Continuing with Adalbert Arcane’s expanded Notes & Theories to Beta Testing the Ongoing Apocalypse (by Tom Kaczynski, Fantagraphics, 2022). This time we have Adalbert’s notes to two stories: 100 Decibels, 976 SQ. Ft. All posts in this series can be accessed here.
It is currently unknown why the author has created this comic. It is also clear that he had not read Schopenhauer’s On Noise at this time.
976 SQ. FT.
976 SQ FT (976) is another story that the author claims is “autobiographical.” We have been able to corroborate some of the details. For example, the map (see above) included with the story is accurate; the area depicted exists in Brooklyn, just around the Manhattan Bridge overpass. Apocryphally it appears that the small neighborhood near DUMBO (Down Under the Manhattan Bridge Overpass) and Vinegar Hill briefly attempted to rebrand as RAMBO (Right After the Manhattan Bridge Overpass). The unfortunate rename was an early warning signal. The irrational real estate bubble was ready to burst and inaugurate a big recession of the American economy (Global Crisis of 2007-8). We can confirm that several massive condominium complexes were being built in and around the neighborhood at the time, so the psychotectural (psycho-architectural) effects of the structure are plausible.
Haunted by the Future
The story is ostensibly a gentrification horror narrative. It is a trope common enough and not particularly original. Typically, new construction of some kind disturbs the residents of a neighborhood. The mystery is usually solved when the source of the haunting is revealed as a disturbed grave, burial ground, or some other source of crime that stains this piece of land (see Poltergeist, Pet Sematary, etc.).
So what are we afraid of? Horror tends to rely on past transgressions. It is usually guilt of past misdeeds that torments the protagonist. Or, in other variations, a past justice must be righted, and the repercussions emanate into the present, sometimes haunting the innocent (this is also the psychology of original sin).
Tom Kaczynski’s story subverts the trope by ostensibly placing the source of the haunting into the future. Why should only the past haunt us? Why can’t the future haunt us as well? Our future is colonized by reified collective apocalyptic nightmare entities: climate, pandemic, overpopulation, war, etc. ad nauseam. Their presence is precisely that of a specter. They always appear or recede from a fog of statistics, politics, and propaganda. Their contours change and fluctuate in indeterminate shapes like the cosmic horrors of HP Lovecraft. But is this really what we are afraid of?
Apocalypse / Utopia
The anticipation of a future event is real horror. What will happen next? Our imagination takes over creating a variety of scenarios from benign to terrifying. The future is scary. Take an everyday person of modest means, someone who just lives their life in the present moment. No war, no crime, just a regular job that becomes routine and boring. Where is the fear? The small everyday fears, tend to resolve quickly. A scary office meeting turns out better than expected. A worrisome confrontation with a friend or partner resolves without a major incident. This works on a narrative level as well. Think of all the “cheap scares” you have to endure before the final source of the haunting is revealed in a film or comic book.
Time and space and fear intertwine. Fear grows uncontrollably when you begin to expand the anticipated event in size (space) and distance (time). One must not forget that atmosphere contributes to fear. Lighting, fog, etc. all enhance the uncertainty of the outcome and inflate the fear. In other cases, massive amounts of data, enormous or tiny numbers, act as a kind of information fog—similar to the fog of war—and further enhance the fear response. The climate apocalypse is an example of one such inflated event. The formula works always: distant the future + significant the time gap + data fog = the apocalypse. [ 1 ]
The Pleasure of the Apocalypse
We often rely on artifice: films, television, novels, comic books. But this isn’t real. It is a game to jolt some old instinct awake; fear detourned to pleasure. One can argue that the proliferation of apocalyptic media is really a wish to try to break out of our present predicament. In that sense, most apocalyptic fiction and politics must be seen as a subgenre of utopian literature. It ultimately serves as a way to shift attention from our present predicament to some new, largely unspecified world beyond the veil of the apocalypse. It cannot be the real source of the horror.
No Space is the Place
Fiction, propaganda, etc. rely on distance (in time or space) to inflate the fear of the future or the other. However, our spatial & time horizons have shrunk. In 976, the horizon (of meaning) is very literally blocked by the massive condominium. Time and space are inextricable. As our spatial horizon shrinks [ 2 ], so does time. The past, present, and future become intertwined and compressed into a “flat circle.” Centuries squeeze, and time leaks between epochs. These leaks of time spill into our world. Concepts, ideas, dead individuals all become bound up into a Hauntological melange: time is out of joint; time is a flat circle; space is contracting and flattening; the future is here, but it’s not evenly distributed. We have a situation.
In the previous post on 10,000 Years, we examined the real fear permeating our minds: the permanent present. As such, 976 should be seen as the first story in the collection to explicitly point to the source of the haunting. It is neither the past nor the future, but the endless proliferation of the present. This is the true terror that haunts the apocalyptic minds in all Beta Testing the Ongoing Apocalypse stories. For Lilli, the haunted protagonist of 976, the future residents of the condo who descend into her space (via entity gateways like MySpace) are really a proliferation of the present into the future… permanent present. What does the future hold? More of the same. Things cannot continue on the current path.
Space and time are necessary for critical distance. Without space, we can’t see the whole picture; we become trapped inside larger structures we can’t perceive. Without time we can’t perceive the change and the origins of our traps. In other words, we must wake up to the horror of living inside Mortonian hyperobjects. [ 3 ]
We can also confirm that an old woman named Nadine lived in the area, and she owned a small dog.
Next time: White Noise, Phase Transition, and Noise, a History
[ 1 ] This is analogous to the “utopian gap” identified and theorized in Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions by Fredric Jameson (Verso, 2007). Utopia must always exist beyond a gap of space or time. The gap is always vague and non-specific.
[ 2 ] This could be a callback to Kaczynski’s Vague Cities (VC, published by Uncivilized Books, 2005) [link to zine archive and PDF?], in which the light of the stars is slowly blotted out by the expansion of cities. Vague Cities is an early story exhibiting Romatiscist tendencies. Kaczynski views civilization as an artificial artifact in conflict with nature. In reality, cities are not consuming the world. They are gravity wells that concentrate humanity in smaller and smaller spaces. The growth of cities paradoxically removes humans from hinterlands and opens new vistas for uncontrolled natural space. While VC is a Romanticist screed against civilization running roughshod over nature, 976 diagnoses the problem more precisely.
[ 3 ] See Hyperobjects: Philosophy and Ecology after the End of the World by Timothy Morton (University of Minnesota Press, 2013)
- Jim Starlin’s Dreadstar 7-8 (1982)
- Mutants, Supermen, New Soviet Men, and Homo Superior: Olaf Stapledon’s Odd John
- Beta Testing the Ongoing Apocalypse: Adalbert Arcane’s Notes and Theories to 976 SQ. FT.
- Dreadstar #5-6 (1982)
- Will Eisner’s Narrative Architecture; Notes on The Contract With God Trilogy