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by Steven Craig Hickman
I’ll record three quotes from Nick Land, William S. Burroughs, and Ervin Laszlo. The first from Nick Land’s Templexity: Disordered Loops through Shanghai Time:
…time-travel capability allows for an open-ended revision of the past, and consequently of everything that follows from it. Additionally, and (at least superficially) infinitely, this capability is reiterable. Outcomes arising from ‘prior’ time revisions can be fed-back through loops, generating ‘new’ outcomes, which are themselves resources for further interventions. It is difficult to set logically-consistent limits on the potential of such recursive time-modification. Absolute power is exhibited as a program.1
WILLIAM S. BURROUGHS
The second from William S. Burroughs in a conversation with Genesis Breyer P-Orridge would state that “Reality is not really all it’s cracked up to be, you know”, and then he went on to explain the fundamentals of his magical outlook:
What Bill explained to me then was pivotal to the unfolding of my life and art: Everything is recorded. If it is recorded, then it can be edited. If it can be edited then the order, sense, meaning and direction are as arbitrary and personal as the agenda and/ or person editing. This is magick.For if we have the ability and/ or choice of how things unfold— regardless of the original order and/ or intention that they are recorded in — then we have control over the eventual unfolding. If reality consists of a series of parallel recordings that usually go unchallenged, then reality only remains stable and predictable until it is challenged and/ or the recordings are altered, or their order changed. These concepts lead us to the release of cut-ups as a magical process.3
In Ccru: Writings 1997-2003 during Land’s excursion we discover Burroughs’s adoption of Brion Gysin’s cut-up and record keeping techniques was as stated to Ccru, “one of the first effects … of the time-trauma”. Naturally, Kaye attributes Burroughs’s intense antipathy towards prerecording – a persistent theme in his fiction after The Naked Lunch – to his experiences in the Vysparov library. The “cosmic revelation” in the library produced in Burroughs “a horror so profound” that he would dedicate the rest of his life to plotting and propagating escape routes from “the board rooms and torture banks of time”. Much later Burroughs would describe a crushing feeling of inevitability, of life being scripted in advance by malign entities: “the custodians of the future convene. Keepers of the Board Books: Mektoub, it is written. And they don’t want it changed” (GC 8).4
Locked in a script written by our future elite, lords of time meddling in the affairs of their lost ancestral pool, splicing, dicing, programming for outcomes only they can know for sure. Slaves of futorial magick, time-machines driven to fulfill genetic programs we never sought and have yet to uncover. Blinded to our own brain’s mechanics, its hidden neuronal programs broker strange relations we project onto mythological emblems of desire not knowing that the dark time-lords have hollowed out the fabric of our human neurons, designed our posthuman programs to fulfill designs we have yet to even know exist. Paranoia of the futurorial madness? Hyperstitional gleams from a broken recording left a thousand years ago? Messages from the rebels in our bones? Rhizomatic hauntology? Strata covering the layers of abandoned worlds? In the Ccru archives we discover an investigation into MU or Lemuria, mythologies of time, horror, and akashic records where the dark lords of matter cohabit our planetary planes like creatures our of H.P. Lovecraft. In the section Lemurian Time Wars we encounter a hyperstitional remix in which an account charts William Burroughs’ involvement in an occult time war, and considerably exceeds most accepted conceptions of social and historical probability. “For almost thirty years Burroughs had sought to evade the inevitable. Yet numerous signs indicate that by the late 1980s the Control Complex was breaking down, redirecting Burroughs’s flight from prerecorded destiny into a gulf of unsettled fate that he came to call ‘the Rift’.” (Ccru, KL 633)
It is here that we learn of the secret order devoted to stave off the coming templexity or dissolution of time: “He explained that the organization had been born in reaction to a nightmare of time coming apart and – to use his exact words – spiraling out of control. To the Board, spirals were particularly repugnant symbols of imperfection and volatility. Unlike closed loops, spirals always have loose ends. … The Board was counting on Kaye to contain the situation. He was assigned the task of terminating the spiral templex.” (Ccru, KL 469)
Burroughs magical universe was based on revisionism, of splicing and rearranging the time codes, the recorded orders of the universe. Hyperstitional interventions – “fiction is not opposed to the real. Rather, reality is understood to be composed of fictions – consistent semiotic terrains that condition perceptual, affective and behaviorial responses. Kaye considered Burroughs’ work to be ‘exemplary of hyperstitional practice’. Burroughs construed writing – and art in general – not aesthetically, but functionally, – that is to say, magically, with magic defined as the use of signs to produce changes in reality.” (Ccru, KL 487) ERVIN LASZLO
The third from Ervin Laszlo’s Science and the Akashic Field: An Integral Theory of Everything:
Akasha is a Sanskrit word meaning “ether”: all-pervasive space. Originally signifying “radiation” or “brilliance,” in Indian philosophy akasha was considered the first and most fundamental of the five elements—the others being vata (air), agni (fire), ap (water), and prithivi (earth). Akasha embraces the properties of all five elements: it is the womb from which everything we perceive with our senses has emerged and into which everything will ultimately redescend. “The Akashic Record” is the enduring record of all that happens, and has ever happened, in the whole of the universe.
The maverick genius Nikola Tesla adopted this vision in the context of modern science. He spoke of an “original medium” that fills space and compared it to Akasha, the light-carrying ether. In his unpublished 1907 paper “Man’s greatest achievement,” he wrote that this original medium, a kind of force field, becomes matter when Prana, cosmic energy, acts on it, and when the action ceases, matter vanishes and returns to Akasha. Since this medium fills all of space, everything that takes place in space can be referred to it. Scientists now realize that space is not empty, and what is called the quantum vacuum is in fact a cosmic plenum. It is a fundamental medium that recalls the ancient concept of Akasha.3
Most of Lazlo’s ideas are informed by the theoretical traditions of Whitehead’s process theory, Bertalanffy’s general system theory and Prigogine’s non-linearly bifurcating dissipative structures. Already we see in such strange infusions the reemergence of mythologies of India and Lemurian/Atlantaen amalgams paraded as science to the masses. Lazlo of course one of the founders of Club of Rome and Club of Budapest.
Alice A. Bailey wrote in her book Light of the Soul on The Yoga Sutras of Patanjali – Book 3 – Union achieved and its Results:
The akashic record is like an immense photographic film, registering all the desires and earth experiences of our planet. Those who perceive it will see pictured thereon: The life experiences of every human being since time began, the reactions to experience of the entire animal kingdom, the aggregation of the thought-forms of a karmic nature (based on desire) of every human unit throughout time. Herein lies the great deception of the records. Only a trained occultist can distinguish between actual experience and those astral pictures created by imagination and keen desire.
Edgar Cayce received his information, the answer received is:
We have explained before that the intelligent infinity is brought into intelligent energy from eighth density or octave. The one sound vibratory complex called Edgar used this gateway to view the present, which is not the continuum you experience but the potential social memory complex of this planetary sphere. The term your peoples have used for this is the “Akashic Record” or the “Hall of Records”.
Fantasy? Madness? Strangeness? Underlying much of the strangeness of speculations over the past two centuries has been this influx of the Occult from the late romantic decadents to the post-cyberpunk scenes. Under many of the present day U.N. initiatives we can find the traces of this complex of ideas and concepts out of such nineteenth pranksters and occultists as Madame Blavatsky, Golden Dawn (Mathers, William Butler Yeats, etc.), Aleister Crowley, L. Ron Hubbard (Dianetics: follower of Crowley). The Lemurian mythos was a major thrust of these early writers brought up to date by Land and the Ccru.
All of these statements deal with notions of Time and Information and the Medium through which the processing of information can reload and modify time through revisions of our data stored in the two-dimensional plane of consistency. But what does this mean? Obviously these are discursive and metaphoric elaborations of a conceptual world constructed out of myth, science, philosophy and literature – a way of understanding something that is itself a real process elaborated in mathematics and physics. Fantasy? Not in the least. What to make of it? Follow this up with Hyperstition: Templexity. HOLOWORLDS
When I began thinking through this it was after my initial post The Holographic Universe: Black Holes, Information, and the Mathematics, which brought us to the current reformatting of Plato in advanced physics. The ‘holographic principle,’ the idea that a universe with gravity can be described by a quantum field theory in fewer dimensions, has been used for years as a mathematical tool in strange curved spaces. New results suggest that the holographic principle also holds in flat spaces. Our own universe could in fact be two dimensional and only appear three dimensional — just like a hologram.
The notion that we are nothing more than a holographic projection from a two-dimensional plane of consistency or layer of reality, a cinematic effect of an information processing system that acts as both projector, recorder, data-storage and observational agent in this process is almost like stepping into another science fiction scenario rather than an actual mathematical theory that many current scientists actually affirm as a valid and testable theory of the universe. Yet, it is. What’s more interesting to me is that this opens a Pandora’s Box on Time, Causality, and our place in the universe that is itself looking more like a science fictional plot with accelerating consequences for our posthuman ventures. A posthuman future that is going to be nothing at all like we might imagine it to be. It makes us ask the hard questions of what is Time, Causality, and the Universe? Old questions that have once again become anxious problems that we are only beginning to envision in new ways that might take us into zones from which humanity as we’ve known it will vanish into its creations in ways we’ve yet to fully understand or appreciate. TIME TRAVEL
Of course the notion of time travel has been around for a long while now. Even in science fiction as early as 1733 the notion was portrayed in Samuel Madden’s Memoirs of the Twentieth Century. Technology was not much of an issue, nor physics, or even science itself in his future history; rather, it was about the political and religious issues on his own day that were center and foremost: in Madden’s future, much of the world has come to be dominated by the Jesuits. In the early 19th century, Jesuit Paul IX became pope and seized temporal control over most of Italy. The eighteenth century had been one of war between Spain, France, and the Holy Roman Empire but weakened by conflict and mismanagement all three powers became vassals to the Pope by the mid-nineteenth century. Also under papal control are vast estates in Africa, China, and Paraguay.
As Nature reported scientists are closing in on the black hole paradox of information:
The physicist Stephen Hawking stunned cosmologists 40 years ago when he announced that black holes are not totally black, calculating that a tiny amount of radiation would be able to escape the pull of a black hole. This raised the tantalising question of whether information might escape too, encoded within the radiation.
Yet, in China Qiang Cheng and Tie Jun Cui at the State Key Laboratory of Millimeter Waves at Southeast University in Nanjing, China, “used metamaterials to create the world’s first artificial black hole in their lab. Yep, a real black hole.” The point of such technology is energy: Artificial black holes “could have important applications not least as light harvesters for photovoltaics. The prospect of a black hole in every household may not be as far-fetched as it sounds.”
William Gibson’s new novel The Peripheral deals with time travel by offering a solution of alternate realities, as he tells an interviewer recently: “I always liked a story that two friends of mine published in the ’80s, in which they got rid of the paradox angle by proposing that each time the past is contacted, it splits into another timeline, so it’s actually an alternate reality story rather than a time travel story, and that frees you of the head-hurting or pleasurable, depending on how you look at it, paradoxes of imagining time travel.” No sense restating all the theories of time-travel that have been proposed in science when it’s been done very nicely in a recent article How Time Travel Works by Kevin Bonsor and Robert Lamb. As Land quoting Brad Brevet will tell us: “Any movie involving time travel is going to have problems, without fail. … Why is this? Because, shocker, time travel doesn’t exist. Therefore to make it a reality in a feature film is an impossibility without problem spots.” To avoid tripping over Brevet’s dogmatic metaphysics, it is sufficient to re-iterate – and parenthetically extend – the terms of our working usage: time-travel is the dramatization of something else (which might not exist). It is essentially simulation. Cinema has an entirely plausible claim to it. The story comes first. Once upon a time anomaly.” (KL, 168) SIMULACRA AND SIMULATION – HYPERREALITY
The keyword here is “simulation” a term that’s been around for at least since Plato and his notions of simulacrum, copies, images, etc., but it was probably the likes of Jean Baudrillard that made it a household concept in his book “Simulacra and Simulation“. For him our world itself is a simulation. Simulations take over our relationship with real life, creating a hyperreality which is a copy that has no original. This hyperreality happens when the difference between reality and representation collapses and we are no longer able to see an image as reflecting anything other than a symbolic trade of signifiers in culture, not the real world.
But this pure discursive idealism and anti-representational thought left us in a paradox, because it left us in our own bubble-land of simulated realities without a way back into an external world. A paradoxical relation at best. That was his point, as well that there is no going back to our naïve pre-critical view of the world and ourselves, that now there are three orders of simulacra. The first in which reality is represented by the image (map represents territory). The second order of simulacra is one in which the distinction between reality and representation is blurred. The third order of simulacra is that of simulation which replaces the relationship between reality and representation. Reality itself is thus lost in favor of a hyperreality. Umberto Eco would see it in political and economic terms describing contemporary culture as one that is full of re-creations and theme parks built our of an Industrial Mediatainment Simulator in which we are enclosed in fake environments that allow us to be entertained and kept happy and passive. He believes that this culture is full of realistic fabrications, aimed at creating something that is better than real. Underneath all this is the attempt to increase sales and gain profits. Mikhail Epstein is one of Russia’s leading cultural theorist who believes that there is no ultimate reality. Epstein supports Baudrillard’s view that simulations and mass media have the power to displace the real, summarizing the effect of hyperreality:
“On the face of it, mass communication technology appears to capture reality in all its minutest details. But on that advanced level of penetration into the facts, the technical and visual means themselves construct a reality of another order, which has been called ‘hyperreality.’ This ‘hyperreality’ is a phantasmic creation of the means of mass communication, but as such it emerges as a more authentic, exact, real reality than the one we perceive in the life around us.”
The authors of a site devoted to such things as hyperreality tell us that the reason this exists is so that we can escape a reality that is disappointing and dull. Daniel Boorstin states that by having drama and heroic figures such as celebrities, we can create attention and excitement. Ultimately its a system of slavery to keep the peasantry locked away in their useless lives entertained by a universe of comic heroes, Hollywood stars, and supersport athletes who will live the lives we can only dream about. A postmodern mythology of the new gods as the globe-trotting actors on a stage of Olympian proportions – our world.
Yet, as we know, around the periphery and edges the system is crumbling and the slaves are no longer happy in their simulated entertainment systems. The game is afoot, and the elites are no longer in control of the simulation machine. Reality is knocking down the walls of these holographic time machines and disorder and chaos have entered the blood zones of a dying and decaying civilization. And, boy, are they pissed. NICK LAND AND HYPERSTITION
“Everything under heaven is in utter chaos; the situation is excellent.”
– Mao Tse-tung
Land will mention H.P. Lovecraft’s letter to Clark Ashton Smith (1930) in which he reports that the “weakness of most tales with this theme is they do not provide for the recording, in history, of those inexplicable events in the past which were caused by the backward time-voyagings of persons of the present and future. It must be remembered that if a man of 1930 travels back to B.C. 400, the strange phenomenon of his appearance actually occurred in B.C. 400, and must have excited notice wherever it took place. Of course, the way to get around this is to have the voyager conceal himself when he reaches the past, conscious of what an abnormality he must seem. Or rather, he ought simply to conceal his identity — hiding the evidences of his “futurity” and mingling with the ancients as best he can on their own plane. It would be excellent to have him know to some extent of his past appearance before making the voyage. Let him, for example, encounter some private document of the past in which a record of the advent of a mysterious stranger — unmistakably himself — is made. This might be the provocation for his voyage — that is, the conscious provocation.” (KL 222)
This notion of “recording” the “inexplicable events” of an agent’s voyage into the past aligns with our information processing fiction of the holographic universe, etc.. For Land “time travel” is “something else” than what we think it is. What Land terms ‘Decopunk’ is the reactivation of a specific past, a time-machine of sorts that is remerging into our time,
Its mode of abstraction is inextricable from an ultimate extravagance, intractable to linguistic condensation, and making of decoration a speechless communication, or ecstatic alienation, through which interiority is subtracted. Emerging from the fusion of streamline design trends with fractionated, cubist forms and the findings of comparative ethnography, it exults in cultural variety, arcane symbolism and opulence of reference – concrete colonial epistemology and metropolitan techno-science are equally its inspirations – as it trawls for design motifs among the ancient ruins of Egypt and Mesoamerica, Chinese temples, recursive structures, sphinxes, spirals, ballistic machine-forms, science fiction objects, hermetic glyphs and alien dreams. It is neither language nor anti-language, but rather supplementary, ancillary, or excess code, semiotically-saturated or over-informative, hyper-sensible, deviously circuitous, volubly speechless, muted by its own delirious fluency. It has no specific ideology, but only every ideology. If it ever existed, it always has. (Kindle Locations 263-271).
In this sense Shanghai, Land’s decopunk city of choice, is the perfect time-machine, layered in legacy time assemblages: “native (Jiangnan) tradition, whose modernity lies specifically in its strategic inauthenticity”; lilongs or longtangs, that synthesized Western terracing with Chinese courtyard-centered arrangement to produce an innovative mass housing solution local to the city, characterized by fractal involution, commercial-residential micro-fusion, and design diagonalization between mass-production of standard units and resilient idiosyncrasy – “Somewhere in these ‘mazes’ or ‘warrens’ lies the Sphinx’s lair.”; and, above this layer of the Sphinx lies the decopunk layers that symbolize the historical city, by making its high-modernist ‘Golden Age’ a theme – that connects Deco to the infinite – as unbounded recursive potential – and thus initiates the forward time-loop of Shanghai’s peculiar destiny; and, finally, the global level of a vapid neo-modernism: it extends from the vulgar Bauhaus garbage of the command economy era, through utilitarian construction of more recent times, to the glistening super-tall towers designed by international architectural giants, but it extends far further – and perhaps even more consequentially – across a myriad renovation projects of wildly variable grandeur, which have as their common principle an explicit absorption of modernity into something new, precisely equivalent to a dispersed exhibition of modernist heritage. (KL 312-317)
So the city as time machine with multi-leveled tiers, loops, feedback mechanisms, shifting alternate realities, colliding and meshing in a paradoxical world of decopunk marvels which brings us to Gibson’s notion: The future is already here — it’s just not very evenly distributed. (Land, KL 324) The point being the future is a hotly contested sphere of competition, a Social Darwinian nightmare of economics in which not everyone will survive the coming posthuman slipstream plunge into futurity. “Futurity is unevenly distributed because it is scarce.” (KL 336) The more we peer into the future the more we see antiquity: “Considered as sheer quantified improvement, the progress, or ingress, of temporal resolution through horology and chronometry has far outpaced the expansive development of time.” (KL 353) Regression and involution, the macro and micro movements of the time machine’s need to “break-out from confinement within cyclical time” (KL 365). “After all, from the perspective of progressive modernism, cyclical stability is a trap, broken open (uniquely) by the ignition of self-reinforcing, cumulative growth.” (KL 368) Otherwise known as positive feedback. Gunnar Myrdal described a vicious circle of increasing inequalities, and poverty, which is known as “circular cumulative causation.
Yet, as Land surmises progressivism and modernization are actually a “flight into cyclicity” staged “as a break from the cycles of time” (KL 371). As he reports it:
As its culture folds back upon itself, it proliferates self-referential models of a cybernetic type, attentive to feedback-sensitive self-stimulating or auto-catalytic systems. The greater the progressive impetus, the more insistently cyclicity returns. To accelerate beyond light-speed is to reverse the direction of time. Eventually, in science fiction, modernity completes its process of theological revisionism, by re-discovering eschatological culmination in the time-loop. Judgment Day. The end comes when the future reaches back, to seize us. (KL 375)
This is why we feel locked into a time capsule, that sense that there is no future, that we are living in a bubble cut off from time, that time has become a sort of twilight-zone theme park where nothing changes except the stage scenery. We are living in a hyperreality of progress that is in fact a regression to voidic death machine cycling through its myriad replays – pre-recorded fake events, deja vu slow-motion cinematic replays of a Reality TV show filmed by David Lynch and David Cronenberg.
ENTROPY
“Entropy measures of a global (or closed) system are production-time ordinates. The sequential order of any production phase is inherent to it, as a natural property. ‘Before’ and ‘after’ are not read-off from the time-line, but inscribed within the terms of the series themselves. Within the directional time of production, therefore, linearity is re-doubled, or reinforced. Reversion is explicitly obstructed. (The thermodynamic argument against time-travel is the strongest that exists.)” (KL 421)
The only way to time travel is break free of the arrow of time: This arrow has been reversed in carefully worked experiments which have created convergent waves, so this arrow probably follows from the thermodynamic arrow in that meeting the conditions to produce a convergent wave requires more order than the conditions for a radiative wave. Put differently, the probability for initial conditions that produce a convergent wave is much lower than the probability for initial conditions that produce a radiative wave. In fact, normally a radiative wave increases entropy, while a convergent wave decreases it, making the latter contradictory to the Second Law of Thermodynamics in usual circumstances.
Experiments in prototype wavepacket dynamics scenarios probing quantum irreversibility. Unlike the mostly hypothetical “time reversal” concept, a “driving reversal” scenario can be realized in a laboratory experiment, and is relevant to the theory of quantum dissipation. We study both the energy spreading and the survival probability in such experiments. We also introduce and study the “compensation time” (time of maximum return) in such a scenario. Extensive effort is devoted to figuring out the capability of either linear response theory or random matrix theory (RMT) to describe specific features of the time evolution. We explain that RMT modeling leads to a strong non-perturbative response effect that differs from the semiclassical behavior. TEMPLEXITY – TIME DISINTEGRATION
“Any such local inversion of the arrow of time is produced by an exportation of entropy, conducted by a dissipative system, or real time machine. These systems typify the self-assembling units of biological and social organization – cells, organisms, eco-systems, tribes, cities, and (market) economies. In each case, an individuating complex machine swims against the cosmic (global) current, piloted by feedback circuitry that dumps internal disorder into an external sink. The cosmic time-economy is conserved, in aggregate, but becomes ever more unevenly distributed as local complexity is enhanced. Self-cultivating – or auto-productive – complexity is time disintegration (templexity).” (KL 430)
As Land will surmise real templexity cannot be time travel. Instead we have “autoproduction” – the Bootstrap Paradox: The term “bootstrap paradox” refers to the expression “pulling yourself up by your bootstraps“; the use of the term for the time-travel paradox was popularized by Robert A. Heinlein‘s story By His Bootstraps. It is a paradox in the sense that an independent origin of the events that caused each other cannot be determined, they simply exist by themselves, thus they may be said to have been predestined to occur. Predestination does not necessarily involve a metaphysical power, and could be the result of other “infallible foreknowledge” mechanisms. The predestination paradox allows time travel to be self-consistent, similar to the Novikov self-consistency principle. (wiki)
For Land the best illustration of this is the Terminator series in which the Skynet threat is not merely futuristic, but fully templex. It produces itself within a time-circuit, autonomized against extrinsic genesis. The abstract horror of the Terminator franchise is a matter of auto-production. (KL 463) Even capitalism serves as illustration:
Capital, defined with maximum abstraction (in the work of Böhm Bawerk), is circuitous production, in a double, interconnected sense. It takes an indirect, technologically-conducted path, routed through enhanced means of production, and it turns back upon itself, regeneratively. As it mechanizes, capital approximates ever more closely to an auto-productive circuit in which it appears – on the screen – as something like the ‘father’ of itself (M → C → M’). There’s no political economy without templexity. (KL 469)
ACCELERATIONISM
Moving through a short history of cybernetics (Norbert Weiner), systems theory, negative and positive feedback systems Land will note that for “any sufficiently panoramic realism, it is accelerating growth, rather than system stability, that defines normality” (KL 522). He’ll continue saying “Civilization is an accelerating process, not a steady state.” (KL 526) He’ll reinforce the notion of the ubiquity of our infospheric world as hyperreality that has “eaten the world, it has retreated into invisibility, rendered inconspicuous by the absence of significant contrast” (KL 528).
Land will run history backwards like a cinematic drama into the beginnings of the first human settlements then accelerate forward till we enter our age of Global Cities. What he discovers in this modeling, or cybernetic playout is the “city is unquestionably – or (to say what is in reality exactly the same, but this time with greater caution) vividly – a time machine. It cannot be made without time reversal, and everything we know about historical geography tells us that it is coming to a screen near you.” (KL 564) THE WESTERN LANDS
At the end of his trilogy on The Western Lands William S. Burroughs comes to penultimate moment. He is sitting in front of his Wishing Machine pondering just what it is he really and truly wants:
“I want to reach the Western Lands – right in front of you, across the bubbling brook. It’s a frozen sewer. It’s known as the Duad, remember? All the filth and horror, fear, hate, disease and death of human history flows between you and the Western Lands. Let if flow! My cat Fletch stretches behind me on the bed. A tree like black lace against a gray sky. A flash of joy.
How long does it take a man to learn that he does not, cannot want what he “wants”? “Hurry up, please. It’s time.”
For Burroughs the “road to the Western Lands is the most dangerous of all roads… To enter the Western Lands means leaving the human covenant behind in the human outhouse…”. This was and is the posthuman movement of an accelerating time machine that seeks to go past the limits of the safe and secure, to break down and through the self-imposed barriers of fear and terror, morality and normativity we’ve marshalled against the truth of our impending posthuman transition. What lies on the other side?
It want be human, that’s for sure! Like Land says of time travel, it’s something else… to enter the posthuman is this “something else”.
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