7/22/2023 0 Comments Phantasmic![]() When the Phantasmic appears, prepare yourself for an ethereal blend of notable hints of fruit and pine, reaching out to you from beyond the shadows of rich yeast and hops. Though aggressively hopped, this IPA is not overly bitter and promotes a dangerously session-like aspect that belies it’s 7% ABV. More of the same in the nose, but the aroma wafts together into a bouquet of tropical flowers. A blend of Motueka, Wakatu, Pacifica, Topaz and Pacific Gem hops from Australia and New Zealand, emerges from the malt foundation and blossoms into a sublime burst of flavors like citrus fruits, succulent melons and flowery herbs. The malt character, including Pilsner malts, wheat malt and honey malt, rises to meet with the estery notes of Belgian abbey yeast to balance and support the hops. ![]() 4 Rejection of "mother talk, country talk" dramatizes language as the mechanism of repression.Phantasmic East Coast IPA is anything but a typical American IPA. To achieve complete freedom from past conditioning is to be in space." 3 Burroughs's rebellion against language, and the invocation of space as the only possible means of freeing oneself from constraints of unhealthy multilayered inhibitions imposed by civilization, are similar to Deleuze and Guattari's Anti-Oedipus project. The last frontier is being closed to youth. You must learn to exist with no religion no country no allies. It is not necessary to live": "To travel in space you must leave the old verbal garbage behind: God talk, country talk, mother talk, love talk, part talk. On several occasions he has called himself 'a map maker, a cosmonaut of inner space.'" 2 Yet to chart space "it is necessary to travel. Kathryn Hume claims that "mapping is a principal function of Burroughs's work. Whether the vast incessant intertextual flow leads us to new, undiscovered territories, not yet charted, or whether any impulse of seeking meaning stays frustratingly unresolved, and we find only piles of garbage-words. To map Burroughs's universe is extremely hard, confusing, and even dangerous. My intention in this essay is to evoke a vivid tapestry of a lateral antihierarchical map in William Burroughs's Cities of the Red Night. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a meditation. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. The map is open and connectable in all of its dimensions it is detachable, reversible, susceptible to constant modification. It fosters connections between fields, the removal of blockages on bodies without organs, the maximum opening of bodies without organs onto a plane of consistency. The map does not reproduce an unconscious closed in upon itself, it constructs the unconscious. What distinguishes the map from the tracing is that it is entirely oriented toward experimentation in contact with the real. The orchid does not reproduce the tracing of the wasp it forms a map with the wasp, in a rhizome. The rhizome is altogether different, a map and not a tracing. The flexible, nomadic thought constantly forms connections between different systems of discursive practices: it is a cartography of living, the new version of a map, the guild of cartographers experimenting with the multiplicity of equations between a map and a territory. It traverses the territory without ever anchoring in one of the discursive formations, like the navigator who in one trajectory uses the metro, the bus, and foot in combination. A rhizome presents a new form of thought, a politics of establishing nonsystematic connections, an antisystem that would not be trapped in the rigid formations of the state, the unconscious, or language. It does not trace something larger but constantly captures and inflects from outside itself, so that it is not clearly distinguishable from "the surveyed landscape." Its functions are multiple, intersecting several different discourses at once. The map, as they argue, is not an instrument of reproduction but rather one of construction. In A Thousand Plateaus: Capitalism and Schizophrenia Gilles Deleuze and Félix Guattari explore and propose different concepts of mapping-a rhizome, in an attempt to make connections between widely different spaces without imposing hierarchy. However, postmodern culture with its omnipresent fragmentation of the whole that scatters the sensory spaces of dogma and anxieties calls the map with its geometrized lines into question. Until very recently the map was considered a mirror of nature, a mirror of the landscape. The cartographer's dream is that of a perfect map, the mapthat would perfectly represent a territory, a dream of divineknowledge: a map that has haunted the ideology of representation throughout history: a map so detailed that it coincides with real space.
0 Comments
Leave a Reply. |