say is that there is no way      

can carry, spark and intensify the affects and percepts that otherwise get parsed (out).           that Lynch can stretch this Dougie  

perhaps we encounter in Dougie what Deleuze and Guattari call an aesthetic figure:       plot out any longer than a few episodes

an “image of a Universe” or a “phenomenon”. It is clear that as such Dougie surpasses at best. Can’t wait to have Cooper back!”

the doings of psychosocial types: there is no category, no form, no being that Dougie conforms (a person on Twin Peaks fan FB)  

to and thus we cannot speak of a symptom; rather, Dougie bodies the affects in full        no one has time for Dougie’s adventures

suspension of any parsings. There is no time that any one can ever capture its doings.   yes yes. so it goes, they wait and they wait,

waiting for Cooper. 
but Dougie remains, survives in the unlivable pressure

of all typical expectation allowing for new manners of appetition to move about.

We have not tried to argue for nor are we interested in analysis or some sort of critical excavation. In the middle, we are merely thinking with the intensities that come to the foreground waiting for Cooper. That no one has time for Dougie simply means there is no time that such adventures adhere to; rather it creates time, continuously. Thus when we are thinking with, we are always fabulating conceptions alongside the sensations, so while we approach Dougie as an aesthetic figure, what might in turn emerge is a conceptual persona. But this is not of us, it is of the writing and what it does, as its own practice. As a practice we've always maintained it, moving in and out on the to-and-fro of the pulls and pushes. In other words, the practice of writing itself was moved by the lures brought forward in the suspense, the fall, the melodies, the differing appetites that we encountered with Dougie.

“In fact, it seems that what follows from this insight is not the “dissolving” of the self, but, we might say, a holding of it in a lighter, more contingente manner - as, precisely, a fiction (and, insofar as the self is the other anchor point for numerous other fictions - the different worlds through which a self moves - then these are too seen as fictions). Crucially, this might also mean the possibility of producing other fictions of the self (or other fictions of the non-self), and with that the exploration of other ways of being in the world.” (O’Sullivan, 2018, p. 310).

fiction without hooks? fabulation[1]

The Old-Dougie, if we can call him that, used to be married to Janey-E. Together they're parents of Sunny-Jim. Old-Dougie's body was used to move differently than dougie's Dougie, therefore the exchange of Dougies that brought back the spectre of Cooper's murmurs in their head was also a matter of re-modulating the velocities in which their bodies moved. Old Dougie seemed to possess a strong masculinity that inflated both his ego and body, paralyzing his movements, eaten by the chair. But who doesn't get eaten by a chair once in a while?  Before being exchanged with Dougie and the multitude of Cooper voices that came with them the couple also had a son, Sonny-Jim. Old-Dougie used to move differently, and to embody very masculine behaviours. Two individuals that also moved differently, their velocities and slownesses were pretty much distinct. He-Dougie had a jelly-like body that oftenly was eating by the sofa (and who doesn't like to be eaten by sofas, sometimes?). Dougie also had moments of jellyness but one of a different (and delicious) kind. While Dougie was moved by appetites, He-Dougie was moved by the necessity of stratification (of the socius, gender relations, the failed familial structure, etc.).

▂▃▄▅▆▇█▓▒░someone manufactured you░▒▓█▇▆▅▄▃▂

Dougie Jones emerges from the shape-shifting garmonbozia (creamed corn alike mixture), they are partial or residual results of a failed commercial exchange between two worlds that converged to the emergence of a schism, something that shouldn’t be t(here). Presumably a fruit of a "Bad Cooper" (Mr. C) experience, they were mostly seen as an empty entity, ready to work and reorganize this world's state of things under Mr. C's orders, but the imbalance of the garmonbozia stock exchange (here and there) generated an excess (in terms of garmonbozia) that leaked through a interdimensional electricity road. Although, we see Dougie being possessed not because of their neurodiversity, but as a possession that happens through the whole spectrum of modes of existences (including neurotypicality), following Guattari's scheme on the multiple ingredients that collaborate to the production of subjectivity[2]. Their agency is not produced by its own self core as a volitional subject but by strange voices[3] that stimulate them through poking techniques and visions that guide but also mischief (and what's the difference?) .

▂▃▄▅▆▇█▓▒░for a purpose░▒▓█▇▆▅▄▃▂

 A non-neurotypical body in its relationality with the outside, the schizz (but that insists on remaining immanent) and/in the field. DJ is able to see and talk to the whole ghostly fauna and flora of Twin Peaks' demonology (or spectrology?) without voicing a single word: MIKE, the arm, BOB, the ring (Dogon egg), etc. A demonology implies both an hierarchical organization  and taxonomy that aims to separate different kinds of entities according to their powers of agency (similar to royal titulations). Our spectrology implies not a tree of categories but a mesh of entities that cannot be classified and are not separable, since they're always living in a parasitic[4] mutual inclusion. === THE RED ROOM === nor black lodge or white lodge but the intermediate world where all the beings come to hobnob. The purple sea - realm of undifferentiation or substratum. Not a threshold but a limit (see figure xx).

“Il ne s’agit pas de concilier des contraires, mais plutôt de créer des êtres intermédiaires, mixtes ou médians  pour peupler les intervalles.” (Lapoujade, 2017, p. 69).

Twin peaks is all about the duality: good and evil, black and white lodge, BOB and Cooper

“Memories of a Sorcerer, I. A becoming-animal always involves a pack, a band, a population, a peopling, in short, a multiplicity. We sorcerers have always known that”

from non-exist-ent to minimal existences

the non-exist-ent is the spectral strangeness carried with dougie's mode of existence. dougie are non-existent because they cannot qualify to the affordances needed to be accepted as part of the existing neurotypical world. they cannot pertain to a world that takes into consideration only the productivist masculine attributes, even if they are used or attributed by non-men, or the non-men are used by them. David Lapoujade thinks the concept of minimal existences in relation with the tiny beings that cannot have guaranteed the rights to exist in our ontological system, bringing a discussion that emerges from the partially forgotten philosophical system of Etiènne Souriau. The right to exist is therefore also a juridical issue. e.g: the spectres were slowly diminished and de-graded until their partial disappearance from the world of mainstream Christian philosophy/religion, being substituted by an official demonology with grades of agency (from high to low demons). That doesn't mean though that they didn't survived centuries by other means, inhabiting the crypts of the western thinking-feeling, or cryopreserved in virtuality. SPECTROCIDE. The killing of the spectres is one of the acts that united both western religions and at the same time a transcendental secularism that resembles the first in many points, aiming the perpetuation of the human all too-human mode of being in the world. But the non-existent is the schism on Being, 1+1 = 3, it shouldn't be there but it's there bringing a quality of the Unheimlich. Dougie Jones (and the whole Laura/BOB rendezvous, Major Briggs disappearance, Cooper's extended time on the waiting room, the tulpas, etc., were considered blue rose cases, because they couldn't be answered or resolved according to the stratified truths of this world, and navigating those arenas could bring down the reputation of an FBI agent. [Mulder, from The X-Files, was always called Spooky Mulder  due to his relations with the fabulatory realms of paranormality]. Yes, Dougie is a blue rose, therefore genetically manufactured, not existing in nature. But dougie don’t want to be included in the legal/social system of the boring humans, they simply want to feed their appetites: coffee, pie, playfulness, to be a free radical. But that is never simple in the NT world.

Who is invisible enough to see you?

"where's home?" in drift :: dougie jones cannot take position

We would misunderstand not taking position and invisible as ‘not being there’; invisible is 100% there, as Dougie, but different. Invisibility not as an absence but as a point in which it cannot be seen through the bare eyes of neurotypicality (and when invisible creatures can be seen?). Invisibility is a productive device. A neurodiverse body, as all minor bodies, the black body, the migrant body, the native body, is always non-existent: it is not seen, parsed out of experience. It can still be felt, but for this the full feeling of feltverses need to be affirmed in the appetites. appetitive adventure is necessary, and "passage precedes position". “On peut bien décrire les existantes comme <<jetés>> dans le monde, invoquer leur <<être-au-monde>>. Mais comment font ceux qui ne trouvent pas l’entrée qui les fait <<être-au-monde>>? Ils ne s'éprouvent pas commes jetés dans le monde, mais plutôt rejetés au-dehors, expulsés par sa réalité même. Ou bien la part qui est-au-monde ne leur appartient plus, le monde les en a par avance dépossédés” (Lapoujade, 2017, p. 82)

what is adventure?

adventure time, in drift, exploration of the event’s unfolding, without monadic hooks

[ ; ; ]

figure xx: event-decision // it's happening again

Some individuals, like The Visitor from Pasolini's Teorema can create cuts that shatter a determinate state of things - when we talk about individuals, if it's still not clear, we aim to talk about events or activators, thingies or nepentas. Attractors, they reorient the whole cartography of desires of a group subjectivity, defy identiarian and ideological positions, put all the subjects in motion. The Visitor and his intensity poked desires that were not publicly accepted by the old Italian macho godfather of the house, but they were there, activated. Suddenly he, the maid, the daughter, the mother, the postman, everybody had new and strong desires oriented to that gorgeous body. Yes, sometimes it's totalizing, and not always (we hope) under the form of a charming man, but as, for example, travelling ferns that enter into an environment and less-human creatures. And as Dougie, he (The Visitor) lately disappeared. Things disappear, and they get missing, d.B. Cooper is still missing, the cosmic diagrammatic distribution of thingies in the space eats things. “Where is my hairpin?” Kaboom! Dodraugen! Resting in the fern pot. When the cut is not anymore cutting, metastable, things can seem to return to a state of affairs but they're never the same. The event and the schizz reoriented all perspectives, opening to new iterations. Janey-y opens the door. A new Dougie returned. A new, but the same. Instead of celebrating Cooper's return we must stay with the problem, stay with Dougie - not the problem, but the cuts that makes both unity and uniformity of a world shattered, disrupted. Dougie's body is at a limit, cannot be displaced anymore, otherwise garmonbozia will lose its elasticity. The tale of Dougie is a tale of travelling adventures but also about the limits of intensive displacement. For now, Dougie needs some grounding.  Oh no! It's happening again.


the falllll …

It was said before, the fall of Cooper creates a suspension of all the time. Not as a matter of some sort of missing in the sense of withdrawal or falling away. it is movement in its intensity that makes other things possible.

“Strangely, it is the active that descends, that plunges. The active is the fall, but it is not necessarily a descent in space, in extension. It is the descent as the passage of sensation, as the difference in level contained in the sensation. [...] Sensation develops through the fall, by falling from one level to another. The idea of a positive and active reality of the fall is essential here.” (Deleuze, The Logic of Sensation xx)

the fall persist, however. it is not Cooper falling turning into Dougie, it is the continuity of the fall in all of dougie’s adventures. in appetition, sensation continuously emerges but only if Thought and Being fall together into infinity. The fall or the descent is in no sense a ‘loss of consciousness’ in the way that deems it of a lesser kind. It just that now it is “[...] the material that passes into sensation.” (Deleuze and Guattari, 1994: 193)

These sensations emerge in blocs or patches (Deleuze and Guattari, 1994: 164; Batchelor, 2000: 35) generating novel appetites. “Colour… is a kind of bliss… like a closing eyelid, a tiny fainting spell.” (Barthes in Batchelor, 2000: 32) you could read bliss as pleasure, but note that Barthes talks about jouissance; we would say joy.


Dougie moves with the tiny fainting spells: a red door, red shoes, a red cup, the red room. Red captivates dougie, warps the other worlds into existence if sometimes only momentarily; in the non-time of red anybody is affected, but on the body it remains ephemeral in regards to the normal, stratified world of time. “More than that, perhaps, the descent into colour often involves lateral as well as vertical displacements; it means being blown sideways at the same time as falling downwards.” (Batchelor, 2000: 30) The plane of composition involves both longitudinal as well as latitudinal movements in terms of speeds and slownesses and magnitude of intensity. While in sensations these new universes emerge by manner of a composition, it foregrounds first of all a necessary captivation, or a distraction perhaps. What slips through?

Responding to a journalist’s demand to justify the amount of violence in Pierrot Le Fou (1965), Godard insisted that there was no blood in his films, just the color red. Just red. Just a door, just shoes, just a cup. There is no hidden meaning behind the image -- nobody has time for that -- there is just an image that slips into other images. The red shoes do not refer to an old life of Cooper and the sexuality of Audrey (wearing red shoes), they create an appetite that moves in a similar manner, reflecting the different moments in one another as carriers of a world of intensity. But is it future or is it past?.

“the essential reality of the fall, that is, the direct action upon the nervous system.” (Deleuze, xx 109)

As much as we recognize the potential of the fall, we must also acknowledge its risks. If the double movement occurs in a symmetrical manner, or if it shoots off passing through limits of the body, stuckness can occur. Not stuckness of Cooper not being able to return, but stuckness in that it defaces Cooper completely, falling back onto itself opening up into a black hole. Stuckness is a well known occurrence in neurodiversity, as the movements turns in onto itself creating a stale field where it is lived without a minor subjectivity, without any point of actualisation. “so much caution is needed to prevent the plane of consistency from becoming a pure plane of abolition or death, to prevent the involution from turning into a regression to the undifferentiated. Is it not necessary to retain a minimum of strata, a minimum of forms and functions, a minimal subject from which to extract materials, affects, and assemblages?” (Deleuze and Guattari, ATP: 270)

.    >><<         the time of sinking has begun         >><<     .  

holes, holes are needed - to disappear, to appear, affirm the outside

[ ; ; ] oohhhhhhhhhhhhhhh

Sinking or submerging, what draws dougie in travels from other dimensions, emerging universes.

The body might not sustain, collapse under the weight of the pull if it takes hold of itself, or tries to hold itself together. Maybe it depends where the hole occurs? Can it be kept outside of the body, in a double movement emergent with the world? Or does it occur within the body, sucking the flesh down the bones into a black hole, a schizo body of death? The body feels this, knows this in that is always already falling -- falling before birth perhaps. It holds things together, but in what it produces might actually imprison itself.

Disappear: the appetite that emerges when the space is not safe anymore for creaturesque hobnob. Normative leaving is not possible for all specks of bodies. When the vector of the appetite is not strong enough to bypass all layers of architectural tipicality, the presence of lures  is necessary. Outside lures are not really outside but are seen as holes in topological space that can lead to other spaces. In that sense, they work like wormholes but can be used as loopholes to escape tipicality for a bit even in traditional settings. They don't last forever, though…

Dougie moves with red, or other holes in the fabric enough to keep his body porous. Appetites slip in and out, across and over. Only in this sense does a life move from a damn fine cup of joe, to a red door, to a piece of apple pie, to a pair of red shoes walking - minimally so. While dougie might fall, sink, submerge, all remains just far enough out for it not to collapse, to allow dougie to return, time and time again.

Did you get drawn into the sink[a], again?


“What neurodiversity teaches us, it seems to me, are techniques to become attuned to this more-than, to become-attuned to the ineffable amodality of experience that activates the contours of the event toward a moving, an encountering, a being-moved in a complex ecology of practices." (Manning, 2012, p. 132)

In order to see me (and my army) you must turn yourself invisible.

who is invisible enough to see the thingies?

// “oh yes, it’s important to develop a new model for caring that takes into consideration all kinds of awareness. specially awareness about my body and the body of the others” // “let’s sit on a circle to discuss the text and the workshop, ohh, i’ll have to move these things from here otherwise we won’t have a full circle”. “as Daniel Stern says, the infant...”

Chise could see the creatures because she wasn’t a human, even being raised as one. Something eerie was present on her gaze and the gaze she received from the magical creatures and thingies. In the occasiations she was lured to pursue fairies, fluffy flying wool producers, humanoid dragonflies, etc., she was being seen as a crazy girl chasing ghosts that don’t exist. // the body of the schizophrenic, the psychotic, the so called perverse body. who is invisible enough to see the thingies, the casino cheating/mischievous creatures?

°º¤ø,¸¸,ø¤º°`°º¤ø,¸,ø¤°º¤ø,¸¸,ø¤º°`°º¤ø,¸ a p p e t i t e  °º¤ø,¸¸,ø¤º°`°º¤ø,¸,ø¤°º¤ø,¸¸,ø¤º°`°º¤ø,¸

“the urge towards the future [is] based upon an appetite in the present:” the immediate goal is to “procure.” (PR, 32). appetites move bodies, and it is through appetites that a life creatively advances.

dougie bodies differently, in the pure experience moving through appetites: coffee, cherry pie (spectres are lures for appetites) but also light-claps, toiletry-clings, sex, power jacks, or even the strange phone-rings ( every appetite in its fullness presents an entire novel universe, there is no sip of coffee that is ever the same in its intensity, but even before the sip has been taken there has already emerged a new event that informs differently the object and subject of that event. for dougie this even clearer in not even having many habits: dougie seems to have forgotten that a full bladder means he needs to pee. this is not a proof of a lesser intelligence in any way, it is a body bodying its full intensities, being overwhelmed by them at times. while habits construct a ground whereupon life makes it living possible, in the full immediacy of events intensity does not pertain to a ground, perhaps a groundless ground, in all of its potential. it is this potential that moves with appetites.

or to go to work the lure of coffee is necessary, to make work possible.

“i will attempt to activate that part of my brain today.

Oh yes

i do that as well

usually with a lot of coffee

coffee is good for answering emails”

// did you ever have such damn good joe that you almost ate the lid? are you on a sofa?

// or maybe the appetite shakes up the habits a bit. ‘the appetite took the coffee? maybe some green tea latte turns out to be what is needed.

//amazing! I don't understand.”

Who has time for dougie's adventures?

It's necessary to create time. No one has time for dougie's adventures, but many have. Only many, not as a group that sits in a circle but as a multiplicity of voices that can murmur out themselves through one or more bodies. dougie, red-room's dougie and new dougie are the same but also different, since they're made of the same particles of matter (garmonbozia proteine). dougie remember his past lives but not as different lives. for dougie cannot be judged, a multiplicity of souls cannot be judged because they carry seeds of contradiction (their appetites are different but have some shared amount of qualities), no consent is possible - or at least, no linguistic consent seems to be possible, movement is reachable only under the eyes of the goddess of anarchy. The same can be applied to "Mr. C.".

chit-chat was stolen from us, and needs to be reclaimed. in that sense, it's necessary to develop techniques to create time going against the de-volution of chit-chat  (or the talking in circles, confinement upon the body ( We are looking for inspirations in the "early internet" phase, that's not chronologically delimited, since many of its elements can be seen as embryos of its actual configuration, even if they ended up being stratified on opposite directions. Not only nostalgia of under construction gifs and a kind of aesthetical framework that comes into mind when one remembers that [lived or not] age in detriment of a wide range of services and techniques left behind. Bring back useless traces. if bigotry-oriented groups use and reclaimed anonymous safe-spaces on internet, like 4chan, Gab, other chans and image boards, creatures whose bodies cannot be contained under a rigid digital (or not) identity should be able to do the same (and we do not affirm that is not being done). “In the end there is no social vibrancy without subcultures, and there are not subcultures without risk. In a world dominated by the likes of Facebook's “real name policy” and mass state surveillance, 4chan and it’s principle of anonymous discourse remains a vital source of subcultural energy. It is that rare thing on today's internet: a completely unregulated space” (Garcia, 2017, p. 81).

"call for help?". an internet of actual occasions <==> multiple modes of landing that don't need a birth certificate or proper ID identification summarily "justified" by security measures that clogs the flow of chit-chat rivers where creatures use to lurk like piranhas or jellyfishes, always asking for new layers of verification (SMS confirmation via a real phone number). For dougie jones don't use a phone, nor can they sustain themselves during frontal conversations, but communicate through the waves of appetite pumped into their veins with help of coffee, pie, but also garmonbozia concentrate. the parliament of creatures in mastodon was a tentative and slightly different of the experience in slack. slack slacking itself. Unfortunately "not having-time" situation is expressed with pride, in the sense that not having time means your body is being used 24/7 for the bureaucratic activities of productivity, even by those who bash them. dougie's excess of time cannot be valued, therefore it's not considered as proper time by their work colleagues at the insurance company (at least until his magical drawings led to an event that saved them millions of dollars). “I am inclined to believe that because we are bodies and possess perceptive mechanisms we also have time. I suspect our ability to construct time is predicated on the manner in which body integrates its perceptions and upon the action necessary to generate these perceptions. The characteristic I would most associate with bodily time is the unsustainable. Nothing in the body can be sustained indefinitely” (Forsythe 2008 apud Manning, 2012, p. 80).

“A body that bodies as a gigantic cattle is, I am absolutely sure, the future of all communication. Full immediation!” (Edward R. Robinson)

“It can be just another form of email. It's not you're going to send gifs to your colleagues. I love slack. But is because you don't use slack as a productivity tool. It's not going to work. We don't use Slack as Slack”.

dougie-ing neurodiversity-friendly platforms?

Facebook's policy of real name aims the proposition of an unifying and coherent self, its gravitational vortex is the name put on the profile. Totalizing. Considering that to name itself seems impossible and uncomfortable for some neurodiverse individuals that cannot see themselves under a stable name (FB doesn't allow frequent changes on the profile display name), nationality, citizenship, gender, etc., the use of other platforms seem to be more interesting to create ecological and neurodiverse friendly digital environments, like, considering the enormous differences that separate each other, slack (reminding that slack was designed as a productivity tool, profanating it involves using the possible fluidity of the naming of its channels, groups and users) and 4chan (full anonymity). The refusal of non-identity by most of digital services is the refusal of the affirmation of spectrality. Spectres are what defy unity, coherence, the univocity of Being. We should not see a non-identity as a agglutination that itself becomes a identity but as the schism that breaks the stuckness of fixed identitarian systems. Secondly, a spectre is always a community of the spectres, always more than one, Dougie is never only Dougie, but Cooper, Old Dougie, Mr. C, BOB, etc., a pool of parasitical minimal existences that at the same time move together but individuate according to different patterns of time, space and general enabling constraints. It's not purely a matter of jumping (from Dougie to Cooper to Mr. C), but the movement in between that resonate in every circumstance according appetites (we should agree though that some appetites of them seem to be almost universal, specially coffee). Should we agree?

Moreover, these platforms attempt to catch the affections of its users by mood aggregators, symptomized in the all too frontal “How are you feeling?” This has nothing to do with feeling, it is emotion and affection it is after. It wants to quantify the feeling by parsing it into tangible bits and bytes to consume in the streams of capital. Emotions feed capital. Dougie Jones offers resistance against such aggregators and their quantifying violence, for dougie is multiplicitous and feels with the event rather than unifying the affect into a transcendental ego. As much as it creates platforms of relations that do not personify, it also creates platforms that do not emotionalize (ooohooo, less or more empathy please!) dougie produces singular qualities ad infinitum as long as they are not captured by spectres of typicality, i.e. bob and the likes. These singular qualities make up the images that refract and make possible contrasts (new? Novel? Maybe, not so interesting; different, yes!)

̅̅Y̅̅a̅̅h̅̅o̅̅o̅̅ ̅̅M̅̅e̅̅s̅̅s̅̅e̅̅n̅̅g̅̅e̅̅r̅̅ ̅̅w̅̅i̅̅l̅̅l̅̅ ̅̅b̅̅e̅̅ ̅̅d̅̅i̅̅s̅̅c̅̅o̅̅n̅̅t̅̅i̅̅n̅̅u̅̅e̅̅d̅̅ ̅̅Y̅̅a̅̅h̅̅o̅̅o̅̅ ̅̅M̅̅e̅̅s̅̅s̅̅e̅̅n̅̅g̅̅e̅̅r̅̅ ̅̅w̅̅i̅̅l̅̅l̅̅ ̅̅n̅̅o̅̅ ̅̅l̅̅o̅̅n̅̅g̅̅e̅̅r̅̅ ̅̅b̅̅e̅̅ ̅̅s̅̅u̅̅p̅̅p̅̅o̅̅r̅̅t̅̅e̅̅d̅̅ ̅̅a̅̅f̅̅t̅̅e̅̅r̅̅ ̅̅J̅̅u̅̅l̅̅y̅̅ ̅̅1̅̅7̅̅,̅̅ ̅̅2̅̅0̅̅1̅̅8̅̅.̅̅ ̅̅U̅̅n̅̅t̅̅i̅̅l̅̅ ̅̅t̅̅h̅̅e̅̅n̅̅,̅̅ ̅̅y̅̅o̅̅u̅̅ ̅̅c̅̅a̅̅n̅̅ ̅̅c̅̅o̅̅n̅̅t̅̅i̅̅n̅̅u̅̅e̅̅ ̅̅t̅̅o̅̅ ̅̅u̅̅s̅̅e̅̅ ̅̅t̅̅h̅̅e̅̅ ̅̅s̅̅e̅̅r̅̅v̅̅i̅̅c̅̅e̅̅ ̅̅n̅̅o̅̅r̅̅m̅̅a̅̅l̅̅l̅̅y̅̅.̅̅ ̅̅A̅̅f̅̅t̅̅e̅̅r̅̅ ̅̅J̅̅u̅̅l̅̅y̅̅ ̅̅1̅̅7̅̅,̅̅ ̅̅y̅̅o̅̅u̅̅'̅̅l̅̅l̅̅ ̅̅n̅̅o̅̅ ̅̅l̅̅o̅̅n̅̅g̅̅e̅̅r̅̅ ̅̅b̅̅e̅̅ ̅̅a̅̅b̅̅l̅̅e̅̅ ̅̅t̅̅o̅̅ ̅̅a̅̅c̅̅c̅̅e̅̅s̅̅s̅̅ ̅̅y̅̅o̅̅u̅̅r̅̅ ̅̅c̅̅h̅̅a̅̅t̅̅s̅̅ ̅̅a̅̅n̅̅d̅̅ ̅̅t̅̅h̅̅e̅̅ ̅̅s̅̅e̅̅r̅̅v̅̅i̅̅c̅̅e̅̅ ̅̅w̅̅i̅̅l̅̅l̅̅ ̅̅n̅̅o̅̅ ̅̅l̅̅o̅̅n̅̅g̅̅e̅̅r̅̅ ̅̅w̅̅o̅̅r̅̅k̅̅.̅̅

Dougie interrupts everyday office-work to follow their appetites, a body doesn't understand what is to feel guilty when shifting from the productive neoliberal mode of time organization to a distinct one. everything can be interrupted, so dougie can appreciate a big cup of black coffee or a piece of cherry pie. their appetite will even later save dougie's life when stuck on an ambush. These characteristics probably have something to do with the impossibility of following neurotypical movements (see for bellow, for example, the images of dougie on the elevator and their struggle), but while his family and colleagues from work see dougie as lacking social abilities that somehow miraculously need to be fulfilled, we see Dougie's associality as the more than human, in the sense Erin Manning proposes it, "we might think of asociality as that which is ecologically oriented and perseverative, that which extends notions of communion and relationality beyond the human" (Yergeau, 2018, p. 71-72). An excess that resists capitalization, for Dougie time is not money, or we could say time is infinitely created (in the sense that Dougie's time cannot be put under a traditionally organized scheduled and circadian day due to their neurological conditions - condition not as a disease but as pure difference), as his almost infinite money could be worn due to dougie's abilities to think beyond the money, with the slot machines and the voices of the ghosts from red room. We should not, though, mysticize Dougie or make them look crazy to neurotypical eyes, as neurotypical eyes frequently see us through the (sometimes not so much) implicit discourse and gestures of ableism, but include neurotypicality on the continuum of neurodiversity. Dougie shall not be only a repository of victimization, but seen as a carrier of affirmative actions against the normalization of every aspect of the daily life. For obvious reasons not all, and many doors get closed to Dougie’s mode of existence. We understand a mode of existence as “the occupations of the spacetime, plus the necessary conditions for each mode of existence to create the spacetime it aims to occupy. The spacetime of the phenomena is not the same of the spacetime of the things, that's not the same of the spacetime of the imaginary being, etc.” (Lapoujade, 2017, p. 17).

ft [5:43 PM]

i think chit-cat-chat should be more valued

techniques to create time

chit-chat is needed to confront the habitual logistical talks (i don’t have time to lose)

maybe we need to lose time no?

losing time according to the habitual roles of full agendas = creating time

but also chit-cat-chat time is helpful to develop more fabulaton-pills

also also there is this logic that implies: “well if i am chit-chatting i should feel guilty because i didn’t do anything”… guilt is shit no?

the good thing is that dougie’s body doesn’t understand logics of being guilty



there’s always more time for coffee

advvv [5:50 PM]

maybe fabulation-pills are what goes into the coffee, no?

like Bergson’s tea

(slack creaturesque conversation on #FCLC channel)

“If I want to mix a glass of sugar and water, I must, willy nilly, wait until the sugar melts. This little fact is big with meaning. For here the time I have to wait is not that mathematical time which would apply equally well to the entire history of the material world, even if that history were spread out instantaneously in space. It coincides with my impatience, that is to say, with a certain portion of my own duration, which I cannot protract or contract as I Eke. It is no longer something thought, it is something lived. It is no longer a relation, it is an absolute. What else can this mean than that the glass of water, the sugar, and the process of the sugar’s melting in the water are abstractions, and that the Whole within which they have been cut out by my senses and understanding progresses, it may be in the manner of a consciousness?” what can a pill do? “let the meds talk”

call for help, call for fabulous creatures

“Hello, Mr. Monster-in-the-woods. I         

know you’re sneaking around but maybe you’ll answer to my ‘hello’?        


“Hel-lo. Beep boop.”


know that in times of non-time, the call for creatures from the wild beyond could be what is necessary to survive the immense weight the stratified world and its persons can apply.

the world-smoother 

there are creatures of all stripes and specks, all sorts of back-formations: a clapping-switch light, a mouth-door elevator, a search-lid coffee, wandering-line pencil, etcetera. the wild beyond, where there is now clouds of black-lodge moving through, is populated with the wildest, most fabulous, creative advancing population. while appetites are moving, be it when covered by the veil of sight be it free, this unhuman population of fabulous creatures keep growing, but also shrinking, taking shape, taking unshape, moving in a cluster, completely dispersed. they always escape capture into ones and twos, always tending to the third creating the lines of flight wherein a life, not-yet one or two yet ready to be both or either, can procure. a dougie jones in all of its Cooper multiplicity.

If there is a politics there, it precedes being. we’ve spoken of a parliament of creatures, where the we is always missing but a life tends towards a people to come: a future anterior we. in the parliament of creatures anarchy reigns, it knows nothing of people politics. but this is a crowned anarchy, an anarchy that lives live in its continuous becoming. politics becomes of the manners and techniques in which these creatures create behavior. they might be missing, but they are always becoming: winged horses, fire breathing dragons, mr. biggles, nepentas, wandering albatrosses, dougies…

good afternoon, good evening and good night ladies and gentlemen… it is fall

|[]|  a d v e n t u r e s

Dougie at the elevator = interdimensional couriers. Dougie travels through electricity and delivers traces of inconsistent qualities into the normative world: qualities that shouldn't be there, that are not expressed through normophatic phrasality; Dougie was created to be an empty container or vessel (lack)[5] ready to be fulfilled, a set of qualities or tropes common to a wide range of characters in film, television and literature, but also used to define neurodiverse individuals who perceive the world differently from the normative gaze. "They aren't a pushover or empty of real personality, they are completely dead inside. They are this side of a Convenient Coma because there is still something there... they move, talk, eat, sleep, but they have no drive, ambition, or capacity for emotion. Basically, the body is an active biochemical machine, but the part that made them alive and human is gone". (tv.tropes, 2018)[6]. They arrive without leaving. "The arrivant is that which arrives without ever arriving; it is the virtual workings of the yet to come" (Henriksen, 2018, p. 272). A matter of transduction, but not translation. involuntary world(s)-wanderers, sometimes expelled and displaced. whereas other characters pursue methods to access other dimensions through sorcery (summoning entities) or physical entry points (researching specific places in which electromagnetic anomalies may distort the topology of reality allowing the emergence of shortcuts that lead to other dimensions) through those holes, we could say, sometimes some packages can be sent via electricity. for example, it's clear that Laura was a package intentionally delivered under the form of a germ on the frog-alike creature that penetrated Young-Sarah's body going down her throat, as an answer to the contingentially delivered BOB-Judy composition through the explosion of the atomic bomb. The giant's castle that reigns upon the purple sea is a bureau de poste central. From there it was decided a care package should be sent, but very different from a UN food-medicine package delivered to war areas dropped by planes. Yes, they are looking for some balance, but that doesn’t imply that the package sent to the convenience store should be perfectly attached to moral standards (or at least all-too human standards), for the black or white lodge are not opposites, only differentially vibrating but not separated spaces that produce distinct world-arrangements with the help of the creatures that belong to them. Important to say that they’re not mediators, but activators. Pokers. They are constantly luring, and everybody knows that Laura used all sorts of techniques to attract other creatures and reorganize Twin Peaks’ apparently stable and provincial environment (but, every(body) always felt the presence of something eerie and disjunctive). The prehensions of the world(s) to come were everywhere.  

It would be a mistake to take such actions as deformations of a reality as preconstituted. as the tulpa’s show, things get ‘willed into reality’. or another way to put it, in a more Nietzschean sense, is the affirmation of the powers of the false. the holes are necessary to allow something else into the fabric of what makes up reality. yet these insertion are in no sense controlled; they might be prepared, carefully construed and placed, in the end, ultimately, the event conditions itself and might create novel, different paths. laura is never condemned to BOB, though it might indeed be a hellish life of events needed to ever free a life from the extreme neurotypical forces that BOB musters.

Dodraugen! Kaboom!

Dougie on the elevator: appetites create their own events. a minor moment of stuckness, not going where one is supposed to go, and a play occurs that closes certain interdimensional portals while slipping into completely different ones. The people are long since missing. In the currents of typicality there is never a people apart from a people people that organise themselves together. But they can see only themselves.                              

"Modes of existence have an inbred appetite for each other, and cannot easily sustain themselves separately, try as they might sometimes."

[ | | ] spectres of neurotypicality flirting with dougie's mode of existence (B.O.B.)


        could dougie be lured by the possible? [nt=1]                

appetites: neurodiverse joy and play - casino/sex (impersonal, yet 100% personal). dougie and janey-y's sex is nothing like similar to porn movies made for men or straight individuals[7], dougie's belly moves like a jelly while janey-y moves over him up and down, and we're confronted with dougie's pleasure face. there's a general common sense idea that circulates affirming that individuals who are somehow in the spectrum of neurodiversity are not capable of establishing relations, while they're extremely relational on other less personal-oriented manners. "I’d instead suggest that autism is a neurologically queer motioning that is asocially perverse, a lurching toward a future that imagines “incommensurabilities of desires and identities and socialities,” a ticcing toward rhetorical residues. This asociality, while often represented by clinicians as a nonsociality, is inherently relational in that it does, reclaims, and embraces the expansiveness that countersocialities can potentially embody" (Yergeau, 2018, p. 19). Dougie couldn't conform to (neuro)typical relations of office standards, but their affective cartography is organized pointed to other directions and bodily arrangements (or agencements). that doesn't mean that those who cannot organize bodies into sex are not relational, our argument is that relationality is always a multiplicity that can point to numerous directions (n+1). But dougie is not only dougie during sex on the vertigo of the orgasm or when the delicious black coffee goes down their throat, they are always douging around, moving through appetites and being seen as a problematic individual by his neurotypical colleagues at work. Although, for sure we wouldn't agree with Lacan's argument that "there's no sexual relation", in the sense that the relation is oriented to two individuals as separated entities that were put into a certain arrangement. but for bodies that are not able to feel where their extremities are, but in the field, or octopodal extremities, osmotic skins, the situation is a little bit different[8].      

as with everything, capture is always lurking

|͇̿ ͇̿ ͇̿ ͇̿)|̶͇̿ ̶͇̿ ͇̿ -T |̶̿ ̶̿ ̶̿ ̶̿'||͇ ͇ |͇ ͇  ͇ ͇\̿ ̿

it seems that the airco-guy was at the same time the deliverer and the qualities that were delivered. a package of qualities that disrupted a regular waking up process. it's not clear though if the sparks were located in the air-conditioner's guts since those porous surfaces response to a topological organization of space, always jelly-folding and unfolding. also its dimensions (or at least their sensorial contours) don't produce transcendent surfaces. it's not a matter of thresholds but limits, in the sense that they may have been established as metaestable stratas, but they're accessible from and to each other. it's not clear if there's a not-transcendent but outside-ish place from which the disruptors can come bringing their tools (nothing to do with the gold-shover of truth), that would be the almost fully spectral creatures capable of de-organize or fully deterritorialize anything they touch. i want to believe. if the answer = yes, they could be manufactured and momentarily contained into pills of de-T that could be thrown into environments that are too territorialized under some normative arrangements, like reunion circles, barbecue-circles, people's circles, rectangular tables. de-T pills act de-circling forms. Prototypes of de-T pills included the sound-button machine from Dollarama, the creation of a waterfall that must be activated by remote control when the ecological conditions in the Spâze become too normophaty-oriented. Sometimes just for a few seconds, a tiny small apparition from “the visitor” in order to reorganize a bit the affective tonality of the space to (hopefully) a more decentralized arrangement of individuals into what we call the parliament of creatures (a parliament, we have to say, has necessarily nothing to do with speaking or conversations, at least not in the transcendent explanatory configuration).

who is d.B. Cooper?

"No parachute, no briefcase, no cooper and no bombs", says a news-program anchor from a Portland NBC channel. It is 1980, nine years after his first act of appearance/disappearance. also described as a "undistinguished character", Cooper appears to have completely vanished after jumping from a Boeing 727 on a parachute of a Boeing 727, carrying with himself 200.000,00 USD as a ransom to release the passengers of a commercial flight between Portland and Washington. Another newsreel from 1980 CBS also claims that no sign of cooper was found after they extensively researched the columbian river, except for very few pieces of bank notes that could be part of the ransom. At a tavern, where keeps souvenirs made upon cooper's character are kept and sold, drunk men affirm that cooper is still alive, contradicting FBI's official discourse about his probable (and somehow desirable) death, what otherwise could be seen as a major failure of FBI's investigation team on the case. “Case closed”, the most frequent headlining about d.B. Cooper in a wide range of tabloids from United Kingdom to New Zealand. It happens and happens again, never closed. d.B. Cooper was never identified, even having the "very distinguished face", as it/they[9] has/have appeared and disappeared on the sky. Many allegations about the 'discovery' of d.B.'s identity were claimed, the last one found during the writing of this piece occurred during a press conference in May 2018. But those were fake news, usually carrying the intention of selling new books about the "real cooper's identity". d.B. cooper can only respond to fabulous news since it's true identity may be a conceptual living that is something that doesn't conform to the idea of an identity. If something, d.B. doesn’t possess an identity but travel through betweenities, d.B is a leakage Dougie's garmonbozia into the past - time is not linear in Dougie's dimension and therefore the leakages to ours also don't conform to linear causality. “Is it future or is it past?”. "Neuroqueering signifies a generous and inter-bodily gesturing, one that postures beyond brains, bones, and dermis; one that waves in a plurality of identities, orientations, affective stances, and lived experiences, modes ranging from autism to deafness to trauma to asexuality" (Yergeau, 2018, p. 86). The question must be reframed: who is not d.B. Cooper? Who never felt the necessity of putting into motion the “how to disappear completely” protocol, the ability to shape-shift and go unnoticed? d.B. Cooper survived their own death, even never being officially born. A ghost, a tulpa, another garmonbozia excess that is probably reading this text right now.

“Yes. I didn't mean it literally. I mean, I couldn't kill the part of him [d.B. Cooper] that lived on in other people” (Roe, 1987, p. 10)

Cooper is missing, yet there is Dougie. The people are missing. In so many ways, or in a manner, Dougie is the pure potential to any Cooper informing. “This acknowledgement of a people who are missing is not a renunciation of political cinema,” Deleuze writes, “but on the contrary the new basis on which it is founded” (C2: 217). Dougie bodies a modern political cinema, appetites roaming freely, suspending any typicality that normally pervades the screen.

appear disappear reappear

It is understandable that most hard-core Twin Peaks fans that populate message-boards and Reddit subs are fond of the classical series and the thus want the ~real cooper~ to quickly arrive, and to interpret Dougie as a bad-taste joke that can only be fun during two or three episodes, but that should been terminated as soon as possible. Therefore, ~twin peaks time is precious, the 26 year wait for new material (besides the Missing Pieces film released in 2014). After 25 years, it's true, Cooper went missing, and along with him, his language, not only by the recently created version of Dougie Jones murmuring together and against him in a rhythmic mutual inclusion[10], but due to the process of unlearning he went through in the waiting room, an unlearning that came together with an exponential growth of his capacity to speak with creatures, flirting with talking arms that became trees. Mischievousness and desire shut up mouths but can open every single pore of a bodymind to the world. It can be mesmerizing and dangerous, techniques for subtraction are necessary when the feet are upon neurotypical grounds. Although, not speaking in the name of other(s), Twin Peaks has always been neurodiverse, or at least kind of neurodiverse friendly, and its non-traditional montage has been taking place for a while, especially after the release of Twin Peaks: Fire Walk with me and Missing Pieces. Twin Peaks, the city, always had this uncanny quality, the sum of its parts never was equal itself, never one but one + something. Dougie, however, doesn't belong to this world, and also not the world of Twin Peaks itself. Not a victimization of Dougie, but a praise to their invention(ality), their ability to create uncanny worlds.

𝓗𝓮𝓻𝓮 𝓽𝓱𝓮𝔂 𝓪𝓻𝓮, 𝓽𝓱𝓮 𝓲𝓷𝓿𝓮𝓷𝓽𝓸𝓻𝓼 𝓸𝓯 𝔀𝓸𝓻𝓵𝓭𝓼

Movement is one with the world, not body/world but body worlding. We move not to populate space, not to extend it or to embody it, but to create it. Our preacceleration already colours space, vibrates it. Movement quantifies it, qualitatively. Space is duration with a difference. The difference is my body-worlding, always more than one. (Manning, 2009)

Many Coopers, always more than one

"we took the evidence down to only a handful of a thousand of people who could be cooper"

(NBC Today newsreel, Jan 27, 2017)

 It’s always more than one, and this reflection doesn’t refer only to the spectral voices that are loaded in each word of a spoken discourse, but as a way to think the body as an archive fulfilled with organic and non-organic creatures. Atenagoras, reminds us Ludueña, was already thinking about the anthropophagy of each being that speciates together, human or non-human. The Greek philosopher and ancient influential Christian theologian stated that “many bodies (sómata), who miserably died in shipwrecks or in rivers, ended up being eaten by the fishes” (Ludueña, 2010, p. 180). This also applies to decomposing bodies of warfare that stayed putrefied in the fields ready to serve as a feast to all sorts of animals, including the ones that would be later haunted by humans. After the ingestion, “the separation (diákrisin) is impossible” (Ibid.). The issue looks like obvious after it’s impossible to determine “in which measure could we consider a separated individual - and therefore separable a posteriori - a human whose flesh has as its origins the another individual’s semen and that semen has as its origin the flesh of another individual who earlier was anthropofagically eaten” (Ibid., p. 181). (L'evenement du Spectre, 2018)

100%, full intentionality[11]. "When intent is offered in conjunction with the neuroqueer, it becomes illegible: we only know what intent is when that intent is read via pro-social measures". (Yergeau, 2018, p. 37). Most of times Dougie reaches forward something, it's not through linguistic and social techniques. For Dougie there's not "I want", not at least as a voice that passes through their throat, but as a movement-moving, their body tending towards a piece of pie or a black cup of joe, like a tropical plant leading its branches where there's sunlight on a apartment window. Also, Dougie's desires are never always theirs, but a multitude of entities that populate that body, a body or any body. Cooper is always there, many Coopers. Cooper is a multitude, by and in itself. Dougie Jones is then not a lesser Cooper, Dougie Jones is a different Cooper, one of the Coopers. Dougie Jones is more than Cooper as is he not just Cooper. Who is invisible enough to see Dougie not just as Cooper? "Cooper's re-emerging is taking too long, we want more episodes with Cooper"; Cooper seems to be making slightest of progress toward recovery. He’s drinking coffee now. He’s saying full sentences like, “He’s lying.” Granted, at this rate, he’ll be back to his old self by say, Episode 15, but at least he’s improving."[12]. Besides certain movements in some of Twin Peaks' fandoms, everybody, including most of the fans, Gordon Cole, Diane (Tulpa or not) and other colleagues wanted Cooper's recovery, the cure to Dougie's disease, or Dougie as the disease that should be eliminated. Melanie Yergeau (2018, p. 117) also touches the problem of the idea of 'recovering' from autism or other modes of existence present in the neuroqueer(ing) spectrum. "Recovery, in the historiographical sense, suggests that something or someone must be surfaced", "recovery speaks of an aberrance becoming norm, of relinquishing defect in favor of the default" (ibid., p. 118). Who has time for Dougie as Dougie? Nobody, and only many. Perhaps Candy grasped some of Dougie’s anguish for being taken as someone else. Never forget Richard and Linda. "She's dead. Wrapped on plastic". During the first minutes of Twin Peaks: episode 1, this phrase secretly condensed one quality that transversed all beings living in the black lodge, white lodge or the world we fail to believe it's real: plasticity, or, in the terms we want to stand up for here: shape-shifting. The entities that may be usually related to black and white lodge are the Man from another Place", also known as the dancing dwarf, and the giant, their hobnob at the red room is close to our concept of "parliament of creatures". Lately the Man from Another Place was transmuted into an arm, that grew on a tree branch, a creature, that we agree with the following writer, can be seen as a mischievous entity. "Related to MFAP as his opposite outside of the Red Room is the Giant, whom Cooper meets in visions when he is awake. These two ghostly beings are not related to either good or evil; they seem to dwell somewhere in between that dichotomy, and establish the link between both. They are ghosts of liminality." (Elferen, 2010, p. 283).

that strange face looking at me. there are many coopers, when they-shape shift they might still look the same but become strange. “Who are you?”

100%. full intentionality. “To be more precise, since the Indians are perfectly capable of adopting “physical” and “functional” attitudes sensu (Dennett, 1978) in everyday life, we will say that here we are faced with an epistemological ideal that, far from seeking to reduce “ambient intentionality” to its degree zero in order to attain an absolutely objective representation of the world, instead makes the opposite wager: true knowledge aims to reveal a maximum of intentionality through a systematic and deliberate abduction of agency.” (Gell, 1988 apud Viveiros de Castro, 2015: 61) Full intentionality, like the Indians de Castro speaks of, does not concern intentionality as ‘directed towards.’ Rather, neurodiverse experience lived by Dougie always abducts agency and its directionality to move with the schiz in a certain ‘aroundness’ (Savarese, xx). It is not a matter of abducting agency by withdrawal, a sort of pure negative that would negate the centering of subjectivity in intentionality; it is the inverse, full thought in the act where consciousness is always something.

Lots of Dougie, never less: missing is not the same as lacking

Lack this lack that, psychoanalysis had its mouth full of lack. Apparently this defined ‘us’ humans, always lacking something, always empty, like Dougie's alleged subjectivity. Such fundamental lack transferred to the screen, where what would be lacking was always in plentitude: psychoanalytic terms to dissect movies, the kind of discussion in which Edward G. Robinson's cigar is never just a cigar. Even Edward G. Robinson could not escape the holdings of such universally tinted theory. But there is no lesser of Cooper in Dougie, nor is there a more of Cooper in Cooper. Dougie is just Dougie. Dougie is in plentitude, through his appetites creating whole new universes in its own affect.

So while Cooper might be missed, there is always a people to come. The suspense of Cooper’s missingness is precisely what makes other modes possible. Dougie is a monument, fabulatory forces in affect and percept.


The magical drawings of Dougie Jones

Perhaps revealing in typicality, but the lines are just lines as much as red is just red. To be able to draw just a line means to not parse all of the abstractions into its act nor to rely on pure habit. Just a line is the drawing of the event, while simultaneously its ingression.

“A drawing is simply a line going for a walk.” (Paul Klee)

Fabulous news

December 14th, 1971

letter from d.B. Cooper

"i have only 14 months to live"

November 11st, 1976

Portland, OR

"there was virtually no chance that that man could have landed non-injured" (FBI agent)

"there's a chance that this man is watching this program right now"

“DROWNING! are we drowning?”

May 02nd, 2018

44.512444, - 103.820722

"ALL OVER THE PLACE - In recent digital excavations, what is considered to be the Holy Trinity has been uncovered. In the tri-partite relational scape of hit - hat - hot, the powers of the false have brought into the cosmos new fabulatory forces that have unforeseen consequences. It is said, in ancient pizza-mythology, that once the holy trinity is to be uncovered, pizza will gain completely new circulations of appetite never seen before. The other wordly practices that emerged within this novel tri-force might take on the strategic duplicit power as we have seen it before in Zelda 2: The Adventure of Link. Indeed, the adventure of relation turns out to be a dance of doubles. What consequences this might have for the pizza loving world, and for that matter, the rest of the world, is at this point still unknown. Fab News will to date you up as more unfolds." (FLCL)

Year Zero

Janaki Forest

                airCO_RP decrets bankruptcy

on a desperate measure to save his assets the secretary declares that the alleged counterfeit pills are not valid unless validated by official totem machines.

scrambled message delivery through p2p mammoth-messenger channels

        decrypt key = .--. .-.-.- .. .-.-.- . .-.-.-.tinycooper

“I am pretty sure that we’re living in a tulpacentric society”

May 04th, 2018

Dollarama store

        the bag was found

        filled with 3 pieces of broken mirrors

                dozens of old RAM memory chips

                         18 de-T pills (1 for each weekday). Somebody said that de-T pills wouldn’t be necessary during the weekends or Holidays. I don’t agree.

Incubus & Succubus

"The most widespread opinion, perhaps, expressed by Jean Vineti, inquisitor at Carcassonne, in his Treatise Against Those Who Invoke Demons (ca. 1450), is that demons are transsexual. Functioning as succuba with a man, they gather sperm and later deposit it in the vagina of a woman with whom they act as incuba." (Culianu, 1989, p. 149). Interdimensional couriers (like Dougie Jones) are cross-pollinators, evoked by necessity , reallocated by appetites, yet still subject to a certain level of contingency. Richard and Linda's ride was never an one-way ticket to a place that seemed upside-down. Where the lure (bait) and their house was still prehending what the world would have been if B.O.B. never arrived (but consequently, could never leave). As if by magic, Cooper becoming-richard confronting Carrie becoming-Laura. On the break, on the scream, in the vertigo of Dougie's orgasm or Diane's weeping, existential territories shifted, Pangea became us, a hell of a ride, fueled by the dangers of garmonbozian plasticity. Numerous pasts and futures happen at the same time, but how much time do we have to wait until the next iteration? To cross-pollinate is to carry the quality from one channel to another, textual, sensorial, sonorous, haptic, visual, synesthetic… Dougie rides a Vespa that carries all the qualities from one place to another. Incubus and Succubus are experts in cross-pollination and as minimal existences, expelled from this world, having perfectly thin membranes that barely separate themselves when travelling in a swarm (or a community of specters). They need bodies to deliver they packages, liquid, solid, or made of corn cream with little pieces of their seeds. There is no such thing as a purely incorporeal commerce, since the physical and the digital - “digital is not incorporeal!" anarchive do not coincide or act in parallel, but transduce into each other in a ballet of traces.



"the woman and the man receive the man's ejaculation on their own hands and they say to the Father "we offer you this gift, the body of Christ (...) we've heard about some individuals all over the earth that drink masculine sperm (spérma) or menstrual feminin blood" (Pístis Sophía, [147] 381, 5-20)." (Ludueña, 2018, kindle loc. 1486-1495). (...) "cannot risk to lose in the middle of the way precisely what is supposed to be achieved: the invisible (tò aóraton)". (Ibid., kindle loc. 1495). Who is invisible enough to see me?

                very important = incubus and succubus are never alone

                        they emerge in gang formations

                                each gang is moved by the desire to make you part of the gang

                                        you're not asked to join because you already are part of it

                                you cannot also ask to leave because leaving is not possible

                                                                        (even if you already left)

Most of the archaeological literature on incubus and succubus attests that incubus & succubus acts are non-consensual. But we should make clear that some of the incubus & succubus “attacks” are based on entities that are shaped as humans (yes, we know that there are creatures that move beyond the idea of a human identity, even having the body sustained by human flesh and bones). Not every situation fuelled by anthropomorphism is oriented to anthropocentrism. A chunk of non-consensual acts are, in our understanding, supposedly neither linguistically or non-linguistically approved. Should we trust a body that moves like a human? For the linguistically consent is only for humans or human-like creatures, and we're not only talking about the qualitative difference of dougie jones’ vertigo of the orgasm and cooper-diane-richard-Linda’s little rendezvous to transverse dimensions, but imagining how does a space can be opened creating the conditions for the entrance of creatures of all kinds, that don't sit with the feet on the ground but against the walls, or that prefer non-hugs to hugs (they're really not opposite, we have to advert). A hammock between the traditional oratory man and me can save my day making our eyes never cross. How long can a day last if it's measure only in unities of time by a stopwatch only activated by eye-to-eye typical-typical exchange of words? Tic-tac and I feel all the millions of years that Pangea took to reorganize its organs. Can you feel me when i become imperceptible? Call me when you become imperceptible.


fab news are not fake news

while the first seeks to produce the movement-moving

the last aim to establish motionless truths

tvG claims that never aired any kind of misinformation

but only content with educational purposes

through the format of useless tutorials

ingredients for the first part: a pair of gloves (must be made of porous textiles, no plastic), a bowl with cold water, a pair of legs and a pair of hands (don't extensively dry them on the electric hands drier). put the gloves on your hands, fill the bowl with cold water, if you didn’t do it before. the procedure also works if the bowl is filled with green tea or any essential oil that comes from a green plant. lay down on the sofa, put the bowl with water between your legs, over your groins, close the eyes and wash the gloves. wash them and let them mesh themselves, their fingers will become entangled. if nothing happens, repeat the experiment, this time in a complete dark room (imagine that you are in a film developing room). wash and rinse, imagine that you're becoming a washer machine from a big laundromat, filled with guys with red hair and washed t-shirts that ask you for a bit of soap. got a light? .

Tarquin, or the black cat as the image of necessity

The world-smoother, part II - patching

The world-smoother is not a terraforming machine that aims the flattening of the surfaces (the soil, grass, fields or the traces of anterior civilizations/people to come that resist the gentrifying machine). After terraforming, the walls of normativity are rebuilt bringing the qualities of functionality; reunion rooms with circular tables, efficient elevators, frontal guiche conversations, etc. Not terraforming, but worldling. Some may confuse the appearance of the factory with its primary function in this world, or, let's say, neglecting what it does produce elsewhere. Imagine that an iron is not only used to remove creases (on a skin, soil, fabric, etc.), but also as a delivery machine that with its heat, is capable of glueing patches on a T-shirt, dress or whatever you want. Patches and pins are important talismans, Dana Scully protects me when a hard day is coming at a bureaucratic and neurotypical place (hospitals, university, immigration customs, or even to buy a coffee in a place full of peoply people[13]) - i don't want, though, to give Scully only the hard work, but to make her feel the vertigo of joy on a green park while watching raccoons mischievously stealing food. The world-smooth iron machine patches the world horny with creatures from other dimensions, that travel through interdimensional horns that grow out of our heads, it creates novelty, modify the spaze with things that shouldn't be there at the first place (as the editting cuts on FLCL, never expected, the ending anime music that stays for the whole episodes). The purple sea is other place that cannot be stratified, the castle in the middle of the waves is where necessity  is felt and watched (we can even say that in a very and maybe too much panoptical set-up), and new creatures are dispatched to alter the state of the compositional affairs to each dimension or multiverse. They are emissaries. We shall not stratify those spaces according to moral standards as if the purple sea is where “good things” are produced according to necessity and BOB and Judy are its contingential counterparts. Beyond good and evil, yes, but dancing according to layers of affects that are in-between - what is to feel guilty, for example? We don't know. Dougie Jones doesn't know. But of course the airco-guy touched our G point. A schizz that came in the setup of tiny windy hands.

How long can Dougie survive the neurotypical world?

Can Dougie survive the neurotypical world?

Dougie forbears prehensions from the failed future that always aims to prehend and reorganize their body back again to the chair of typicality.
Garmonbozia is a flexible matter but can't resist infinite displacements back and forth neurotypical world.

"I feel funny. What is happening to me?"
It's happening again.

Again and again: “techniques to become attuned to this more-than”

Staying with dougie


Batchelor, David. (2000). Chromophobia. London: Reaktion Books ltd.

Carstens, Delphi; Roberts, Mer. “The things that knowledge cannot eat: manifested energies in the work of 0rphan Drift". In: Shaw, Jon K; Reeves-Evison, Theo. (2017). Fiction as Method. Berlin: Sternberg Press.

Couliano, Ioan P (1987). Eros and Magic in the Renaissance. Trans. Margaret Cook. Chicago and London: Chicago University Press.

Deleuze, Gilles and Félix Guattari (1978). A Thousand Plateaus.

Deleuze, Gilles and Félix Guattari (1995). What Is Philosophy? Something something press.

Deleuze, Gilles (2003). Francis Bacon: The logic of sensation. University of Minnesota Press.

Despentes, Virginie (2009). King Kong Theory. Trans. Stéphanie Benson. London: Serpent's Tale.

Guattari, Félix; Rolnik, Suely (2007). Molecular Revolution in Brazil. Trans. Karel Clapshow and Brian Holmes. Los Angeles: Semiotexte.

Henriksen, Line (2018). ""Spread the Word": Creepypasta, Hauntology, and an Ethics of the Curse." University of Toronto Quarterly, vol. 87 no. 1, 2018, pp. 266-280. Project MUSE,

Garcia, David (2017). “Dark Jesters hiding in plain sight". In: Shaw, Jon K; Reeves-Evison, Theo. (2017). Fiction as Method. Berlin: Sternberg Press.

Lapoujade, David (2017). Les Existences Moindres. Paris: Editions du Minute.

Ludueña, Fabian (2010). La comunidad de los Espectros I. Antropotecnia. Buenos Aires: Mino y Dávila Editorial.

Ludueña, Fabian (2016). La comunidad de los Espectros II. Princípios de Espectrología. Buenos Aires: Mino y Davila Editorial.

Ludueña, Fabian (2018). La comunidad de los Espectros III. Arcana Imperii. Tratado Teologico Politico. Buenos Aires: Mino y Davila Editorial.

Manning, Erin. (2009). Relationscapes. Cambridge (MA): MIT Press.

Manning, Erin (2012). Always more than one: the individuation dance. Durham: Duke University Press.

Massumi, Brian (2002). Parables for the virtual. Movement, affect, sensation. Durham: Duke University Press.

O’Sullivan, Simon. ...

Roe, Susan (1987). “The Man Who Killed DB Cooper". Sketch, vol. 53, n.1. Berkeley: bepress.

Savarese, Ralph. Reasonable People. A Memoir of Autism & Adoption. 

Van Elferen, Isabella (2010). "Haunted by a melody: ghosts, transgression, and music in 'Twin Peaks'." (2010): 282-295.

Van Tuinen, Sjoerd (2014). “Mannerism, Baroque, and Modernism: Deleuze and the Essence of Art.” Substance 43 (1). pp. 166-190.

Viveiros de Castro, Eduardo. (2015). Cannibal Metaphysics. Minneapolis: Univocal.

Yergeau, Melanie (2018). Authoring Autism: On Rhetoric and Neurological Queerness. Durham: Duke University Press.

Whitehead, Alfred North. (1978). Process and Reality. An Essay in Cosmology. New York: Free Press.

L'evenement du spectre. iwantobelievepress: forthcoming (2019)


Agent Dale Cooper does Amazing Dive. (2017)

FLCL [Fooly Cooly]. (2000). Enokido, Yōji. Japan. 23-31 minutes per episode.

FLCL [Fooly Cooly]: Progressive. (2018) Enokido, Yoji. Japan/USA. Adult Swim. 23-31 min per episode.

Teorema (1968). Pasolini, Pier Paolo. Italy. 98 min.

The Ancient Magus Bride (Mahō Tsukai no Yome). (2017-18). Maganuma, Norihiro (dir.). Japan. 23 min/episode.

Too Many Cooks. Kelly, Casper. (2014). Adult Swim, USA. 11 minutes.

Twin Peaks. (1990-1991). Lynch, David; Frost, Mark. (and other directors). ABC Television. 46-50 minutes (Pilot Episode and S01E08 are 90 min long).

Twin Peaks: Fire Walk With me. (1992). Lynch, David. France; USA. 134 minutes.

Twin Peaks: Fire Walk With me. The Missing Pieces. (2014). France; USA. 91 minutes.

Twin Peaks: The Return (Season 3). (2017). Lynch, David. France; USA. Showtime. 18 episodes of around 1 hour.


From Vanderbilt Television News Archive (thanks to MS):

1971-11-25 - 1971-11-26
ABC Evening News
CBS Evening News
NBC Nightly News

ABC Evening News

NBC Nightly News


CBS Evening News

NBC Nightly News


NBC Today: D. B. Cooper Search: Scientists Say They Have New Evidence In 45-Year-Old Case

Available at



[1] “Leibniz’s monads have “special hooks” (“vincoli”) attached to them over which the infinite fold of the Baroque is distributed, to avert the danger of a radicalized Mannerism—of truly immanent styles or essences whose philosophical father is perhaps Spinoza rather than Leibniz.” (van Tuinen, 2014: 179) Truly immanent styles, or fabulation, is what we find a body to tend to, relentless as it may be.

[2] "Subjectivity is produced by assemblages of enunciation. The processes of subjectivation or semiotization are not centered on individual agents (on the operation of intrapsychic, egoic, microsocial agencies) or on group agents. These processes are doubly decentered. They involve machines of expression that can be of an extrapersonal, extra-individual nature (machinic, economic, social, technological, iconic, ecological, ethological, or media systems, in other words, systems that are no longer immediately anthropo- logical), or of an infrahuman, infrapsychic, infrapersonal nature (systems of perception, sensibility, affect, desire, representation, image, and value, modes of memorization and production of ideas, systems of inhibition and automation, corporal, organic, biological, or physiological systems, and so on)." (Guattari, 2007, p. 43).

[3] Dougie Jones can only be considered a void only if they are a one that is populated but voices that don’t decide to act through consensus, but by appetites. “(...) in this sense, the “itself” is an illusion that veils the subject’s fundamental disjunction, who cannot say “I”, but in so far she or he recognizes that her or himself is a void populated by the supra-human voices. In other words, every individual is ontologically a ventriloquist and exterior to itself” (Ludueña, 2018, p. 170; our translation).

[4] “Becoming [...] concerns alliance. If evolution includes any veritable becomings, it is in the domain of symbiosis that bring into play being of totally different scales and kingdoms, with no possible filiation [...]” (Deleuze; Guattari, 1988, p. 61 apud Carstens; Roberts, 2017, p. 200).

[5] "In other words, Wright suggests, autistic people are mere husks, eshy orbs who breathe and dwell and exist, but whose presence is not accurately termed living" (Yergeau, 2018, p. 73).

[6] accessed May 25,


[7] Although, we don't disdain or see it through the prism of morality, following Virginie Despentes (2009, p. 88-89) comments about pornographic cinema. "In heterosexual porn, it's always the female body that is in the limelight, displayed, and counted upon to produce the desired effect. The same level of performance is not expected of the onscreen male - he just has to get a hard-on, do a bit of thrusting and shoot his load. The work is done by the woman. The x-rated film viewer identifies more with her than with the male protagonist. As in any film you identify with the main character. Porn is also the method men use to imagine what they would do if they were women, how they would apply themselves to satisfying other men, what good sluts they'd be, what prick-devourers".

[8] I will eat you all alive

I will eat you all alive

"I will eat you all alive

I will eat you all alive

And there'll be no more lies

There'll be no more lies

There'll be no more lies

"There'll be no more lies"

[9] Dougie is many (ness).

[10] Dougie’s expression, directed mostly towards non-linguistic communication, as edited into compilations videos on Youtube. "Dougie" Cooper - All Phrases (Twin Peaks Compilation). (last accessed 06/23/2018)

[11] "It was established that Dougie would sometimes disappear for days. As a tulpa, he may have had programming to do certain tasks for his creator, Bad Cooper, on these little trips to Benderville (maybe even getting rewarded with a "ride" afterwards?)". (last accessed May 23, 2018). As a neurodiverse, Dougie is not given any kind of agency beyond being a being that could be moulded according to the wishes of its creator, 'Bad Cooper'. The concept of agency is problematic, and we agree that subjectivity is constructed through the metastable amalgamation of spectral traces that come mostly from the outside of the individual (and where does it end?), but not in a dispositive constituted by a puppet and its puppeteer, or the tupla and its tulpamancer. For the spectre is always more than one, never alone, emerging as a sociability, that is not, however, guided by a consensual system of decisions but filled with conflicting and mischievous appetites. Dougie Jones is always more than one.

[12] Indiewire: "‘Twin Peaks’: Why We Need Agent Cooper’s Arrested Development Even When It’s Exhausting" (last accessed 06/06/2018).

[13] “Hey! Even if you think it's bullshit, i'm curious to know your type on the MBTI test ! ;)”

(OkCupid anonymized message) May 29, 11:20 AM

[a]the Sink current is 5::4, sulphur, in the numogram