tag:blogger.com,1999:blog-32723577.post869444485465518523..comments2023-10-03T17:37:08.845+02:00Comments on documents: MZ. 412 - Burning The Temple Of Godvalterhttp://www.blogger.com/profile/00239129101855356246noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-32723577.post-55417530391866569242008-10-02T17:38:00.000+02:002008-10-02T17:38:00.000+02:00GET REAL! VARG RULES! :DGET REAL! VARG RULES! :DUnknownhttps://www.blogger.com/profile/15654614227029932352noreply@blogger.comtag:blogger.com,1999:blog-32723577.post-36133243129449814732007-07-25T15:50:00.000+02:002007-07-25T15:50:00.000+02:00not sure if you are aware of him, but the sculpter...not sure if you are aware of him, but the sculpter Banks Violette did some interesting pieces based on the framework of these stave churchs cast in Salt and resin, some information is <A HREF="http://en.wikipedia.org/wiki/Banks_Violette" REL="nofollow">here</A>. really interesting writing, keep it up.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-32723577.post-86209488258861008032007-07-24T23:29:00.000+02:002007-07-24T23:29:00.000+02:00This is really excellent. I appreciate especially ...This is really excellent. I appreciate especially the phrase "the Dream Time of Scandinavian Black Metal", which expresses very economically the role of the 1990s' satanic conflagration in the imaginary of contemporary black metal. In the book I'm writing at the moment there's a chapter on Xasthur, which argues that the "depressive" turn in BM is a response to its belatedness: what links Xasthur to early Mayhem is a certain perverse vitalism (a vitalism of war, chaos and death - of excess and overcoming) which gives rise in Xasthur to the negative image of a world from which this vital principle has faded. What you hear in Xasthur is the long, melancholy withdrawing roar of the Black-Metal-Ist-Krieg enthusiasm of Mayhem and Darkthrone. One interesting thing here is that I think Burzum *already* has this sense of belatedness: Vikernes may have meant "Aske" as a provocation and incitement to further action, but it's a strangely contemplative piece of music, already slipping into dream-time and retroactive fabulation.<BR/><BR/>I also greatly appreciate your fact-checking on Vikernes's narrative of justification for the church burnings. It's interesting that he was especially outraged by the sections in Lords of Chaos on the psychosexual motivations of arsonists - not that the psychosexuality of Vikernes is something I especially want to speculate about, as he's clearly a bit of a one-off, but what this shows I think is his intense need to impart a larger (historico-politico-spiritual) significance to the act, to resist its reduction to the mindless acting-out of one troubled soul. One of the strong subtexts of Lords of Chaos is the disenchantment and desacralisation of the church in Norway: it appears that the BM youth hated it for its insipidity more than anything else (so it's natural that the later, Odinist, Vikernes should fixate so much on the colonial cruelty and violence of Norway's Christianisation - yes, those were the days!). The burning of Fantoft, while an immense and horrifying crime (it was a tremendously beautiful building), was also a symbolic act of incredible power - what other image could have appeared on the cover of Lords of Chaos?Dominichttps://www.blogger.com/profile/17939466948420020186noreply@blogger.com