time lost

║║╔║║╔╗ ║
╠╣╠║║║║ ║
║║╚╚╚╚╝ O ❀

;_;

Level-1 or world space is an anthropomorphically scaled, predominantly vision-configured, massively multi-slotted reality system that is obsolescing very rapidly.

Garbage time is running out.

Can what is playing you make it to level-2?

—Nick Land, “Meltdown”

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

technical mentality

http://www.parrhesiajournal.org/parrhesia07/parrhesia07_simondon2.pdf

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But it is in the technical objects suited for the road network that the resistance opposed to the development of the technical mentality is the clearest: obsolescence hits the passenger car much faster than the utility vehicle or the agricultural tractor, which nevertheless are its close cousins—the car ages faster than the plane, whereas the plane has technically gone through more important transformations than the car. This is because the plane is made for the runway and for the air. It is necessarily a network reality before being a separate object.

The car is not only conceived as a network reality—like trucks—but as a social object, an item of clothing in which the user presents himself. It thus receives characteristics like the ones one used to wear on clothes and that overburdened them with lace and embroideries... these scurf-like ornaments of psychosocial life—here, they become paint, chrome, antennae. The social importance can also express itself through mass, volume, and the size of the vehicle. 

monument

 

a process of dismantling, or decomposition, “ruins in reverse”

http://www.robertsmithson.com/photoworks/monument-passaic_300.htm

http://gd1studio2011.files.wordpress.com/2011/09/smithson-monuments-of-passaic.pdf

He laughed softly. I know. There's no way out. Not through the Barrier. Maybe that isn't what I want, after all. But this--this-' He stared at the Monument. 'It seems all wrong sometimes. I just can't explain it. It's the whole city. It makes me feel haywire. Then I get these flashes-'
-Henry Kuttner, Jesting Pilot

Today our unsophisticated cameras record in their own way our hastily assembled and painted world.”  ― Vladimir Nabokov, Invitation to a Beheading

That zero panorama seemed to contain ruins it) reverse, that is-all the new construction that
would eventually be built. This is the opposite of the "romantic ruin" because the buildings don't fall into ruin after they are built but rather rise into ruin before they are built. This anti-romantic mise-en-scene suggests the discredited idea of time and many other "out of date" things. But the suburbs exist without a rational past and without the "big events" of history. Oh, maybe there are a few statues, a legend, and a couple of curios, but no past-just what passes for a future. A Utopia minus a bottom, a place where the machines are idle, and the sun has turned to glass, and a place where the Passaic Concrete Plant (253 River Drive) does a good business in STONE, BITUMINOUS, SAND, and CEMENT.

 

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A dingzihu – or 'nail house' – is a home where the owner refuses to accept compensation from a property developer for its demolition.


I am convinced that the future is lost somewhere in the dumps of the non-historical past; it is in yesterday's newspapers, in the jejune advertisements of science fiction movies, in the false mirror of our rejected dreams. Time turns metaphors into things, and stacks them up in cold rooms, or places them in the celestial playgrounds of the suburbs.  

image: Debbie Skinner