The ‘Ice Station Isis’ fiction exists in a world where the biggest political and milatary superpower is dominated by irrational fundamentalist conservatives that are determined to experminate all ‘other’ irrational fundamentalist fanatics from the face of the earth. There is only one way.
Science—cosmology, geology, evolutionary biology—overwhelmingly contradict the creationist belief structures of the dominant political/religious party. The 2005 Pew Research Center poll has 60% of Republicans declared creationists, and 70% of evangelical Christians believing that human beings have always existed in their present form. Picture a Planet of the Apes and ‘Omega Man’ mash up with an NRA Terminator H subtext.
The hollow tropes of the Cold War have been co-opted by Bible belt paranoia, and the crusade against terror is the new script for ‘end of days’ apocalypse now familty values and police state policy.
In opposition to the perverse pathology of ‘Ice Station Isis’ is precoccupied with Witchcraft positivity and the pragmatics of the periphery, the star qualities of minor characters and the poetics of alienated labour.
The exchange imperatives of capitalism are condensed into one abstract siuper commodity: Paisley Powder. The ‘powder’ seems to represent all the sinister product connotations and profit potentials of drugs/bombs/unlimited fuel. The spice must flow.
The relational characters of ‘Ice Station Isis’ all share vaguely scienctific-corporate industrial-paramilitary uniforms and operate with the nonchalant institutional urgency of B-movie flunkies, button-pushing technocrats and low level security functionaries.
The extraordinary extra is important to the subversive class politics of ‘Ice Station Isis’. Ninhja #11 and Zombie #23 demographics are vital to product placement decisions and media marketing plans, fundamentalist violence. Witchcraft seems a refuge of nature, of enlightened thought, rational discourse and the practice of peaceful coexistence.
Thanks to Scottish Sculpture Workshop, Lumsden