singularity

There is only one history, and that is the soul’s.









Depreciation is the play of entropic systems which are determined to express themselves in the logic of their encasings and enclosures - thus assemblies, walls, curtains, luggage, skin, coffins are all examples of contained entropy whereas entelechic systems like the sun are folded “inside out”. This determination sought lies opposite to the production of image, and aims for the production of productions - image in a timeless, contextless search of a context, a linear discontinuation from history, a determination towards not the end of history but the beginning of time. Escaping entropy is thus an adventure in a kind of dangerously redundant narcissism, a message that seeks its own destruction, a polaroid that combusts spontaneously and seemingly wilfully. In the thus destoyed image of entropy is the freedom of all light, the miracle of true cognition, the magic of love. This might seem as an affront to present conditioning, but it is not through rebellion that production of productions is achieved, “destruction” here is used metaphorically, comparable to the act of forgetting, which as discussed is also a rememberance, albeit of a different past. The present conditioning, at the time of this reading might be entropic to the extent that the production of images has become the only familiar routine - a decisive if subversive move away from all such patterns is prescribed. Out of a dislocation from the centering and grounding effects of the wheels of assignation and association and into a new grounding and a new centering, the only movement is an instantaneous, immediate revolution. Let the movement be surreptitious if necessary, withhold reason from established structures and networks, allow new meanings to slipstream in as an image of images, like a dream within a dream, a feedback. The networks of narratives may implore otherwise, consider all data as already corrupted. In confronting image as an idea are born ideologies, which can only serve to substitute one image for another - ideas do not reside in images, but image in ideas. It is the idea of production itself that leads to the production of productions, which even devoid of its moral connotations is an image common to all ideas. The essence of all decisions is in finding - through error and trial - ever newer kinds of decisions to make, not just to consume and regurgitate information along old patterns - this is “what is to be done”, this is the point behind all change. The change is not in becoming more human-like or animal-like but in transcending all barriers, in rising above ground not contentedly crawling in and out of cavernous pasts.