depth, disorder, dream, language, Plato, space, story, surface, theory, time

Ratio

 

Between science’s eternal youth, forever sprouting green shoots, and the crumbling timelessness of art’s old age, there may yet emerge a new, a third kind of time, a crossing between the unique and universal which could bestow a new measure. 

The dream is young, the awakening ancient. 

Between the transformation and the formula, in the middle of the two shores of language, a glittering goal which shifts along with us, a nearly-invisible position which threatens to forever slip between the stories and theories into the depths. 

Between itself and itself, the earth is always the story — the only one we can remember or tell, that is, the one we are — this dream, and this awakening.

On the surface, the two series don’t align, cracks burst throughout the volume. A map of hidden tensions is revealed. The lines don’t originate from a central point. They swerve and intersect madly, though they may sometimes seem parallel. 

It is only in the depths, where mixtures reign, that all is equilibrium — a transcendental immanence. All impossibilities are nullified by a smooth consistency of oscillation, a balance without ratio. All formulas, and none. 

Perfect peace, though it may sometimes seem chaotic. 

And between the surface and the depth, an interval, the third space: the profound Being of depth crossed with the mad beings of the surface — a plague or a prophecy? 

Even now, I still do not know. 

The law of bifurcation rules the depths of the sea, of the skies, and of time. Everything is reversible. It is a lesson found in the most ancient books, the law of the parasite, whose tiny silver thread always manages to cross the borderline. 

The least can become the greatest: everything can become nothing, and nothing — everything. 

Thus, upon the surface, reversibility gives way to the irreversible. The law of anarchy, of entropy, rules the surface — a kind of royal madness which sets about organizing chaos, even creating complexity to maximize disorder. Time itself expresses this blistering of the surface, the irreversibility of creation. 

Finally, there could be no formal law for the space in between, spoken of even less than the depths and repressed by the surface-depth system — another wisp of Plato’s ghost. Yet it would be that ratio whose reason was precisely pure love, or humility — the meaning, and perhaps the very reality of humanity.

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actualization, artificial intelligence, behavior, being, cinema, cybernetics, drama, existence, image, interactivity, interface, language, one, reverie, story, theory

Literary Machines: Between Drama and Artificial Intelligence


Insofar as it tends towards a studied negation (or counter-actualization) of our numb existence, endlessly dramatizing the existential narrative of escape, contemporary cinema conveys an intense and disturbing truth about modern reality. It is not just the easy and everyday dissociation that life is a movie, but more surprisingly, that movies have become indistinguishable from our real lives. Drama is not merely a terrifying absence, simply the dissolution of the synchrony of the One, but an enigma even more puzzling still– the cinematographic interface is already an incontrovertible diachrony, a renegade communication across an abyss of broken myth. Cinema: the art of time turned in upon itself. The surface story splits the world in Two, by drawing a sacred circle (or rectangle) in which larval intensities can escape from their segmented order of time (or space.) Images transcend history.

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fiction, image, machine, Politics, reality, story

Fiction and Politics

Characters are instruments and not just images or words.

The story as (spiritual) machine-inside-a-machine, endlessly. Thus character as frame for a meta-fiction, not the story within a story, but the story of the story. The character opens a new critical place within a narrative reality for the entrance of nomad elements from larger worlds.

The plot-as-frame yields a micro-fictional world, while the character-as-frame yields a macro-fictional juncture between interior and exterior: the book and the world.

A character is an ambiguous trace of reality-image.

The message within the message is not as important as the message around the (fake) message. Invert the desire for a self-directed message; and by revolutionizing this we acquire fictional individuation, a reading, a character, a hijacker-thought which leaps between the reader and the work backwards in time to create a thinking-subject which would always have been.

This retroactive infinity (of probability) is the actual materiality of the universe, which is all that exists.

Ourselves-as-characters is merely an illusion, an emptiness, a false signal, a meaningless trace. But characters-as-ourselves, however, is a towering and impossibly stable feeling, enormous, mythical, and deeply inspiring.

Most important, though, is that this fictional inversion turns out to be functionally or fundamentally true in a way which is difficult either to dismiss or explain. The political inversion retroactively founds all of human reality identically, but in reverse. To think politically is to conjure subjectivity into existence only so that it may be subjugated.

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