Vampire Capitalism

With the crash and resuscitation of finance capitalism and its fordist counterpart (auto and other manufacturers) by the state and with the popularity of vampires in consumer culture I thought I would add some links on vampiric capitalism and the vampire state in light of my 2005 article; Gothic Capitalism, which I would like to point out has been published in Slovinian by anarchist comrades in Serbia.

Marx of course was writing in the era of the popular vampire novels while Dr. Polidori first published a vampire novel, and Sheridan Le Fanu published his vampire short story, it was Dracula, that had a larger popular impact with mass publication of the book and its follow up as a stage play.

Marx identifies capital as dead labour living off the life force of the working class a class it created for its own ends (thus the later zombie motif that has also increased in popularity in mass culture during this captialist crisis, see my Gothic Capitalism for more on this)

The notion of vampire as symbol of capitalist oppression is certainly not original
to Stoker, who was doubtlessly influenced by or at least aware of the works of Karl Marx and other socialists who considered the vampire something of a patron saint to capitalists.
Discussing Marx, critic Andrew Smith says his “rhetorical fulcrum in this respect relies on an imaginative juxtaposition with images drawn from the pre-capitalist world. Hence, it is no coincidence that he keeps coming back to these occult pictures”. Or as Ken Gilder writes in his book Reading the Vampire, “modern capitalism here is by its very nature excessive, driven by‘irresistible force’ to consume and accumulate. Marx draws on the metaphor of the vampire timeand again to describe its processes”.
Critic Steve Shaviro gives us an even more detailed view of Marx’s use of the vampire motif, More generally, vampires and zombies are vital (if that is the right word) to the functioning of capitalist society. Traditional Marxist theory, of course, focuses onvampires. Marx himself famously describes capital as ‘dead labor which, vampirelike,lives only by sucking living labor, and lives the more, the more labor it sucks’ .

In the nineteenth century the Gothic Revival also found itself central to
political and cultural debates. In Victorian England, the gothic suburban villa
empowered the middle classes and the building of Houses of Parliament made a
statement about ‘making a nation’ and creating a national identity. John Ruskin
attacked Marx and Engel’s ideology through his writings about the Gothic and
William Morris championed the Arts and crafts movements while attacking the great Gothic Revival perpetuated by practitioners such as George Gilbert Scott as bringing about capitalism.

Karl Marx

Capital Volume One
Chapter Ten: The Working-Day

Capital is dead labour, that, vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks.

Constant capital, the means of production, considered from the standpoint of the creation of surplus-value, only exist to absorb labour, and with every drop of labour a proportional quantity of surplus-labour. While they fail to do this, their mere existence causes a relative loss to the capitalist, for they represent during the time they lie fallow, a useless advance of capital. And this loss becomes positive and absolute as soon as the intermission of their employment necessitates additional outlay at the recommencement of work. The prolongation of the working-day beyond the limits of the natural day, into the night, only acts as a palliative. It quenches only in a slight degree the vampire thirst for the living blood of labour. To appropriate labour during all the 24 hours of the day is, therefore, the inherent tendency of capitalist production.

It must be acknowledged that our labourer comes out of the process of production other than he entered. In the market he stood as owner of the commodity “labour-power” face to face with other owners of commodities, dealer against dealer. The contract by which he sold to the capitalist his labour-power proved, so to say, in black and white that he disposed of himself freely. The bargain concluded, it is discovered that he was no “free agent,” that the time for which he is free to sell his labour-power is the time for which he is forced to sell it, that in fact the vampire will not lose its hold on him “so long as there is a muscle, a nerve, a drop of blood to be exploited.”

The Grundrisse

Capital posits the permanence of value (to a certain degree) by incarnating itself in fleeting commodities and taking on their form, but at the same time changing them just as constantly; alternates between its eternal form in money and its passing form in commodities; permanence is posited as the only thing it can be, a passing passage — process — life. But capital obtains this ability only by constantly sucking in living labour as its soul, vampire-like.

The Eighteenth Brumaire of Louis Napoleon Chapter 7

But in the course of the nineteenth century the urban usurer replaced the feudal one, the mortgage replaced the feudal obligation, bourgeois capital replaced aristocratic landed property. The peasant's small holding is now only the pretext that allows the capitalist to draw profits, interest, and rent from the soil, while leaving it to the agriculturist himself to see to it how he can extract his wages.

The bourgeois order, which at the beginning of the century set the state to stand guard over the newly emerged small holdings and fertilized them with laurels, has become a vampire that sucks the blood from their hearts and brains and casts them into the alchemist's caldron of capital.

Capitalism originates in Gothic Culture and the fact that it now has reached its historic epoch, it's tendrils now encapsulate the entire globe, unlike any other time in history. Its commidification of our lives is now complete, hence the growth of the mass culture of consumption that is mirrored in the popularity of vampires and zombies as cultural motifs are the visions of ourselves alienated from our humanity, they are the ultimate consumers.

Robert Park, later sociology chair at the University of Chicago, took a more global
perspective on the phenomenon of “vampiric capitalism,” in his journalistic critiques of western exploitation within Africa, both of its peoples and resources (Lyman, 1992). American sociology, after the 1920s, would reject the use of both journalistic and philosophical analyses of evil for a more thoroughly scientific methodology (Greek, 1992). However, the discipline then was left with great difficulties in discussing evil (now referred to as deviance) without transvaluing it as sickness (Menninger, 1973) or as sign of social malaise or anomie (Orru,1987), leaving treatises on the nature of evil to more ethnographically inspired writings such as criminal biographies, novels, plays, and ultimately screenplays.

Popular culture now has labeled the latest capitalist crisis as a problem of both vampire banks and zombie banks. How fitting. America no longer manufactures goods for the world, that capitalist role is now being played out by China. Under Reagan America became a consumer of credit and goods, and thus has a zombie economy.

Zombies reproduce through consumption of the living, which serves as a nearly endless supply of brother and sister Zombies. Consider earth’s current human population explosion as a metaphoric never-ending supply of both brains and new Zombies. As one character in the original Dawn says when warning survivors of the process: "It gets up and kills. The people it kill get up and kill." It’s a never-ending supply of both consumables and consumers (a capitalist dream). But, of course, the perishable items (bread and bullets) in the mall run out. And when they do, survivors need to make very difficult choices. Where’s the next mall? What place do we pillage next? An island, perhaps?

As today and in the Zombie world, sustainability and survival are interchangeable. When the resources for survival run out and the malls have been picked clean, then we will reach for sustainability as a final solution. Or we will eat brains.

Simply put Capitalism, zombie or vampire, sucks!

Check out this fun blog;Vampire Capitalism

Die Vurm

Gathering dust for a hundred years; a source for De Vermis Mysteriis

A University of Alberta paleontologist has helped discover the existence of a 95 million-year-old snakelike marine animal, a finding that provides not only the earliest example of limbloss in lizards but the first example of limbloss in an aquatic lizard.

The fossil was originally collected during the 19th Century from a limestone quarry in Slovenia. It then sat at the Natural History Museum in Trieste, Italy for almost 100 years before Caldwell and a colleague found it in 1996 during a trip to Europe. He later connected with Alessandro Palci, then a graduate student in Italy whom he helped supervise, and they worked on the fossil together.

The researchers soon realized the lizard's front limbs were not formed during development. "There was a moment when I said, 'I think we stumbled on a new fossil illustrating some portion of the aquatic process of losing limbs,'" said Caldwell. "There are lots of living lizards that love to lose their forelimbs and then their rearlimbs, but we didn't know it was being done 100 million years ago and we didn't know that it was happening among groups of marine lizards."

Ancient giant serpents were known as worms (vurms, wurms),in Europe. Giant serpents or legless lizards may have existed into the modern age. They are not to be confused with Dragons, which are a different kind of beastie, though they commonly are.

If huge giant things roaming the Scottish hills were not enough, we have also had to contend with huge dragon things too. If you had been around in the 12th century you could have visited the Linton Worm who lived in a hollow outside Jedburgh on Linton Hill in the Scottish Borders (still called Worms Den to this day). The dragon terrorised the country, eating cattle and generally making a nuisance of himself. He was finally dispatched at the point of a peat-coated lance by a courageous - some would say reckless - lad called Sommerville of Larison. There have been no more dragon-sightings since.

Like the Lambton worm which was featured in Bram Stokers Lair of the White Worm. Which was made into a passable bit of gothic horror blasphemy by over the top art house director Ken Russell.

The Nordic saga of the Giant worm plays a role in the popular revolutionary imagination of Wagners Ring Cycle.

Now the Giants have the Hoard and Ring safe-kept by a monstrous Worm in the Gnita- (Neid-) Haide [the Grove of Grudge]. Through the Ring the Nibelungs remain in thraldom, Alberich and all. But the Giants do not understand to use their might; their dullard minds are satisfied with having bound the Nibelungen. So the Worm lies on the Hoard since untold ages, in inert dreadfulness: before the lustre of the new race of Gods the Giants' race fades down and stiffens into impotence; wretched and tricksy, the Nibelungen go their way of fruitless labour. Alberich broods without cease on the means of gaining back the Ring.

In the period around this first prose résumé and the first libretto sketches for the Ring, the years 1848 and 1849, Wagner also wrote several important texts which may shed light on his intentions with the tetralogy. Among them are «Die Wibelungen. Weltgeschichte aus der Sage» (The Wibelungen. World History as told in Saga), which includes several sections on the Nibelungs, «Die Revolution» (The Revolution), «Die Kunst und die Revolution» (Art and Revolution) and «Das Kunstwerk der Zukunft» (The Art-work of the Future), all written in 1849 These works are very likely to have been influenced by the philosopher Feuerbach, whom Wagner is known to have read at that time, and with whose writings stylistically common traits have been found at least in The Wibelungen, by the anarchist Proudhon, whom he probably also read (certainly in Paris in 1849), as well as by the ideas of the socialist thinkers Max Stirner, Mikhael Bakunin and Karl Marx.

A Brief Introduction to Norse Myth

When Ragnarok would come,
the winter would last for three years and would be
extremely bitter. The two giant wolves, Skoll and Hati,
would devour the Sun and Moon whilst starts would fall
from the heavens. The giant worm Nidhogg, which was
gnawing on the roots of the Yggdrasil for the longest of
times, would finally succeed. The root Nidhogg succeeded
in gnawing through was the root that supported Niflheim.
Loki, who had been confined for causing Balder's death
escaped his imprisonment. Loki would rally with the
frost giants and his offspring and would lead them
against the Sons of Mankind and the Gods. Fenrir would
escape the magical Fetter, the Midgard Serpent,
Jormungand, would slither out of the ocean. The Frost
Giants and Mountain Giants would leave their home in
Jotunheim, sailing on a ship known as Naglfar, whilst
their cousins the fire giants would leave their realm
of Fire, Muspelheim.

And Australia has recorded the largest earth worm ever, 13 feet long.

Of course worms are not legless serpents, nor some strange creature out of Tremors. Or out of the sewer in a town in Georgia.

Employees at the Huddle House had been having problems with the restaurant’s drainage line clogging up and when plumbers came by to check on the problem they found that some unknown species of animal had apparently crawled through the city sewer lines toward the Huddle House until it became lodged in the line just short of the outside clean-out plug. When a worker spotted the plug, he grabbed it and began pulling it out. And he pulled and he pulled and he pulled until an eight foot long, white, skinless, eyeless snake-like creature emerged. At first glance, it appeared to be a long grease clog. But closer inspection revealed that its composition was of a meat-like consistency. And it had the makings of a mouth. But, apparently, had no skeletal structure.

Or in the Gobi Desert.

The first time you hear about the Mongolian Death Worm you assume it has to be a joke; it sounds too much like the monster from a B-movie or an especially dire comic book to be true. A five-foot (1.5m) long worm dwelling in the vast and inhospitable expanses of the Gobi Desert, the creature is known to Mongolia’s nomadic tribesmen as the allghoi khorkhoi (sometimes given as allerghoi horhai or olgoj chorchoj) or ‘intestine worm’ for its resemblance to a sort of living cow’s intestine. Apparently red in colour, sometimes described as having darker spots or blotches, and sometimes said to bear spiked projections at both ends, the khorkhoi is reputedly just as dangerous as its alarming appearance would suggest, squirting a lethal corrosive venom at its prey and capable of killing by discharging a deadly electric shock, even at a distance of some feet.

The Centre for Fortean Zoology (CFZ) are offering a free documentary, watchable on their website, on the hunt for the fabled "Mongolian Death Worm". In 2005, respected writer-researcher Richard Freeman led a four man team from the CFZ to Mongolia in search of the notorious worm; a fabled reptilian beast said to spit venom and kill its victims with electric blasts. The investigation is documented in "The Lair of the Red Worm", which can be viewed in two parts - Part One and Part Two.

And in this day and age of modern virtual myths you can play a Giant Worm in a PC Game.

Giant worms fascinate us. We loved them in Beetlejuice, we thought they were cool in Dune, and we loved watching them be blown away in Tremors. I've seen giant worms pop up as enemies in games before, most recently in Lost Planet. Death Worm may be the first game, indie or otherwise, that lets us play as the giant beasts though.

SEE

Nessie?

Snakes Alive

Nessies Relative

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