Seducing Poseidon

The chambers into which the Red Death penetrated already had contained within them the seeds of their own forceful opening-unto the outside. The compound was first constructed as a being defined always in relation to the Red Death, its walls built on contours against its adversary, its doors barred in the name of its adversary, every last brick of its sealing being constructed in a strange worship of that which it opposes, the eternal defensiveness of those denying the God they know to be absolute. The compound is then made hollow, with its nature built to receive. The chambers and the fortifications exist solely to be penetrated and filled, their violation imminent when they were blessed for their purity, for the very fact of this purity, the state of being not-filled only exists as a positively asserted negation of that which it is created to be filled by. As example, the chambers are constructed in order to be not-filled, their natural state being filled. The entry of the Red Death into the compound is an entry of osmotic equalization.

Weakness is in this mechanic, always done by an invitation. The chink in the armor is a gap, an accepting-channel built for the forceful penetration of that which it exists in relation to, the enemy’s sword equalizing pressure when it slips into its natural state, filling the gap. It’s in this mechanic that weakness of any kind is always a tacit invitation. Notice the ritual of performative weakness, rolling over to show the belly - the invitation is denied, showing civilization, showing a constraint of fluid-dynamics of libidinality coursing through the one deferred to. The one who accepted the display of weakness demonstrated themselves not to the one rolled over, but to their own self-hood, their own castration and thus initiation into linguistic sublimations, denying their desire (operating as a fluid, flowing along the path presented) by the will of their own superegoic thought.

The basic construction here is a particular form of monotheism, which shares a similar but ultimately flipped construction to the standard. The common way of imagining the relationship between God and the World is that of God being an ephemeral-Being and the World being a present-Becoming. In other terms, God is Being which is foreclosed beyond, only expressing itself through the impurity of the Becoming which makes up the world. This schema however, that of the flood, is one of ephemeral-Becoming and present-Being. Being is an eternal all which exists forever in all directions, the unchanging mass of the Red Death, of the water flooding in, which the inside guards against, the castle sealed off, the boat made stable, all things which preserve the state of purity, of emptiness against the outside.

Such is the process of the seduction of the outside. The Song of Songs shows this beautifully, with the love poems importantly being about the perspective of the one to whom is done-upon, the woman. The voice of the Song of Songs speaks about an inhuman force, a fluid power beyond her comprehension or grasping, but which is perfectly willing to be invited into and upon her. It’s in this way that she ultimately achieves congress with it, whatever it may be, by constructing weaknesses of herself. She builds weaknesses, passageways of flow to invite-in, this being her beauty which she constructs as channels in order to invite-in the flood beyond herself.