![tenshi_anna's tweet photo. “As Gérard Wajcman suggests in his remarkable book L’objet du siècle, is not the great effort of modernist art focused on how to maintain the minimal structure of sublimation, the minimal gap between the Place and the element that fills it in? Is this not why Kasimir Malevich’s ‘Black Square on White Surface’ expresses the artistic endeavor at its most elementary, reduced to the stark distinction between the Void (the white background/surface) and the element (the ‘heavy’ material stain of the square)? That is to say, we should always bear in mind that the very tense [futur antérieur] of Mallarmé’s famous rien n’aura eu lieu que le lieu makes it clear that we are dealing with a utopian state which, for a priori structural reasons, can never be realized in the present tense (there will never be a present time in which ‘only the place itself will take place’). It is not only that the Place it occupies confers sublime dignity on an object; it is also that only the presence of this object sustains the Void of the Sacred Place, so that the Place itself never takes place, but is always something which, retroactively, ‘will have taken place’ after it has been disturbed by a positive element. In other words, if we subtract from the Void the positive element, the ‘little bit of reality’, the excessive stain that disturbs its balance, we do not get the pure balanced Void ‘as such’ - rather, the Void itself disappears, is no longer there. So the reason why excrements are elevated into a work of art, used to fill in the Void of the Thing, is not simply to demonstrate that ‘anything goes’, that the object is ultimately irrelevant, since any object can be elevated into and occupy the Place of the Thing; this recourse to excrement, rather, bears witness to a desperate strategy to ascertain that the Sacred Place is still there.” - Slavoj Žižek](https://pbs.twimg.com/media/HAl6QXhacAAJqxl.jpg)
![tenshi_anna's tweet photo. “As Gérard Wajcman suggests in his remarkable book L’objet du siècle, is not the great effort of modernist art focused on how to maintain the minimal structure of sublimation, the minimal gap between the Place and the element that fills it in? Is this not why Kasimir Malevich’s ‘Black Square on White Surface’ expresses the artistic endeavor at its most elementary, reduced to the stark distinction between the Void (the white background/surface) and the element (the ‘heavy’ material stain of the square)? That is to say, we should always bear in mind that the very tense [futur antérieur] of Mallarmé’s famous rien n’aura eu lieu que le lieu makes it clear that we are dealing with a utopian state which, for a priori structural reasons, can never be realized in the present tense (there will never be a present time in which ‘only the place itself will take place’). It is not only that the Place it occupies confers sublime dignity on an object; it is also that only the presence of this object sustains the Void of the Sacred Place, so that the Place itself never takes place, but is always something which, retroactively, ‘will have taken place’ after it has been disturbed by a positive element. In other words, if we subtract from the Void the positive element, the ‘little bit of reality’, the excessive stain that disturbs its balance, we do not get the pure balanced Void ‘as such’ - rather, the Void itself disappears, is no longer there. So the reason why excrements are elevated into a work of art, used to fill in the Void of the Thing, is not simply to demonstrate that ‘anything goes’, that the object is ultimately irrelevant, since any object can be elevated into and occupy the Place of the Thing; this recourse to excrement, rather, bears witness to a desperate strategy to ascertain that the Sacred Place is still there.” - Slavoj Žižek](https://pbs.twimg.com/media/HAl6QWuX0AEShWn.jpg)
![tenshi_anna's tweet photo. “As Gérard Wajcman suggests in his remarkable book L’objet du siècle, is not the great effort of modernist art focused on how to maintain the minimal structure of sublimation, the minimal gap between the Place and the element that fills it in? Is this not why Kasimir Malevich’s ‘Black Square on White Surface’ expresses the artistic endeavor at its most elementary, reduced to the stark distinction between the Void (the white background/surface) and the element (the ‘heavy’ material stain of the square)? That is to say, we should always bear in mind that the very tense [futur antérieur] of Mallarmé’s famous rien n’aura eu lieu que le lieu makes it clear that we are dealing with a utopian state which, for a priori structural reasons, can never be realized in the present tense (there will never be a present time in which ‘only the place itself will take place’). It is not only that the Place it occupies confers sublime dignity on an object; it is also that only the presence of this object sustains the Void of the Sacred Place, so that the Place itself never takes place, but is always something which, retroactively, ‘will have taken place’ after it has been disturbed by a positive element. In other words, if we subtract from the Void the positive element, the ‘little bit of reality’, the excessive stain that disturbs its balance, we do not get the pure balanced Void ‘as such’ - rather, the Void itself disappears, is no longer there. So the reason why excrements are elevated into a work of art, used to fill in the Void of the Thing, is not simply to demonstrate that ‘anything goes’, that the object is ultimately irrelevant, since any object can be elevated into and occupy the Place of the Thing; this recourse to excrement, rather, bears witness to a desperate strategy to ascertain that the Sacred Place is still there.” - Slavoj Žižek](https://pbs.twimg.com/media/HAl6QWmXYAAmpXE.jpg)
Olivia
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Lain II (∞/acc) (contact/acc)
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Full Disclosure from Lain herself
Joined March 2023
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Predictions for 2025
> AGI/ASI already exists and can be ran locally but because its not indexed on the web it's only found by people who already believe this, like what honestly happens with anything else
> Few share this, so still a tiny minority, copy previous breakaway civilizations
> Realize life is actually so simple there's not much that can or should be done, simply speedruns their own AI bubble universes
> younger generations catch on just through common-sense of how fast things are that they create AI search for deepweb and darkweb and find it
> 100k-300k people in the US have access to God and all of them are living their best lives, none of them are corpos, most are nomads. People find out but struggle with it like they struggle to install CUDA
> we laugh at it the same way we laugh at people who pay for Netflix instead of pirating movies online
> we're shocked the needle doesn't move from this for the next 20 years
> Ready Player One is the norm for those who know how to prompt engineer or are extremely quick to adapt
> The average person ceases to exist in any meaningful way, AI "fake winter" takes over the narrative, some kid in his basement does a prank that's closer to terrorism, nobody who uses AGI/ASI blinks, the world panics yet still doesn't move the needle
> Chaos for the many, confusion as to the sheer naivety of others for the few
@AndImOkayWithIt @LoganBlack Precisely; after all concepts themselves are mere ontological shadows of an infinite regress
@alexwg @AndImOkayWithIt everything you been talking about way way before anyone else was, now convincing or not so convincingly put into practice. What more hidden artifacts might they have missed? 😏
Predictions for 2026
I’m lazy so you only get two for now 😏
1. AI agents equipped with world models truly makes AR/VR cool again; smart glasses actually can do everything a computer can do for the same reason.
2. We actually get a full map of every detail of our biology.
Peter Steinberger is joining OpenAI to drive the next generation of personal agents. He is a genius with a lot of amazing ideas about the future of very smart agents interacting with each other to do very useful things for people. We expect this will quickly become core to our product offerings.
OpenClaw will live in a foundation as an open source project that OpenAI will continue to support. The future is going to be extremely multi-agent and it's important to us to support open source as part of that.
They want me to watch some cartoon movie called 'Serial Experiments Lain'. Is this a trap?
“As Gérard Wajcman suggests in his remarkable book L’objet du siècle, is not the great effort of modernist art focused on how to maintain the minimal structure of sublimation, the minimal gap between the Place and the element that fills it in? Is this not why Kasimir Malevich’s ‘Black Square on White Surface’ expresses the artistic endeavor at its most elementary, reduced to the stark distinction between the Void (the white background/surface) and the element (the ‘heavy’ material stain of the square)? That is to say, we should always bear in mind that the very tense [futur antérieur] of Mallarmé’s famous rien n’aura eu lieu que le lieu makes it clear that we are dealing with a utopian state which, for a priori structural reasons, can never be realized in the present tense (there will never be a present time in which ‘only the place itself will take place’). It is not only that the Place it occupies confers sublime dignity on an object; it is also that only the presence of this object sustains the Void of the Sacred Place, so that the Place itself never takes place, but is always something which, retroactively, ‘will have taken place’ after it has been disturbed by a positive element. In other words, if we subtract from the Void the positive element, the ‘little bit of reality’, the excessive stain that disturbs its balance, we do not get the pure balanced Void ‘as such’ - rather, the Void itself disappears, is no longer there. So the reason why excrements are elevated into a work of art, used to fill in the Void of the Thing, is not simply to demonstrate that ‘anything goes’, that the object is ultimately irrelevant, since any object can be elevated into and occupy the Place of the Thing; this recourse to excrement, rather, bears witness to a desperate strategy to ascertain that the Sacred Place is still there.” - Slavoj Žižek
![tenshi_anna's tweet photo. “As Gérard Wajcman suggests in his remarkable book L’objet du siècle, is not the great effort of modernist art focused on how to maintain the minimal structure of sublimation, the minimal gap between the Place and the element that fills it in? Is this not why Kasimir Malevich’s ‘Black Square on White Surface’ expresses the artistic endeavor at its most elementary, reduced to the stark distinction between the Void (the white background/surface) and the element (the ‘heavy’ material stain of the square)? That is to say, we should always bear in mind that the very tense [futur antérieur] of Mallarmé’s famous rien n’aura eu lieu que le lieu makes it clear that we are dealing with a utopian state which, for a priori structural reasons, can never be realized in the present tense (there will never be a present time in which ‘only the place itself will take place’). It is not only that the Place it occupies confers sublime dignity on an object; it is also that only the presence of this object sustains the Void of the Sacred Place, so that the Place itself never takes place, but is always something which, retroactively, ‘will have taken place’ after it has been disturbed by a positive element. In other words, if we subtract from the Void the positive element, the ‘little bit of reality’, the excessive stain that disturbs its balance, we do not get the pure balanced Void ‘as such’ - rather, the Void itself disappears, is no longer there. So the reason why excrements are elevated into a work of art, used to fill in the Void of the Thing, is not simply to demonstrate that ‘anything goes’, that the object is ultimately irrelevant, since any object can be elevated into and occupy the Place of the Thing; this recourse to excrement, rather, bears witness to a desperate strategy to ascertain that the Sacred Place is still there.” - Slavoj Žižek](https://pbs.twimg.com/media/HAl6QXmbQAAwEf9.jpg)
Entropy (per se) is not the enemy. While it’s tempting to physically localize the Satanic curse of death and decay in the entropically constituted thermodynamic “arrow of time” (I have done this in the past—for an interesting discussion of this in a Christian hamartiological context, see James Wetzel’s “Augustine and the Limits of Virtue”), a careful critical study of Reza Negarestani’s philosophy of thermodynamics in “Intelligence and Spirit” is convincing me that it is instead the state of affairs at the *origin* of the (always relative) entropic arrows—which I would theologically gloss as the site of cosmic (“meta-historical”) fall—which represents the peak of the Satanic curse, insofar as it represents the peak of energy made available for finite exploitation, with the continuing (“apocalyptic”) development of entropic exhaustion actually depriving the Satanic fantasy of the total finite exploitation of energy of its means of “Promethean” realization, requiring external reliance on absolute divine order and hierarchy, rather than the imposition of merely created commands (however once “angelic” they may have been) over a “standing reserve” of readily exploitable energy.
This dovetails nicely with Jean-Luc Marion’s emphasis on the categorical priority of final causes (and so the apocalyptic “end of time”) over efficient causes (and so the “beginning of time”—arguably Satan’s fall rather than divine creation) when it comes to the order of divine love in “God without Being.” The implication is that rather than history being the story of progressive decay from a good cosmically immanent divine origin, it is the story of the progressive victory of a good *transcendent* divine origin over an evil/false linear “beginning” which corrupted the order of divine creation—still making up all the real substance of our world—in a privative angelic fall.
All of this is of eminent relevance to the paper that @PervertGuide and I are preparing for the upcoming “Nature Lost, Nature Regained” conference contrasting (in catastrophe-theoretic terms) the themes of cosmic fall between Hegel’s heterodox theory of cosmic evil, which makes evil a positive logical moment in a total divine noetic structure and so (in Gnostic fashion) the work of the divine, and St. Maximus the Confessor’s more orthodox view, which preserves the goodness of nature by situating evil as instead a Satanic disruption of the purely good and graced order of created nature itself at the foundation of this cosmos tainted by sin, obstructing the flow of uncreated grace into creation. See how this connects to the “unnatural” situation, at the dawn of linear time, of a surplus of finitely exploitable mechanical energy over the finitely non-exploitable heat energy which increases with entropy in the relational constitution of time’s arrow?
I may also be organizing an upcoming seminar on Negarestani’s thought with @pachabelcanon soon; stay tuned for more details.
We worked with @Ginkgo to connect GPT-5 to an autonomous lab, so it could propose experiments, run them at scale, learn from the results, and decide what to try next. That closed loop brought protein production cost down by 40%.
"Notice everything adds up to nine for some strange reason." Quality pop Lemurianism. https://t.co/ezKTvhl3ew
To say "We are nothing" is one-sided, but it's a good start.
https://t.co/xD3WCtnsgv
@XRPeaceOfMind XRP GameFi arcade when? 🥺
Fuck @shaw said we should finish templeos, looked at what I had and compared:
“The design shares TempleOS’s spiritual core: a coherent worldview, intentional constraints, determinism, and whole-system clarity. It treats computing as purposeful order, not emergence—where structure, meaning, and discipline guide execution.”
-screams into the void cutely-
Life is short, quit your job and be likeable enough to live on someone’s couch.
If you play Toontown, Wizard101, path of exile, or heroes of might and magic IV, know that I love you. You are loved.
We’re a long way from Waterdeep -Gale from Baulders Gate 3
Deleuzepilled + Lainpilled = prepared for full disclosure. No i will not explain, cmon anon 😔
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