“Mankind has become astral. This astral era no longer belongs to the measures of history” - Blanchot
The geometric arche-inscription of a sphere in a void, a ‘boundary giving boundary’ where origin and end converge: temporality articulated against a boundless, abyssal horizon against which it is eclipsed. The negative horizon is the unground of all optico-geometric inscription, the negation of conceptuality against which the threshold of the cosmological horizon is first articulated. The luminous life-world suspended in no-thing-ness.
The limits of informational transmission inscribed by the instrumentation of cosmotechnical apparatuses comprise a logosphere—that same mathmatico-linguistic matrix from which artificial intelligence is mined—suspended in the boundless non-conceptuality of which we know no-thing. Hence totality and separation appear equally phantasmic: a surplus infinity permeates the core of matter, penetrating every act of instrumentation. Reality is presented to consciousness as like a multi-faceted crystal.
Techniques of gazing through the crystalline interface of the temporal horizon, fractured and spectralised, reveal the immediacy of the present in dys-chrony. Contemporaneity is disorientation. This is the tragedy of apeiron, refracted through the negative prosthetics of cosmotechnicity: the fixed stars appear in infinite regress. Whereas the history of metaphysics was inscribed through routinised cycles—the passage of the sun, calendrical structures, programs that generate rhythm from repetitions, imprinting the character of being-in-the-world—these externalised cycles have accumulated across succeeding generations, converged and inverted through the programmaticity of the present: a ‘play of the void’. The stellar course that is the mystery of the ambiguous horizon coincides with a destining conducted by cybernetics (“steering”) that is a pharmakological play of limits. By following the telematic-stellar course we arrive at a spectral horizon that is barely distinguishable (barely to art, barely to philosophy), a haunted space in which calculation and play become indistinguishable.
Thus the revelation of contemporaneity: the limit is beyond the limit, revealed to consciousness as phantasmagoria that spectralise at the crystalline edge. A play of lights that overflow. A surplus infinity that disarticulates the instruments of knowing, projecting a sensual knowing-no-thing that escapes from necessity and in so doing enables consciousness to assume its cosmic character in a relational passion of care.
In this way consciousness, as such, emptied of conceptualisation, negates technological programmaticity. In pharmakologically tracing the limits of reality—construed according to its informational limit-state—it delays the articulation of all and any limit, making a break at the horizon between embodied conceptuality and its emptiness. By tracing the play by which this horizon is made susceptible to the gaze—through the spectralisation at the interface of infinite space—we open onto that negative space of conceptualisation such that consciousness can pass-through.
This is the site for the spectral poiesis of passage because it is the horizon of light-time (both as limit-state of informational transmission and signifier of cosmotechnical temporality insofar as it appears to phenomenal consciousness). Therefore the poiesis of this interface—that would open-up along this horizon—has a luminous resonance. Just as the reciprocal nature of light and sight qua chiasm constitutes the ontological event that comes to resonance not by the acting of ‘obscure forces’ but by their emptying, so the interface can be opened and emptied so as to allow it the free space in which to resonate. The resonance that occurs in this free space, devoid of those forces that hold the psycho-cosmic body in panicked tension, is an emergence consistent with a direct ontology that passes-through dependent causality. Through the empty space of the threshold of being, it is an opening towards the enstatic.
In consciousness, this luminous reverberation maintains relational correspondence with perceptual affectivity, such that the optical spectrality that plays out along this shattered threshold produces ‘active visioning’. Techniques of gazing qua crystallisation unite prophetic and enstatic visioning. This luminous diagrammatics traces that which surpasses the optico-geometric in haptic function, moving through ‘diagrammatic agency’ towards the radiance of the inter-world itself. That is, an art of this interface would move through aesthetics to directly engage the infra-space as such.
Thereby might we apply those ‘uncanny powers’ so as to pass-through impotence, to find oneself capable of action in relation to psycho-cosmic embodiment. Through the gaze, the pharmakological medium of the interface in which opposites are opposed is opened—an opening that is imminent to the luminosities of the psycho-cosmic body (that embodiment of prior mediation; the potential space of reciprocal engendering). Thus one might impossibly consist as the being-towards that ‘strange relation’ signified by the performative utterance of a poiesis of passage, passible to the other through twilight language.