"Like a Half-Crushed Worm": Affliction, Negative Capability, and Apophatic Aesthetics in the Work of Nuclear Death
This paper turns to Arizona-based band Nuclear Death (1985-2000) as a case of apophatic aesthetics in extreme metal. Amador Vega’s "apophatic aesthetics" offers a framework for theorizing formlessness as preamble to form’s emergence. Emergent forms of "love" and "justice&quo...
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| Format: | Electronic Article |
| Language: | English |
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| Published: |
Fac.
[2018]
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| In: |
Théologiques
Year: 2018, Volume: 26, Issue: 1, Pages: 207-228 |
| RelBib Classification: | AE Psychology of religion CB Christian life; spirituality CD Christianity and Culture TK Recent history ZD Psychology |
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| 245 | 1 | 0 | |a "Like a Half-Crushed Worm" |b Affliction, Negative Capability, and Apophatic Aesthetics in the Work of Nuclear Death |c Daniel G. Butler, History of Consciousness, University of California (Santa Cruz, USA) |
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| 520 | |a This paper turns to Arizona-based band Nuclear Death (1985-2000) as a case of apophatic aesthetics in extreme metal. Amador Vega’s "apophatic aesthetics" offers a framework for theorizing formlessness as preamble to form’s emergence. Emergent forms of "love" and "justice" in Nuclear Death’s work are discussed in reference to Michele Toscan’s biographical sketch of the band. Invoking the concepts of affliction and negative capability, and their respective elaboration by philosopher-mystic Simone Weil and psychoanalyst Wilfred Bion, I argue Nuclear Death do not praise or curse God, but dwell in God’s absence, suffering a state of affliction that leaves the listener "struggling on the ground like a half-crushed worm." Bion’s negative capability and Weil’s emphasis on self-annihilation are cast as ascending and descending views of desire, and together accent different aspects of Nuclear Death’s first two albums, Bride of Insect (1990) and Carrion for Worm (1991). Lastly, I suggest that Nuclear Death invite a tragicomic response to the absurdity of affliction, which contrasts with the solemnity found in Weil’s and Bion’s works. | ||
| 520 | |a Cet article porte sur le groupe Nuclear Death (1985-2000), basé en Arizona, en tant qu'exemple d'esthétique apophatique dans le métal extrême. L'"esthétique apophatique" d'Amador Vega offre un cadre pour théoriser l'absence de forme comme préambule à l'émergence de la forme. Les formes émergentes d'"amour" et de "justice" dans l'oeuvre de Nuclear Death sont étudiées en référence à l'esquisse biographique du groupe de Michele Toscan. En convoquant les concepts d'affliction et de capacité négative, ainsi que leur conception chez la philosophe et mystique Simone Weil et le psychanalyste Wilfred Bion, j'avance que Nuclear Death ne loue ni ne maudit Dieu, mais se situe plutôt dans l'absence de Dieu, souffrant d'un état d'affliction qui laisse l'auditeur "se débattre au sol comme un ver à demi écrasé". La capacité négative de Bion et l'emphase de Weil sur l'auto-annihilation se rejoignent comme deux visions ascendantes et descendantes du désir, qui soulignent ensemble des aspects différents des deux premiers albums de Nuclear Death : Bride of Insect (1990) et Carrion for Worm (1991). Finalement, je suggère que Nuclear Death invite une réponse tragicomique à l'absurdité de l'affliction, qui contraste avec la solennité que l'on trouve dans l'oeuvre de Weil et de Bion. | ||
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