Cosmic Topologies of Imitation: From the Horror of Digital Autotoxicus to the Auto-Toxicity of the Social

This article expands on an earlier concept of horror autotoxicus linked to digital contagions of spam and network Virality.1 It aims to present, as such, a broader conception of cosmic topologies of imitation (CTI) intended to better grasp the relatively new practices of social media marketing. Similar to digital autotoxicity, CTI provide the perfect medium for sharing while also spreading contagions that can potentially contaminate the medium itself. However, whereas digital contagions are perhaps limited to the toxicity of a technical layer of information viruses, the contagions of CTI are an all pervasive auto-toxicity which can infect human bodies and technologies increasingly in concert with each other. This is an exceptional autotoxicus that significantly blurs the immunological line of exemption between self and nonself, and potentially, the anthropomorphic distinction between individual self and collective others.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.