Another acutely inanthropocentric theme ( for want of a better definition, re-defining will follow ) between Lovecraft's fictions and Cyclonopedia is touched upon by O in the opening paragraph of his essay: "Apart from the numerous direct references to Lovecraft and his so-called Cthulhu mythos in Negarestani’s philosophy-fiction, an implicit link exists between the two writers in their shared anti-humanism". For the following topic "anti-humanism" would be an apt phrase, but it is not a writers anti-humanism or even a universes anti-humanism ( see my earlier, etymologically pedantic assertion that this is a fallacy, -perhaps a flash that all humans, even learned bloggers like O harbour an intrinsically anthropocentric formatting! ). The anti-humanism I would like to explore has a genesis of pure philosophical conflict - anthropocentric epistemologies and ontologies ( and their respective stratas ) collide violently, this seismic event re-inforces cosmicist and dustist paradigms - maximalisms, cognitive dissonance, de-contexturalization and rabid discombobulations are simultaneously symptoms and catalysts of amalgamating/disintegrating truths, realities, theories and fictions.... the feedback is violent, traumatic and ( most importantly ) infinite.
To begin let us re-examine the infamous opening paragraph from Call of Cthulhu:
"The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden aeons which chills me when I think of it and maddens me when I dream of it. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things—in this case an old newspaper item and the notes of a dead professor. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain."
The "placid island of ignorance in the midst of black seas of infinity" is our inability to fully comprehend any form of context, we can guess connections, we can Only Connect - but essentially there is always a 'beyond' ( Xeno, exteriors, extraphies ) not matter how intrepidly we chase the horizon. Alvansons temporal, geographical and contextual struggles within the opening incognitum hactenus mirror our own struggles, and relish with russian dolls, horizon chasing and Xenopoetical connections. As Ruthless Culture highlights cyclonopedia "embodies an academic culture where impenetrability, the playful use of data from other disciplines and indifference to objective truth are not hidden secrets but standard operating procedure". Truths, occultisms, fictions and data are putrefying together to form a blackness we can sink into. Whilst reading Cyclonopedia it's incredibly easy to become disorientated, one forms multiple internal narrative hypo-hypo-diegesis ( poropoetix, porocryptics xenopoiesis? ) and ones google history suddenly reads: The Valley of Hinnom, Tellurian-Magnetic, Pazuzu demon, The Wheel of Pestilence, Zurvan Akarana, Tetrasomia.... Hyperstition. As any internet user will know, after hours of crimson-eyed online exploration a subjects context is often no more defined than before the accelerating quest through endless obliquely connected memes, themes, philosophies and paradigms left one dizzy and breathless.
Infinite porocryptics - Xenopoetix, a constant searching for connections, contexts and truths and endless infinite realms, "black seas of infinity", "an inability of the human mind to correlate all it's contents", "The sciences, each straining in its own direction", "dissociated knowledge". Cyclonopedia and it's mechanisms are a metaphor for itself, it's production praxis and the forces that created it. Rather than imagine the tome ( its creation, components, receptions and significance ) in a Borgesian nature it's vital to attempt to psycho-animate these facets under the more dizzying paradigms of cyber-theory and the data saturated sphere we are currently existing through. As truths and fictions become one and the same narrative we see academic assertions that are re-constructed upon a neo-aesthetica. "Cyclonopedia presents Theory as a form of artistic creation" - this is a piece of art that performs a profound demonstration across polylogics, performing simultaneously our cyber-figurian syndrome in unison with our engagement. This dissolution of anthropocentric epistemologies and ontologies is a new mode of enquiry ( mirroring cyberlogics ) that is inanthropic on an ontological level. The massive realms, the lack of distinctions between truths and fictions, theories and metaphors, the de-contexturalized materials are rendered in a neo-aesthetic format that is innately incompatible with our ontological formatting and capacities - in-anthropontologix?
Negarestani's Cyclonopedia has ( I feel ) been designed as a somewhat hyperstitional academic aesthetic, the theory and fictions within building a symphony of endless metastitional webs - our substitional experience of Cyclonopedia is akin to "the piecing together of dissociated knowledge..... open(ing) up such terrifying vistas". The experience of opening Cyclonopedia and racing though it's infinite maze reminds me of the Hallway that the character Navidson explores in Mark Z. Danielewski's ergodic ( and somewhat poromythic crypto theory-fiction ) House of Leaves. As the reader ventures deeper the universe changes, the more one grasps the slimier the object, the harder you stare the blacker the air, the faster you run the taller the staircase.