Book—End.

Black-Box Teleology

J. Lucas #aesthetarchon

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§. In our most triumphant moment of digital ubiquity, we will become all-the-more absent (in the logocentric sense) to the technics that organize us. E.g., the model-T taught us to live and depend on complex material supports (“horsepower” may have provided more assistance to the early owner of a motorcar than we often take the time to consider). From microwaves to databases–an alienation-effect, more abysmal than the worst Marxist dystopian-nightmare– has inevitably arrived; this is no ‘loss of self-reflection in the production of a laboring class.’ No. This is a fallen epistemology–an actual ‘agnosis’ complicit in our mad-bionic-ubiquitous-dialectic. Knowledge of the things that organize us, e.g., all the assemblages and micro-materialities inside this metal skeleton incase the heart of our civilization, yet, who among us understands the specific correlates–the ultimate path to emergent LCD-representation? Computers have eclipsed anything beyond what Heidegger called “idle talk.” Perhaps our know-that, Aristotilian, rational mind is floundering for an unconscious purpose? If so, have we not been pursuing this transition since the dawn of our kind to evolve beyond our present (sous rature) horizon? A trajectory of gnosis-shedding, we might consider, surely haunts our future. Following this erasure-epistemology, knowledge, as an autonomous object, e.g., along with those devotees that claim it to be their most cherished love (i.e., philosophia)–becomes another casualty of bio-obsolescence. Is knowledge, or merely ‘ knowing,’ for its own sake, not becoming mere kitsch! The intellectuals are dying out;  a relic-breed of lost time (men and woman of astounding caliber, and yet, no marketable trade-set); those of us that follow in their path feel the scorched earth begin to warm our feet…

§. The black-box effect, where peda(-o)ntic knowledge is so pervasive shallow amidst the surface that its depths remain perpetually aloof. Who could have foreseen: this was the beginning of something beyond rational/irrational, knowledge/ignorance–beyond dichotomy and all Hegelianisms.  

§. Upon exiting the human park, we will shed the ideology of presence (our logocentric past) –perhaps withdraw like the black-box plane of objects organizing our activities in complicity with time. When this train arrives, no voice will be left to author even the slightest pretense of who we were, what we felt–what our dreams were made of; no orator to lament of the intimacy-of-the-screen-bionics that began long before Goethe, the Guttenberg Revolution and its printer’s devils… as though born back prior to parchments and clay; further than codex and Sumerian tablets… Our intimacy-of-the-screen-bionicism was set  in motion before the first wet block dried in the first hot kilm. What is this place? Eldorado, Atlantis, Lumeria? Whatever it is–the transcendental signified-signified itself, alas!–it will be the philosopher’s authentic center, arché, origin. To our bewilderment libidinal economies organized us to surge toward this monolith. What Freud called ‘desire’ is incomplete, i.e., ‘bibliophilic,’ not Oedipal; Derridean Archive Fever was a foreshadow; we longed for our enigmatic, grotesque, and often masked -prehistory, somewhere before writing–yet, metaphysics still has yet to answer: whether this futurity-train might not dock at the same platform… We weren’t searching for god. Yet, something (sous rature) had lit the fuse, illuminated our path via the square-      

{}<(s c r e e n)}>{}

-parody,  and as we wind into the station… will there be… any-t-h-i-n-g …there to greet us? No matter, like Nietzsche’s stoic cows, merry and forgetful, there will be no temporal consciousness, knowledge, or self-presence. Our end is an end of narrative. Our end is where the book ends.   

– J. Lucas                                                       

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A Letter to our Readers

AH reaches over 1,000 subscriptions!
—JL II.
❌⭕️❌⭕️👠___✍🏻

#Aesthetarchon

To all those actively supporting Archive Humanitas, users connected via WordPress, Facebook, Instagram, Twitter, etc.,—your philosophico-archivists—Thank you for helping us reach our first 1,000 followers!

AH is in its infancy—and yet, there is so much we can’t wait to share…

• Upcoming Blog Series: Mad-Love Monochrome. #1 will include an interview with LA Historian Kim Cooper.

• May 11th. Carolyn Thompson’s Exhibition: After | Burroughs: Syntax.

• The release of our Journal Mad-Bionic-Writing-Machine. Vol. I.

Sincerely,

Lead Writer/Admin. Jeffrey Lucas II & Editor/Admin. Alvin Mayorga

AFTER | Burroughs: SYNTAX

Exhibition—May 11th

An Exhibition

C O M I N G S O O N !

Guest Artist | Carolyn Thompson


This season’s showcase is based on the 50 texts found in the Penguin Modern Box Set (2018), which celebrates the pioneering spirit of Penguin’s publishing and includes seminal works by Kathy Acker, Samuel Beckett, William Burroughs, Truman Capote, Allen Ginsberg, Audre Lorde, Vladamir Nabokov and Susan Sontag, amongst others. An exhibition of the full 50 works will take place in September at Laurence Sterne Trust and at the Eagle Gallery, London, in 2020.



After Burroughs: Syntax is a typewritten text that foregrounds inscription, laying bare the punctuation marks found in William S.Burroughs’ The Finger. The marks appear in the original order, but are evenly spaced. The marks show duration both through process, and in the number of breaths and/or actions of the characters that they depict, and refer to the fleetingness of the relationships or meetings throughout the stories and the often temperamental nature of their characters.
7 pages each 11cm x 16cm
2019, typewritten text on book leaves


Bio

Carolyn Thompson (born 1976) is a visual artist living and working in the UK. Her research and practice are grounded in the materiality of printed matter, both as an object and as a medium. Using books, found texts, images and documents as source material she explores the content or narrative of such matter through manipulation and appropriation, and develops it into new renderings, in order to alter meaning and understanding of the information at its most fundamental level. The resulting adaptations are visual and textual versions in the form of altered books, drawings, prints, collages, embroideries and/or installations. Beyond the UK she has exhibited in Istanbul, Ljubljana, Melbourne, New York, Porto, Prague, Venice and Vienna. https://www.carolynthompson.co.uk


Carolyn Thompson. In association with Eagle Gallery EMH Arts, London. http://www.emmahilleagle.com


Archive Talks: “Los Angeles in Mad-Love-Monochrome!”

Lead Writer of AH releases details of his upcoming Blog Series: “Mad-Love Monochrome.”

The hermeneutics of film noir and the aesthetic sense of mid-century Los Angeles


An interview with philosophico-curatorial archivist, J. Lucas II


An Interview with J. Lucas II. a.k.a, Aesthetarchon: from pages to images?

Intermission: 3:40-4:13


Russian Formalism, Heideggerian Phenomenology, and Post-Structuralism