Reader: Imogen Smith
“Preconceived ideas and buzzwords are represented by hypnotic devices for the cognition of purpose which coerces and fixes the senses of things and the connotations of actions within the narrow limits of closed and absolute systems of rationalization.” — Julianne Fortuin, Cognitive Markets
As the subjective world impressed itself Nas found himself unimpressed. It was as though he had been afforded the privilege of that special allotment known as “inner space” as a sanctuary or consolation away from the intimations of power. But it was all so unconvincing. The more he contemplated the nature of subjectivity it showed itself up time and time again as fictitious, as did power.
While floating in the algorithmic floatation sphere it became apparent that no-one could ever hope to achieve much with algorithms, except maybe in non-fiction stories calculated to ground the self-narrativising subject into the ground, which might have been of some use or other, but it was either a quarter past six in the evening or the morning and already the cloudless sky was as still and clear as day. (more…)
“I am not dead because I was never born. I did not live, and I never died. I am the living death that resides at the center of the world.” — Master Qiang Myeong-Suk, The Unvanquished
If the language of this “novel” was to function at optimal level, this alone would be insufficient proof that words are sounds represented by artificial symbols rather than units of communication.
They could be both, Nas figured. Words were noises, grunts and tribal signs that masqueraded as communication which meant that they must be under the control of certain shady operators for the prophet. Naturally, this implied that another form of justice would have to be enacted so that the illusion of power would be removed from the repressive order of the written and spoken. (more…)
“Under the rule of the algorithm, all modes of cognition and communication are manipulated, categorised and quantified to promote the dominant ideology of financialization. There is currently no parallel or alternative system to undermine or replace it.” — Yakim Janović, Dystopia Ltd
Art was pregnant with artificial intelligence. But intelligence had always been artificial anyway, despite its humanity.
The seven sensors raised their ugly heads. They’d been trans-mutated by Mary Shelley’s Frankenstein and Samuel Taylor Coleridge’s Biographia Literaria, but the rationalist purveyors of ideology served education. (more…)
Sancho: Mark Springer | Lilianne: Jennifer Oliver | Harp: Ozlem Simsek | Words: A. A. Walker
Sancho: Mark Springer | Harp: Ozlem Simsek | Words: A. A. Walker
The spectral sign of imagination is superfluous and profane. It is an anti-consumerist luxury, an antidote against the poison of quantification.
It is an anti-artefact, not a psychological reflection of whatever data assigns it an author or creator. It is not a metaphor.
The material out of which this play emerges is by magic ritual and sheer chance. As the reader or viewer you are complicit in the transmission of this play.
And it is play.
The intention is not to make ‘art’ so that it becomes ‘work’ for a political or personal ideology. It is not to fulfill the purpose of an identity. In offering the ultimate, nothing needs to be qualified.
Against self-surveillance and identification, the astonishment of presence is always inconclusive.
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[pdf: The Present: Infiltration]
When the day drives dead leaves over pastures of the molten fissures of heaven-spawned and mysterious knowledges, when we speak of that fabulous encompassed destiny, that known and familiar radiance shaped by dusk and dawn’s methods of the present restructuring—never to be disembodied—always fixed even without space or time—then together the irrationality of our Ultimate Glasnost shall be woven forever in the dew and shall forever be.
The Society Culture promulgates is usually quite Moist, and it is extremely unlikely that at its most Primitive, Society was the same as either Truth or Madness. (Read more… )